It is undoubtedly the ideal way to start the year off in the best possible way, for all lovers of opera and “great music”. From this Wednesday, January 19, The Marriage of Figaro by Mozart offers itself the sublime setting of the Palais Garnier.
The first milestone in the “Da Ponte trilogy”, named after the Venetian librettist who worked for Mozart at the end of the 18th century on The Marriage of Figaro, Don Giovanni and Cosi fan tutte, is back in Paris.
A veritable blockbuster of lyrical art, it cannot leave anyone indifferent, and resists trends, like any timeless masterpiece.
After ten years of absence from the Parisian scene, there is no shortage of reasons to savor this great carousel of feelings that undermines social conventions, in which the valet Figaro and his future wife Suzanna, join forces with the Countess against the fickle Count , the Cherub page coming to play spoilsport.
Outrageous in its time and still relevant
If Lorenzo da Ponte’s libretto is perfectly suited to the lightness, brilliance and virtuosity of WA Mozart’s score, it owes above all its subversive force to the original text by Beaumarchais, performed successfully in 1784 after years of censorship. . Often considered as a harbinger of the revolutionary movements that were to follow, it was above all her charge against the privileges and arrogance of the aristocracy that were denounced.
But, in keeping with the times, it is mainly on the relationship of domination between the sexes and the question of gender that directors are now concentrating, like Michael Haneke and his dark and unforgettable Don Giovanni, which has become a modern golden boy and sexual predator.
The director Netia Jones, who signs here her first work for the Paris Opera, also wants to draw from Mozart’s work its timeless essence. “It’s an absolutely contemporary piece. There are characters, situations, qualities that are completely contemporary. That’s why it’s interesting to play with what is from the 18th century, and what is contemporary”, she explains in presentation of her work.
The one who also signs the sets, the costumes and the video praises the presence of women in this opera, who, far from endorsing the sidekicks, know how to play with conventions that were – already, and still – unfavorable to them. “What is very rare is that we have in this opera four women, very interesting, who are believable, who are alive, not just virgins or old women”.
The mise en abîme used – the sets represent places in the Palais Garnier, making these Marriage of Figaro the rehearsal of Beaumarchais’ play – inevitably brings to mind the scandals that may have shaken the world of culture, from the original MeToo to the MeToo theatre, but also to the omnipresence of men in positions of responsibility in this sector.
Léa Desandre, a contemporary Cherub to follow
This return of Les Noces to the Paris Opera will be an opportunity for its brand new musical director Gustavo Dudamel to take possession of the pit and to deepen the automatisms with the Choir and the orchestra of the Parisian house.
© JOEL SAGET / AFP
But above all it will allow the public to discover – even if this is not her first interpretation of the role, which she took on this summer in Aix – the young Léa Desandre in the costume of Chérubin, symbol of all the confusion of genres and youthful passions. The mezzo-soprano, trained with William Christie and Sara Mingardo, has been racking up awards and compliments for several years, from her Classical Music Victory in 2017, to her performance as Despina, in the Cosi fan tutte of Mozart, at the last Salzburg Festival. At 29, we can therefore already consider her a talented Mozartian, who had marked the critics during her stay in Aix-en-Provence with her voice full of elegance and delicacy.
And just like the director, she will take her first steps in the Parisian opera house this new year. This Chérubin version 2022 should in any case be in step with the times, as she recently indicated on France Musique: “the main inspiration for this Chérubin was Justin Bieber, or even the “Sex Education” series. We wanted to create a Cherub very focused on the thing, in discovery of his body and his emotions”. “We really try to erase all the tics of opera, we are on very direct relations between the different characters”, she added, suggesting an interesting mise en abyss, reinforced by the staging of Netia Jones, who invites the spectator behind the scenes of a performance of the Marriage of Figaro.
An appointment in cinemas so as not to miss the wedding
There are therefore many arguments not to miss this appointment which could well be a milestone in the new productions of the Paris Opera. Still, between the moment we spot the show, and the moment we decide to go there, the seats are often already sold out. To remedy this, the Parisian institution, in addition to the refreshing day reserved for those under 28 (the youth preview at 10 euros on Wednesday 19), has therefore collaborated with UGC cinemas, as part of their cycle Long live the Opera!
Director Andy Sommer will record the performance, broadcast live on February 3 in more than 200 cinemas throughout France. And to further enhance the impression of immersion offered by an evening at the opera, it is clearly specified that the “Doors” open at 6.45 p.m., to close at 7.15 p.m., i.e. a quarter of an hour before the start of the overture to Les Noces on the stage at Garnier. We almost come to appreciate the prohibition made because of the Omicron variant to taste its popcorns in the room, a real lack of taste when the singers begin their singing tour.
Here too, a special effort is made with young audiences, since the price of the ticket for this prestigious evening – lasting 3h45 with a 35-minute intermission – goes from 35 to 15€ for those under 26 years old.
The Marriage of Figaro, WAMozart, dir. Gustavo Dudamel, director, sets, costumes and videos, Netia Jones, from January 19 to February 18, Palais Garnier, Place de l’Opéra, Paris 9th.