At the Capitole de Toulouse, Stefano Poda reinvents the myth of “The Little Mermaid”
The Théâtre du Capitole opens its opera season on Thursday, October 6 with an opera by composer Anton Dvorak, inspired by Andersen’s tale, “The Little Mermaid”. Stefano Poda is the director, decorator, costume designer…
“Rusalka” has never been given to Toulouse. An ambitious project for which the Italian director Stefano Poda mobilized all the workshops of the Capitol. Beautiful surprises await the spectators, from October 6th. Starring Anita Hartig in the title role.
After “Ariane et Barbe-Bleue”, an opera that you chose to stage in 2019 here, and which was a great success, you are back at the Capitole…
Yes and it is a great joy! The Capitole teams are great professionals in all areas. The dialogue was very rich and the set, costume, wig and prop workshops once again outdid themselves. I am very happy with the result. Technically, it was a very ambitious project, I think they saw it as a great challenge and worked to find solutions with me.
Like “Beard-Bleue”, “Rusalka” is inspired by a tale, “The Little Mermaid” by Andersen. Do you like these very dreamlike universes?
Each tale has its strengths, in “Rusalka” or “The Little Mermaid”, the relationship with nature seems to me to be essential, which is probably not the main feature of “Ariane and Bluebeard”. What is fascinating about the world of “Rusalka” is its sense of mystery. It was necessary to stage this universe made up of water, creatures, witches… and its encounter with the human world. This led me to a project like I had never done before: a stage covered in water, with a central basin in which the artists can completely immerse themselves!
How would you sum up Rusalka’s story?
Rusalka is a Czech echo of the well-known legend of “The Little Mermaid”. The spectators will therefore not be lost: a nymph, in love with a prince, dreams of leaving the depths of her lake and joining dry land and humans. The witch Jezibaba will help her achieve this dream, but on two terrible conditions: human, she will lose the use of speech, and if her love has failed, she will be damned forever.
Have you ever staged a Dvorak opera? Is it very different for you who are Italian to tackle a work in the Czech language?
No, this is the first time I’ve staged a Dvorak opera. I am Italian, of course, but my culture and my tastes lead me just as much to Austria and Germany, Russia and of course France. So certainly, Rusalka is in the Czech language, but it belongs to the great European culture.
Do you see in this story, in the characters of “Rusalka”, echoes with the current world?
I’m talking to you about a meeting between the world of nature and the world of humans, it always resonates with current events. However, I am not trying to update the work, because for me opera is first and foremost the negation of reality. This tale is over 200 years old, I think it transcends current events and invites us on a larger journey.
Why do you make a connection with today’s technologies?
To characterize the world of humans, I use certain “technological” symbols like this huge computer motherboard that slowly covers nature. Throughout the scenic project, the human world is made up of materials, lights and a spirit opposed to that of nature.
Staging, sets, costumes, choreography, lights… You do it all. Why do you impose such a workload and such a responsibility on yourself?
In fact, I can’t imagine any other way of working. I’ve always done this and I trained this way, by drawing, by working with dance and light. I am looking for a deep unity. If I close my eyes, I see the entire staging… I try to set up a parallel world that takes us out of everyday life, it must have its coherence through all the gestures and all the technical and aesthetic details.
What do you think of to imagine a show?
By me diving into music! This music tells a lot and is in itself an invitation to change the world. She is full of contrasts, between darkness and light, she has an intimate and fragile voice… all these listening sensations guide the first steps of my work.
This opera is not the best known of the season. What message do you send to the spectators to invite them to come and discover it?
Come rediscover “The Little Mermaid”! The character is known, but the experience will be unique: the Capitole workshops have done a remarkable job of helping me create the strongest show possible, and the music composed by Dvorak is pure marvel. Let’s add that it will be served by top-notch performers who will leave no one indifferent. By touching the eye and the ear, we wish to reach the heart!