Rêver, peut-être : Hamlet revient hanter l’Opéra Comique

By Suzanne Lay-Canessa, 26 January 2022

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“ces cinq actes s’écoulent sans qu’on y prenne garde”

Reviewed at Opéra Comique, Paris on 24 January 2022

Thomas, Hamlet

Opéra-Comique

Louis Langrée, Conductor

Cyril Teste, Director

Ramy Fischler, Set Designer

Isabelle Deffin, Costume Designer

Julien Boizard, Lighting Designer

Orchestre des Champs-Élysées

Chœur Les Eléments

Mehdi Toutain-Lopez, Video

Sabine Devieilhe, Ophélie

Géraldine Chauvet, Gertrude

Pierre Derhet, Laërte

Stéphane Degout, Hamlet

Laurent Alvaro, Claudius

Jérôme Varnier, Ghost

Geoffroy Buffière, Horatio

Yu Shao, Marcellus

Nicolas Legoux, Polonius

Implacable Werther at Opéra-Comique from Pichon and Huffman

Romain Daroles, 19th January

Tight orchestral playing, minimalist stage design: the conductor and director are perfectly in tune with each other, transforming Massenet's work into an intimate and timeless drama.

****1

Opéra-Comique's Carmen brings high musical qualities to Edinburgh

Roy Westbrook, 8th August

Andreas Homoki's meta-staging in Paris' Opéra-Comique cannot detract from strong musical performances at the Edinburgh Festival, led by Gaëlle Arquez as a near-perfect Carmen.

****1

Deliciously not Disney: Zémire et Azor at Opéra Comique

David Karlin, 29th June

Grétry's mash-up of Beauty and the Beast and The Arabian Nights provides an evening of proper enchantment in Paris.

****1

Unhappy ever after: Gluck's Armide returns to Paris

David Karlin, 11th November

Excellent performances and stage direction make a good case for an opera that's on the slow side dramatically.

****1

Titon et l'Aurore: flying sheep at the Opéra Comique

Philippe Ramin, 21st January

In Basil Twist's staging of Titon et l'Aurore, William Christie shows the breadth of his talent in 18th century French repertoire, conducting an cast which excels in both main and supporting roles.

*****

Operatic magic: Ercole Amante at the Opéra Comique

Jean-Marc Piriou, 6th November

Voices, orchestra staging: everything in this Ercole Amante is light and magic, to the great delight of the Salle Favart audience.

*****

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Suzanne Lay-Canessa

Docteure en littérature comparée, passionnée de langues, Suzanne a consacré sa thèse de doctorat à Jean-Sébastien Bach. Elle enseigne le français, la littérature et l’histoire de l’Opéra à l’Institute for American Universities et à Sciences Po Aix. Collaboratrice régulière du journal Zibeline, elle publie dans les rubriques Musiques, Livres, Cinéma, Spectacle vivant et Arts Visuels.