“In Toulouse, opera enthusiasts were very responsive”
The season has started very well for the Théâtre du Capitole. The first opera, “La Gioconda”, won over critics and audiences alike, and subscriptions remain at a high level. What to consider – almost – serenely the continuation.
Although the performances of “La Gioconda” are going perfectly, from September 24 to October 4, Christophe Ghristi, artistic director of the Théâtre du Capitole, admits to having experienced some cold sweats. “All the artists were vaccinated but it took us, two hours before each show, to carry out 120 screening tests. There was indeed no mask or possible distancing for the choir and the mastery of the Capitol and the singers. This anguish over, the rest of the season promises to be auspicious.
The cultural world has wondered a lot about the return of the public to theaters. What about that of the Capitol?
He was very responsive. Several performances of “La Gioconda” were almost posted. This is due to the attractiveness of the opera but also to the proactive policy we had in June and July, in particular with the programming of “Elektra” and Summer Nights. We did not wait until the start of the school year to offer shows. And the audience followed.
Did you feel a particular joy linked to the reunion?
At the premiere of “La Gioconda” it was obvious: the spectators applauded the arias and the ballets. The atmosphere was more spontaneous and warm than in the past.
Are the subscriptions in tune?
We note a decrease of 10%, which is minimal. But the new formula of free subscriptions (1) is experiencing meteoric growth. Opera lovers want fewer constraints; they have learned the lessons of recent times, with all these complications related to repayments. Changes are also evolving for the public without subscription: seats are taken later.
Does this new season follow a particular philosophy?
It is presented with four creations in a row until the end of the year: “La Gioconda”, “Wozzeck” and “The Magic Flute” for operas; “Toulouse-Lautrec” for the ballets. After we calm down. Again, the audience is there. “The Flute”, which will be played in December, falls at the right time. This bright and humanistic opera is ideal for Christmas… and sales are excellent.
What is the other main feature of this season?
We will be able to attend great roles taken by great singers. After Ramon Vargas as Enzo in “La Gioconda”, we will discover Stéphane Degout, in the title role and Sophie Koch as Marie in “Wozzeck” or even Marie-Nicole Lemieux in “Carmen”. For this to happen, my desires must match those of the singers. This is made possible by our very close proximity, by the trust, the friendship that binds us. But sometimes you have to be patient. Degout in “Wozzeck”, I spoke with him for the first time 8 years ago. It is important to allow confirmed singers to defend new roles. Roles that require experience, endurance that only experience brought. Let’s add an element that matters to me: loyalty.
This commitment to singers, on the Retrouvé among young people. Comment you composed to select them?
One of my roles is to help get through stages. Initially, this requires a role that is not too exposed, which will allow you to learn the basics of the profession, on the set, far from the conservatories. Then, and quite quickly, it was up to me to find a more substantial role to entrust more important responsibilities. This is the case of Valentin Thill in Tamino and Kamil Ben Hsaïn Lachiri in Papageno in “The Magic Flute”. The latter impressed me during the first auditions. The spell worked as soon as he opened his mouth; he was so graceful… It can be seen in the eyes: besides the voice, the expression of the face is essential.