Almost 40 years after its creation, Albertine breathes new life into the form of an opera. The key character of Michel Tremblay’s universe is thus reborn in a daring project, but which unfortunately only half-convinces.
Let’s be honest: this new proposal is surprising. A lot.
In fact, it takes a long time to tame it, so powerful is the contrast between the words of Michel Tremblay – always in joual – and lyrical art, a resolutely classical and usually neat universe. In short, the opera Albertine in five stages is much less accessible than the musical The sisters-in-lawalso borrowed from the famous Quebec playwright.
But we end up getting used to it, charmed by the undeniable talent of these six singers performing to divine music charged with emotion, signed Catherine Major. In fact, we realize at a certain point that this is not the lyrical portion of this Albertine in five stages who makes you tick; rather, it is the playing scenes, interspersing these 13 musical numbers, that are particularly uneven.
The rift between these two disciplines widens throughout the show’s 90 minutes, with singing and playing never managing to blend entirely harmoniously or, at the very least, seamlessly. All of this gets bogged down even more with a static and unimaginative staging that weighs down the subject of the show.
Even by falling back on the supertitles – projected at the top of the stage – it is difficult to follow this story of a septuagenarian who remembers her past strewn with pitfalls and trials, on her arrival in a residence for the elderly. The viewer thus attends a discussion between past versions of Albertine, aged 30 to 60, and her sister, Madeleine.
talented singers
Fortunately, the opera Albertine in five stages highlights the talent of these six singers (Chantal Lambert, Monique Pagé, Chantal Dionne, Florence Bourget, Catherine St-Arnaud and Marianne Lambert), all capable of frankly stellar vocal flights. Supported by five musicians, they all shine at different times, especially in their respective solo numbers.
It is therefore these voices and these airs that we will still remember in the coming days. The rest, we quickly forget, despite the greatness of Michel Tremblay’s original work.