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The Opéra Comique de Paris opens its new season with panache thanks to Daniel-François-Esprit Auber’s Domino Noir on a libretto by Eugène Scribe, in the dazzling production staged by Valérie Lesort and Christian Hecq, under the precise musical direction of Louis Langrée.

Under the baton of the Director of the venue, Louis Langrée, the Overture is immediately striking for its efficient fluidity and its careful dynamics. Enough to immediately plunge the audience into

One wonders why we can speak of a “Pelléas Moment” – a suspended and unique moment – in connection with the premiere of Pelléas et Mélisande at the Opéra-Comique in 1902, when all the elements that cumulate in the opera were already present, but scattered, in the musical context of the time? To give you an idea: the continuous melody (Wagner, Mussorgsky…), an opera without a libretto but composed directly from a literary work (a subject debated by Gounod), a naturalistic register

Pelléas et Mélisande, proposed by Eric Ruf, General Administrator of the Comédie Française, and co-produced by the Théâtre des Champs Elysées, the Opéra de Dijon, the Stadttheater Klagenfurt and the Opéra de Rouen Haute-Normandie, is being revived at the Théâtre national du Capitole in Toulouse. During its travels, this production has seen a number of casts, notably that of the TCE, which has been reviewed in these columns. The one offered in Toulouse is a marvel, supported by a staging full

Just over two years ago, Europe was still living in relative peace, despite the ominous winds blowing from the East. Now winters, springs and summers have come and gone with their waves of life, while on the fertile plains of Ukraine, machine-gun fire rumbles and rifles replace the sweet song of the dumkas. Some would have us believe that Russia has been a barbaric country for centuries. This is a misleading assertion, because such a vast territory has made its mark through

The Opéra de Rennes launches its operatic season with The Coronation of Poppea (Monteverdi) performed by Damien Guillon’s Le Banquet Céleste, directed by Ted Huffman, highlighting the (en)play of power and sensuality, the better to make Love triumph (over Virtue):
“What happens when our moral values are discarded? What can we do when we watch helplessly as a certain world order collapses? This is the question that director Ted Huffman asks himself in the programme, a question posed

Les dix ans de Barrie Kosky à la tête de la Komische Oper Berlin ont laissé des productions inoubliables, parmi lesquelles certaines dont il était à la barre. On guette donc en France avec impatience l’arrivée de tous les spectacles de cette époque récemment révolue. Sa mise en scène de Sémélé de Haendel (2018, vue en streaming pendant les mois COVID) débarque à l’Opéra de Lille, reprise par David Merz, et c’est un strike complet !

Sémélé aime le dieu des dieux