Der Freischütz ou quand la magie investit les Champs-Élysées

By Stéphane Lelièvre, 21 October 2019

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“La distribution remporte tous les suffrages, jusqu’aux seconds rôles excellemment distribués”

Reviewed at Théâtre des Champs-Élysées, Paris on 19 October 2019

Weber, Der Freischütz

Cie 14:20

Laurence Equilbey, Conductor

Raphaël Navarro, Director

Clément Debailleul, Set Designer, Director

Siegrid Petit-Imbert, Costume Designer

Johanni van Oostrum, Agathe

Chiara Skerath, Ännchen

Stanislas de Barbeyrac, Max

Vladimir Baykov, Kaspar

Anas Séguin, Kilian

Daniel Schmutzhard, Ottokar

Christian Immler, A Hermit

Thorsten Grümbel, Kuno

Clément Dazin, Dancer

Valentine Losseau, Dramaturgy

Aragorn Boulanger, Choreography

Elsa Revol, Lighting Designer

Insula orchestra

accentus

Frank Markowitsch, Choirmaster / chorus director

Weber's Freischütz minus the magic at the Théâtre des Champs-Élysées

Mark Pullinger, 19th October

A disappointing staging of Weber's supernatural opera by Compagnie 14:20 in Paris

**111

Weber's Freischütz minus the magic at the Théâtre des Champs-Élysées

Mark Pullinger, 19th October

A disappointing staging of Weber's supernatural opera by Compagnie 14:20 in Paris

**111

Reality television: ENO’s Angel’s Bone in Manchester

Lawrence Dunn, 12th May

Kip Williams and ENO mount an extraordinary new production of Du Yun and Royce Vavrek’s multifaceted opera, with performances of great emotional directness broadcast live on camera.

*****

Sir Thomas Allen’s Figaro for Scottish Opera still entertains

David Smythe, 9th May

A traditional Marriage of Figaro entertains with a strong cast, eye-catching design and lighting, and Amanda Holden’s earthy libretto.

****1

Sasha Cooke brings sharp intelligence to Seattle Opera’s Carmen

Thomas May, 8th May

Sasha Cooke’s thoughtful role debut anchors Paul Curran’s visually and musically alert but dramatically uneven production.

****1

Werther oozes quiet despair in new Canadian Opera Company staging

John Gilks, 7th May

Excellent performances cannot turn a conventional production of Massenet’s Werther into a dramatic experience for the 21st century.

***11

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Stéphane Lelièvre

Stéphane Lelièvre est maître de conférences en littérature comparée. Il est responsable de l’équipe « Littérature et musique » du Centre de Recherche en Littérature Comparée à la Faculté des Lettres de Sorbonne Universités. Spécialiste des romantismes allemand et français, il s’intéresse d’une manière générale aux liens entre les lettres et la musique, et donc particulièrement à l’opéra.