Madame Butterfly, a butterfly injured but replaced at the Opéra Grand Avignon
The Grand Avignon Opera continues its season and the reunion of its historic Theater, with Puccini’s Madame Butterfly, directed by Daniel Benoin and directed by Samuel Jean. The holder of the title role being in pain, it is planned at a moment’s notice by Héloïse Koempgen:
After Peter Grimes by Britten directed by the new house director, Frédéric Roels to display the re-inauguration of the Opera in the city of the Popes, place in the great Italian romanticism with the dramatic Madame Papillon by Puccini (in a production premiered at the Opéra Nice Côte d’Azur by the man who then directed the Théâtre de Nice).
The director Daniel Benoin advances the plot, which takes place in the libretto at the very beginning of the 20th century (at the same time as the composition of the opera) and which is here placed in the post-WWII era (with projections of images of the nuclear bombing of Nagasaki). Its lights make up the starry night as well as the lever of the sun, but focus on key dramatic moments and objects (notably the suicide weapon). The typical decorations (from Jean-Pierre Laporte) immerse in a small unpretentious house in the middle of the misty Japanese mountains, with typical costumes adapted to each role (made by Nathalie Bérard-Benoin and Françoise Raybaud). The set consists of paintings mixing moments of sweetness (the wedding night), moments of tension (the return of Pinkerton) and between the two more descriptive and picturesque scenes (extras and choristers represent the family of the young Japanese girl).
The soprano Noriko Urata being ill, she is in the title role by Héloïse Koempgen (appreciated last October on our columns in a modern repertoire). This one lives and transmits the emotions of its role by an intense theatricality, a light and pure timbre. However, the sometimes unstable vibrato leaves the end of sentences. However, delicacy is combined with intensity in its fresh air. “Un bel di vedremo”.
Mezzo-soprano Marion Lebègue is a Suzuki faithful to her mistress, through her complete ancillary gestures. The vocal grain is round and voluptuous, with expressive lines but flowing freely over the phrasing and prosody with naturalness. The traitorous lover Pinkerton has effective stage acting thanks to the sincere expressiveness of Avi Klemberg. Moved and moving in his first love with Butterfly, his voice is based on suave mids and comforting bass. The highs are still sometimes a little tight but are quickly caught up by the musicality of the phrasing.
The role of the United States Consul Sharpless goes to baritone Christian Federici, whose dynamic stage performance is set off by a generous and cavernous tone. Goro, sung by the tenor Pierre-Antoine Chaumien reveals a distinct diction in a particularly light and energetic writing. Tenor Matthieu Justine easily adapts to his roles as Prince Yamadori and Commissioner Imperial thanks to his fine, pinched timbre. Uncle Bonzo’s outbursts of anger are made dramatic and vivid by the baritone Jean-Marie Delpas, surrounded by the choir still supporting his words. Baritone Virgile Frannais embodies a straight Yakuside with a patinated and broad tone.
The real Madame Pinkerton (Kate) offers the warm and muscular timbre of Pascale Sicaud-Beauchesnais, all in an unperturbed presence. Finally, little Dolore, son of Cio-Cio San, is given this evening to Alma Brémard (alternating with Théo Antoni) who overwhelms the public by his frank and simple interactions with his mother.
House choristers complete the cast in roles with shorter interventions, such as the solemn Baritone Officer Jean-François Baron with a warm and harmonious tone, the tender Mother of the viola with the velvety texture Wiebke Nölting, the Aunt by the viola Laura Darmon-Podevin with the shiny voice and the cousin of the soprano Marie Simoneau with the fresh sound.
The graceful and clear direction of Samuel Jean guides the Orchester National Avignon-Provence in the instrumental and dramatic colors of the Puccinian style. The choir of the Opéra Grand Avignon energizes and provides support to the narration, despite a few passages where certain musical entries are erased, or even absent.
The public makes a resounding success with this recovery, with its principal interpreter for this replacement at short notice and with this continuation of reunion with the Opera Grand Avignon.