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12/19/2024
Georges Bizet: Carmen (Editions Choudens version, rev. Palazzetto Bru Zane)
Deepa Johnny (Carmen), Stanislas de Barbeyrac (Don José), Iulia Maria Dan (Michaëla), Faustine de Monès (Frasquita), Floriane Hasler (Mercédès), Nicolas Brooymans (Zuniga), Yoann Dubruque (Moralès), Florent Karrer (Le Dancaïre), Thomas Morris (Le Remendado), Chœur accentus/Opéra de Rouen, Christophe Grapperon (chorus director), Chœur d’enfants de la Maîtrise du Conservatoire de Rouen, Frédéric Pineau (children’s chorus director), Romain Gilbert (stage director), Antoine Fontaine (set designer), Christian Lacroix (costume designer), Hervé Gary (lighting designer), Vincent Chaillet (choreography)
Recording: A co-production of staging: Bru Zane France – Opéra Royal/Château de Versailles Spectacles – Opéra de Rouen Normandie – Palazzetto Bru Zane, Théâtre des Arts, Rouen, France (September 2023) – 182’ 42 (including bonus)
Bru Zane BZ3001 (DVD and Blu-ray) (Distributed by Naxos of America) – NTSC 16:9 – Stereo and 5.1 – Region 0 – Booklet in English, French, German and Italian
Since its inception in 2006, Palazzetto Bru Zane’s mission has been grounded and focused: a rediscovery and renaissance of French romantic music from 1780 to 1920. This includes a sharpened focus into the genres of opera, orchestra, sacred and chamber music. With recent unveilings of Gounod’s first version of Faust in 2018 and the original version of Offenbach’s La Vie parisienne in 2021, the Foundation now turns its attention to the classical French opéra‑comique, Carmen, anticipating the 150th anniversary of Bizet’s musical gem which premiered in Paris on March 3, 1875. But in this particular venture, the release turns back to the historical staging of 1875. All artistic disciplines are woven together in meticulous fashion through a resurrection, enabling a public viewing of what audiences, back then, would have witnessed. Simply put, the presentation is stunning.
The impetus for moving forward on this ambitious project returned to the régisseur général (stage manager) who held control of the “masterplan” (not the creator) at his fingertips: technical details, set placement and character blocking. Under the realm of Charles Ponchard at the official opening, it was also his duty to manage and marriage all disciplines. But an interdisciplinary interface required an individual to spearhead the blueprint: enter Romain Gilbert, the engineer-turned-pianist/opera singer. Like patiently moving “pieces of a puzzle”, he entertained expertise from the incisively forward-thinking Antoine Fontaine in sets, the illustrious Christian Lacroix with his costuming acumen, Hervé Gary’s magnificent lumen impressions in lighting (à la Caravaggio‑esque dimensions in Act IV and Degas-softened floor lamps glowing stage front) and the aesthetic assistance with choreographic assignment under the tutelage of Vincent Chaillet.
Restoration (through uncovering of archival detail, rough manuscripts, illustrations) is the key ingredient supporting this Rouen Normandie production. Despite the argumentative shadings of vocal timbre, animation, projection, orchestral pacing, amongst other variables, it is to Bru Zane’s credit to “map” a re‑enactment as true to form as it was back in 1875. Particularly, one will note that recitatives were originally prescribed by Bizet himself via Ernest Giuraud. Ironically, most current stagings reinstate spoken dialogue. Furthermore, the ‘Scène et Pantomime’ is, once again, revived with Moralès at the helm...a lovely diverstissement.
As a sidebar, from this reviewer’s corner, several points are to be considered: Ben Glassberg’s conducting is nuanced with surprisingly aggressive ironies in passages with occasional moments of longueur that, ironically, refresh and invite. Christophe Grapperon’s choral umbrella “underinflates”, while Deepa Johnny generates a stultified and tempered “sub‑frisson” femme fatale as she’s spotlighted throughout. Iulia Maria Dan’s Micaëla doesn’t erupt into an overly-syrupy characterization. Yoann Dubruque’s Moralès is true‑to‑form...even a bit sexually advancing...politely tasteful and apropos. As the male protagonist, Stanislas de Barbeyrac carries Don José with aplomb and formulates a plausible verismo veil. Frequently hoisting the Bru Zane banner through musical expeditions of La Vestale,
Robert le Diable, Herculanum and L’Heure espagnole, bass‑baritone Nicolas Courjal has appropriately appealing swagger and machismo detail, though the vibrato widens excessively.
Facial nuances, gesticulations, character blocking and prop placement are instrumental in supporting the historical underpinnings. That objective has been clearly achieved. Overall, however, the entire canopy appears a tad lackluster. That said, however, one must acquiesce to the uncovered information encasing this particular opening and the painstaking archival detailing surrounding this re-enactment. In summary, “history is in the making”.
Another key to understating this overall positioning of this Carmen is to pour over Alexandre Dratwicki’s immeasurable duties to “bracket” historical obligations. Despite the occasional foibles, it’s understandable to rein in those concerns: all in the name of detailed honor. This Carmen is a great treasure to hold and garners full support from all avenues in the artistic arena.
Christie Grimstad
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