Presented for the first time during the International Lyric Art Rendez-vous, the monumental Rossinian masterpiece makes a mixed entry to the Archbishopric Theater, served by an unequal distribution.
by
Given for the first time at the Aix -en -Provence festival, the Moses and Pharaoh de Rossini, far from the food vein with which is too often associated – but not without reason – the composer of the Seville barber, overwhelm The second in the evenings of the Archbishopric Theater, Thursday, July 7.
A proposal entrusted to the German director Tobias Kratzer, author of the anthology Faust who ends the season at the Paris Opera (until July 13), where the vast Rossinian fresco was created in 1827 (at The era, room le Peletier), French adaptation with obligatory ballet, of the Mosè in Neapolitan’s Egitto of 1818. Monumental work which testifies to the Rossinian vitality, opening the perspective of the great opera of Meyerbeer, while the Hebrew choirs announce the Nabucco de Verdi.
We admit to having been afraid by seeing the clone of Charlton Heston appear on stage on stage in the ten commandments (1956), Cecil B. Demille, – same hair hair and patriarchal beard, same rioted purple coat, without forgetting the famous Stick capable of wonders – Transforming Nile water into blood, dust into mosquitoes and, finally, split the waves of the Red Sea. But the reference to biblical imagery stops there. Kratzer has split the plateau into two parallel worlds: in garden, the Hebrew camp, migrants retained in slavery, in court, the connected technocracy of our modern world. Bric-a-brac clothing on one side, Costard-Cravate Archetypes and Tailor-Escarpins on the other, between computers, office armchairs and meeting tables.
At the bottom of the stage, the reproduction of the Espeluque fountain, place de l’Armévêché, installs on the plateau the hic and nunc of our contemporary migratory dramas. While Pharaoh breaks his liberating promise, blindness and night grab the world, under the gray flashing of a huge screen that has become useless. If the amusing, influencer appearance of the Syrian princess Elegyne, supposed to divert the son of Pharaoh, Aménophis, from an impossible union with Anaï, the niece of Moses, may seem anecdotal, the end of the opera operates of the situation that freezes blood.
powerful parable
Once migrants in pneumatic canoes and life vests gathered within the public, a huge video invades the scene, projecting the drowning of our Western world. These men and women struggling before immobilizing in the expression of the waves do not come from elsewhere. They wear our brand clothes and our city shoes, jewelry, attaché-boxes, handbags. A more powerful parable than a humanitarian advocacy and a form of response to the tonic and elegantly choreographed ballet which selfishly delighted Egyptian power, indifferent to drama.
You have 43.53% of this article to read. The continuation is reserved for subscribers.