La vie parisienne, acte II - Atelier d'opéra de l'Université de Montréal
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- čas přidán 5. 09. 2024
- La vie parisienne de Jacques Offenbach
Jeudi 27 février 2020
Orchestre de l'Université de Montréal, Jean-Francois Rivest, direction
Atelier d'opéra de l'Université de Montréal, Robin Wheeler, direction
Alain Gauthier, mise en scène
Francis Perron, pianiste et chef de chant
Carl Pelletier, conception de la scénographie et des accessoires
Pierre-Luc Boudreau, conception des costumes
Pierre Lafontaine, conception des maquillages et coiffures
Renaud Pettigrew, conception des éclairages
Distribution
Bobinet, David Turcotte
Raoul de Gardefeu, Emmanuel Hasler
Métella, Camille Brault
Gontran, François Delorme
Joseph, Justin Domenicone
Le baron de Gondremarck, Dominic Veilleux
La baronne de Gondremarck, Mélissa Zerbib
Le brésilien, Jérémie Chéné-Arena
Frick, Emmanuel Raymond
Gabrielle, Agnès Ménard
Pauline, Juliette Tacchino
Prosper, William Aziz
Léonie, Queen Hezumuryango-Dushime
Louise, Maud Lewden
Clara, Roseline Marois-Bernier
Chœur de l'Atelier d'opéra
Sopranos
Thalia Abellard
Marianne Bertrand
Olivia Charette
Camille Espaignol-Jacques
Dahlia Gamache
Marion Germain
Ayako Horihata
Maud Lewden
Roseline Marois-Bernier
Margot Niemchemko
Robyn Perry
Élodie Fournier
Mezzo-sopranos
Meagan Adams
Chantale Gascon
Queen Hezumuryango-Dushime
Maria Pandolfo
Ténors
William Aziz
Jérémie Chéné-Arena
François Delorme
Emmanuel Raymond
Basses
Justin Domenicone
Ricardo Galindo
Jason Viens
Bravo !!!
What? No comments on this after 8 months?
Well, number one, for anyone who was unaware of this, the sheer melodic sumptuousness must have taken your breath away. Bravíssimo, Offenbach.
The singing is at a level that one might expect in a professional production of an operetta - unless, of course there are celebrities involved.
I saw a production, years ago, in Paris where the general level of the singing was pretty much like this, except for the presence of Gabriel Baccquier as the Baron. He was outstanding. Even more than you might be imagining.
I was just a little disappiinted at the very beginning of the prelude. The opening staccato theme was unconvincing.
But, besides that, Bravi tutti.
I particularly liked Metella's reading of the letter and Gabrielle's Colonel's Widow song.
(I actually thought that the "Son habille est craquait dans le dos" was part of this act.)
"son habit a craqué dans le dos": l'orthographe française n'est pas facile !
Top ! C'est top ! Orchestre au top : précis et mordant. Chanteurs tous dans l'coup ! C'est top !
i am very particular about gabrielle -- i love this character and her songs and my name is gabriela! and i can assure you that agnes menard does an absolutely top knotch job as la gantiere! brava!!!!
BRAVO
What? No comments on this after 8 months?
Well, number one, for anyone who was unaware of this, the sheer melodic sumptuousness must have taken your breath away. Bravíssimo, Offenbach.
The singing is at a level that one might expect in a professional production of an operetta - unless, of course there are celebrities involved.
I saw a production, years ago, in Paris where the general level of the singing was pretty much like this, except for the presence of Gabriel Baccquier as the Baron. He was outstanding. Even more than you might be imagining.
I was just a little disappiinted at the very beginning of the prelude. The opening staccato theme was unconvincing.
But, besides that, Bravi tutti.
I particularly liked Metella's reading of the letter and Gabrielle's Colonel's Widow song.
(I actually thought that the "Son habille est craquait dans le dos" was part of this act.)