The flagship show of the Quebec Opera Festival, Faust de Gounod, which premiered on Friday evening at the Grand Théâtre, is much more than a great production: it is a premise in favor of French Opera and a model in the way of realizing it.
There is in the pit of the Grand Théâtre de Québec a conductor unknown here, Victorien Vanoosten, unearthed by Jean-François Lapointe and who makes this review probably the first lyrical criticism of the To have to in almost twenty years, starting with a tip of the hat to musical direction. Vanoosten is both a magnet and an outstanding animator. The momentum he gives to the opera, but also the string textures, when Marguerite evokes her lover at the end of the work, are worthy of the highest praise. The Orchester symphonique de Québec sounds admirably under his baton and the conductor is omnipresent with the singers. We saw great art in the pit there.
Musical culture
This dynamism was just right, because Jean-Romain Vesperini’s staging is of great dramatic and musical efficiency. Bruno de Lavenère’s ingenious scenic device, a central staircase which serves as a church square as an ascent to heaven or a descent into hell, also makes it possible to “center” the singers, and bring them towards the conductor facing the public. Without being noticed, in fact, the “musical performance” is always optimal. And that matters.
Because if this Faust is a model, it is for two main reasons. The intelligence of distribution, first: the best French speakers (Belgians, French, Quebecers) in their jobs. Then, and above all, intelligibility. The pronunciation of all the singers is so good that you don’t even have to look at the supertitles. This culture of French singing is essential.
This is obviously a dimension that is ignored when programming Italian operas throughout the seasons. But it will be one of Jean-François Lapointe’s missions to defend this. Moreover, he is lucky to have a very rewarding room, since it is very pleasant to listen to opera at the Grand Théâtre: we have a very good perception of the orchestra and the singers good.
International class
Without fail, therefore, for this Faust given again on Sunday, Tuesday and Thursday, wonderful musically thanks, for example, to Anne-Catherine Gillet, marvelous Marguerite, perfectly expressive, whose evolution of the character we perceive so well. She’s perfect, even when she’s not singing. Thus, when she picks up the necklace left by Valentin, she acts out a “mad scene” in a few seconds, without the slightest word.
Patrick Bolleire is so Mephisto that one wonders what he does in his spare time. He never overplays and embodies a fiendish devil very in control. Excellent surprise from tenor Thomas Bettinger, who really has the voice for the role and the build to hold up in the ensembles against Bolleire. Jérôme Boutillier also restores his letters of nobility to French singing. Everything is impeccably clear and well placed. Sarah Bissonnette is an impeccable Siebel, but mention to all really, Marthe, Wagner and the backing vocals, wonderful impact.
Such a show, which uses a good dose of amplification effects when justified (choirs of “voices” or organ), would find its place very well at the Théâtre des Champs Élysées in Paris, for example. Without huge deployments, he uses the symbolism (red vs white, the cross) wisely and the projections in a lively but intelligent way, the intelligence in the matter consisting in not distracting the spectator’s attention from the music while bringing elements of the scenography.
It now remains to be hoped that these more than remarkable efforts meet with an adequate response from the public. “The COVID effect”, plus “the pope effect”, plus who knows what else seemed to affect Quebec this weekend even more than other organizers of cultural events.