Atma publishes two publications inspired by the works of playwright Michel Tremblay: a new version of Nelligan by André Gagnon and Albertine in five stages. opera to original music by Catherine Major.
Rarely has the place of registration been so well named. The new version of Nelligan was captured at Piccolo Studios in Montreal. We should almost have indicated this information on the cover. Because those who expected to find here a version of quality equivalent to the grandiose one delivered by the Montreal Symphony Orchestra conducted in 2005 by Jacques Lacombe, with Daniel Lavoie, Dominique Côté, Kathleen Fortin, Pierre Flynn, Richard Séguin, Sylvie Tremblay and Daniel Bélanger will be at their expense. This is a production for two pianos and cello by Anthony Rozankovic created by the Atelier lyrique de l’Opéra de Montréal in 2010. For the 30th anniversary show of Nelligan at the Théâtre du Nouveau Monde (TNM) in January 2020, this reduction was used. Obviously the orchestral version did not find a place at the TNM and the Rozankovic score replaced the “period” sound (synthesizers) of André Gagnon and Scott Price. She was, above all, the economy of a real room version that the work deserves.
The disc produced in December 2020 features Marc Hervieux as old Nelligan and once again reserves (with the same happiness) the young Nelligan role for Dominique Côté. The disc takes up the distribution of the TNM, a show then commented on in The duty by Christian Saint Pierre.
With the notable exception of the last scene of the 1D part, carried by the flame of Dominique Côté, the disc seems to have inherited the lack of brilliance of the show, regretted by Christian Saint-Pierre. One has the impression of attending the dress rehearsal before an illusory arrival of an orchestra. In addition, Kathleen Fortin, perhaps “shattering” on stage as Mother Nelligan, is essentially trembling in front of the microphones alone.
Inspired Catherine Major
We will therefore remain, on the disc, with the great show version of 2005, which allows us to turn all our attention to Albertine in five stages. opera. The instrumentarium chosen by Catherine Major is modest — piano, violin, English horn, cello and double bass — but sufficient.
Albertine, at 70 (Chantal Lambert), has just moved into a residence and is reviewing the episodes of her life. At 30, she is played by Catherine St-Arnaud, at 40 by Florence Bourget (shattering in The tears), at 50 by Chantal Dionne and at 60 by Monique Pagé.
His sister Madeleine, sung by Marianne Lambert, is notably given a wonderful tune: Madeleine’s little happiness. Certain situations (numbers in the score) confront Albertine at different ages and thus juxtapose the various voices.
The show was created in September 2022 at the Rideau Vert in a staging by Nathalie Deschamps. Even though the term opera has been very hackneyed and thrown around lately, the noble beauty of Catherine Major’s music has earned her this honor. The lyrical voices never sound exotic and Catherine Major, whose melodic invention is rich and varied, perfectly manages the alternation between individual interventions and ensembles by relaying Tremblay’s words and the moods of the protagonists. The presence of an English horn in the orchestral framework is a remarkable idea.
Certainly, the musical quality and the intelligent complementarity of the voices make you want to see the show which will tour in Quebec during the year 2023.
Albertine adorned with this poignant music and carried by such dedicated performers is a priority; Nelligan an option.