Douce and Barbe-Bleue by the Maîtrise d’Avignon – News
The story of Barbe-Bleue, brought up to date by librettist Christian Eymery and composer Isabelle Aboulker, is performed by the Maîtrise de l’Opéra Grand Avignon under the direction of Florence Goyon-Pogemberg at L’autre Scène (Vedène) :
A few days before March 8 (Women’s Rights Day), this cover of the opus composed in 2002 by the most famous contemporary composer of children’s opera (Isabelle Aboulker) once again tackles the tragedy of feminicides: the young “Douce ” here being killed by Bluebeard.
In a clear voice to announce and set the tone of each episode, the story is declaimed by Claude Goyon, seated on a red velvet armchair accompanied by an imposing music stand, alongside the musicians on the edge of the stage. The master choirmaster of the Opéra Grand Avignon, Florence Goyon-Pogemberg wears here the triple hat of director, conductor and pianist. The minimalist but effective decor is moved by the choristers themselves, further enhancing their fresh and active participation. They thus go from a playful ball scene to the macabre episode where Douce discovers Bluebeard’s former wives with their throats slit. In a great vocal homogeneity, the youngest are guided with benevolence by the oldest (in this phalanx of 7 to 20 years), the whole forming a solid whole and enhanced by the costumes of the 18th century.
The small instrumental ensemble from the Orchester National Avignon-Provence (Véronika Soboljevski on cello, Sylvie Rogier on transverse flute, Thomas Lestrelin on percussion, William Sayd on trumpet and Pascal Tramier on clarinet) accompanies this training with the same dynamism. singers, young masters and soloists. The monstrous Bluebeard returns to the deep voice of Saeid Alkhouri (artist of the Chœur de l’Opéra Grand Avignon). His captivating villainous acting is based on his clear intentions, while his voice draws on dark and generous bass, all with a clear and sustained diction. Graduated from the Opéra Grand Avignon, the soprano Fantine Baudelot embodies Douce with a moving and modest presentation. Confident, she immerses herself in her character in a dramatic evolution leading her to her tragic destiny. His promising voice knows how to rely on the support of other singers, to gradually make a harmonious and supple timbre heard. Former master of the Opéra Grand Avignon, Chiara Davis takes on the role of her sister Anne, with a voice (and gestures) just as flourishing and encouraged, with fluidity and naturalness. Its material being warmer and more vibrant in the mids and in the bass, the highs seem a little more restrained. Finally, the mezzo-soprano Clélia Moreau embodies the mother of the two young girls with scenic and vocal confidence. His fairly short interventions do not prevent us from identifying his authentic and captivating playing. His round and muscular voice deploys its melodious lines especially at the end of the work.
After this unexpected and desperate end, the performers are warmly remembered by an audience of all ages and enthusiastic to discover a show thus carried by young artists.
Aboulker, Sweet and Bluebeard
[Florence Goyon-Pogemberg Fantine Baudelot, Chiara Davis, Saïed Alkhouri, Clelia Moreau, Claude Goyon]@OpéraAvignon pic.twitter.com/jzRnA6o78l
— Adalberon Palatnįk (@adalberon_pala) March 5, 2022