At the Théâtre des Champs

Evening muy caliente at the Théâtre des Champs-Elysées, in Paris, where the public cheered, on November 13, La Perrichole, d’Offenbach, whose new production, signed Laurent Pelly, is held on avenue Montaigne until November 27, under the direction of Marc Minkowski. The director of the Parisian scene, Michel Franck, has attached a duo whose service record has been shelling, for twenty-five years, recordings and DVDs in support, unforgettable successes,Orpheus in the Underworld (1998) at The Grand Duchess of Gerolstein (2004), via The Beautiful Helen (2000) and The Tales of Hoffmann (2003).

Missing this pericholewhich each first worked solo, Pelly at the Opéra de Marseille in 2003, Minkowski in 2018, in his former Bordeaux opera houseevidenced by the recording made for the “French Opera” collection of the Palazzetto Bru Zane.

From the first bars, we feel that Les Musiciens du Louvre, which celebrates their 40th anniversary this year, will be at their best. Round, supple and singing strings, giving the line a Viennese inflection, pushing up to Central Europe blooming and colorful winds (the clarinet solos), under the dynamic and sensual direction of a Marc Minkowski who works as a playwright this constantly bouncing score, enveloping the voices with a firm and caressing hand. Throughout the three acts, a joy of music and intelligence.

The staging was not so quick to seduce us. It was necessary to pass a rather schoolboy and very nervous first act to find the screw comica that Laurent Pelly knows how to deploy so well, especially in light works. We are grateful to him for not having transformed the story of La Périchole, this singer from the streets of Lima, into a plea against poverty, nor the autocratic figure of an erotomaniac viceroy into gallows game in the court of violence Women’s.

Rest assured, the sly fly that poverty forces to use her charms will know how to both satisfy her hunger and achieve her goals: to recover the heart of her lover, Piquillo, whom she has abandoned, and that the court opportunely gave him as husband in order to respect the proprieties which require that the king’s mistresses be married women.

The facade of a building in a working-class district, clothes hanging from the windows, where a crowd in flip-flops, bermudas and T-shirts is bustling about. On the wall, the half-veiled threat of a portrait, that of the viceroy, who has dispatched two of his henchmen and painted himself incognito in order to ensure the favorable opinion of his subjects. It is in front of this vaguely hostile crowd, hysterized by the peddling of drinks from three cousins, as big in mouth as in buttocks, that La Périchole and Piquillo will try to earn a few cents – in vain. She, vaguely punk, denim shorts, leather jacket and pink fishnet stockings. Him, in a tank top, cap with a red star and guitar out of tune.

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At the Théâtre des Champs-Elysées, a boosted “Périchole”