Narcissus, opera 2.0 at L’Autre Scène du Grand Avignon – News
Narcisse, opera composed in 2019 on a text by Marion Pellissier by Joséphine Stephenson (young Franco-British composer in residence at the Opéra Grand Avignon) is presented at the Théâtre de L’Autre Scène, in Vedène
In this staging also by Marion Pellissier, Jason Razoux’s lights lightly illuminate the stage and reveal Anne-Sophie Grac’s decor, simple, but at the same time intense: a large cube of white canvas occupies a large part of the stage. , representing “Narcisse’s” room, where the images with which the characters will interact are projected: in particular the avatar of Narcissus, even more egocentric and hyperactive than him. The cube is surrounded by jars filled with sweets and a teddy bear, evoking youth (particularly confronted with social networks and narcissistic avatars). The candor of this room is like the second character: the young and naive Chloé who will suffer more and more from the social confinement into which Narcisse wants to lead her.
Throughout the show, the interactions of the protagonists fade in favor of their virtuality, their exchanges become projected conversations with the videos of Nicolas Doremus and Jason Razoux. The images also reinforce the contrast, then the heartbreaking dichotomy between the characters and those they would like to be, in an image construction in abyss (singers here embody characters who become avatars). The work therefore shows and denounces of course the dangers of “social networks”, idealized narcissism exhibited to the world, hiding all the suffering suffered to create envy and arouse idolatry.
The show is accompanied on the keyboard by the musical director Emmanuel Olivier, as well as the saxophonist and double bass player Juliette Herbet, in an interpretation filled with suspense and the emotions necessary to understand the state of mind of the characters (mystery, joy, sadness, relief).
The two interpreters sing with microphones, which reinforces their projection but sometimes modifies their voice with various effects (letting however perceive the characteristics of their stamps). Tenor Benoît Rameau interprets Narcisse with his luminous and intense voice. He particularly masters his instrument, with a precision and sureness well suited to the (narcissistic) character of his character. His dynamic and moving acting captures the attention and allows the public to understand both the immaturity and the hesitations of his character.
The role of Chloé is interpreted by the young soprano Apolline Raï-Westphal, reflecting all her incomprehension and disappointment with Narcisse’s behavior. Apolline Raï-Westphal’s interpretation is sometimes shy, but nevertheless knows how to convey her vocal lines and her character’s emotions to the public. The voice is brilliant, with sure mediums and phrasings of a particular delicacy. It is thanks to this delicacy that her character finally succeeds in convincing Narcissus to let go and live with her, in the real world.
The public applauds the show for several minutes before going to meet and question the composer, the singers and the entire team of this project.