The Opera Workshop of the University of Montreal (UdeM), directed by Richard Margison and Robin Wheeler, had chosen The Magic Flute for this last show led by Jean-François Rivest. We know the excellent Mozartian conductor and the delicate subject to stage, since it mixes an almost childish tale with Masonic words and symbolism. Of all this, singers included, we will hardly remember anything other than the breath given by the conductor to a performance of a more than average level.
To the various “layers” of The Magic Flute (entertainment, philosophy, ancient Egypt) is added unbridled misogyny and what is now seen as racial discrimination through the character of Monostatos. With the times that are running, “right-thinking” minds, in this case a German collective called “Critical Classics”, were obviously going to take it into their heads to rewrite the libretto of The Magic Flute. “The main objective of Critical Classics is to draw attention to the discriminatory language used in opera librettos and to fuel discussions about different practical ways of approaching the problem,” we learn from reading a article from the specialized monthly Tuning fork, Who looked into the subject on February 19, under the title ““Experts” rewrite a Magic Flute woke “.
Portrait on phone
Obviously refusing to trash a masterpiece written and composed in 1790, which must be considered in the light of this perspective, Quebec directors André Barbe and Renaud Doucet explain in the interview which accompanies the DVD of their production at Glyndebourne which they refused to stage for a long time The Magic Fluteprecisely because of these elements, before finding (stunning and brilliant) solutions to confront them.
Because it is through the genius of today’s artist and not the cowardice of petty ideologues (see, in passing, the edifying Will by Denys Arcand) that we can confront the challenges posed by the masterpieces of the past and heritage works.
There Flute of UdeM was entrusted to Patrick R. Lacharité, graduate of the UQAM École supérieure de théâtre in 2012 and co-artistic director of La Fratrie. He basically addresses the same problem as Critical Classics and Barbe et Doucet when he writes in the show instructions: “How can we transpose on stage themes specific to another era, in 2024? Are the heroic acts of yesteryear still heroic? Can we still laugh at the same things without having a bitter taste left in our mouth? » His credo: to “concentrate on the essential” to “highlight the universal which transforms great works into masterpieces”, with the common thread being the idea of approaching darkness to emerge in full light .
For this, the scenography is supported by projections. They are the work of Gabriela Hébert, multidisciplinary artist, bachelor’s student in digital music, specialist in sound installations and real-time performances.
But all this is just wishful thinking, a kind of blah blah. Contemporary, because Pamina’s portrait is a photo on a phone? In fact, the most relevant and clear choice of Patrick R. Lacharité is to have the dialogues spoken in French so that they are more immediately accessible. Obviously, we inevitably wonder why people speak in French and sing in German. By the way, it wouldn’t have been so stupid to use the French version recorded recently in Versailles by Hervé Niquet with Florie Valiquette.
For the rest, there is nothing. Gabriela Hébert’s projections, which could nourish the context, only provide a sort of colorful atmosphere. When Tamino plays the flute to calm the wild beasts, there are no animals, just as there were no snakes at the beginning. And the exclamation “we see that knowledge reigns here”, designating the temple, materializes in a blurry book, photographed in 1 megapixel 20 years ago, which floats in a sort of blue volute.
Theater is of the same ilk. In Act 1, Papageno wards off Monostatos and his henchmen who want to attack Pamina with his bells. But in the contemporary grayness which is matched only by its nonsense, the henchmen are slow to arrive, absolutely no one threatens Pamina and we no longer understand why the bells begin to transform such good people into puppets.
Singers
As for singers, we always hope to discover the stars of tomorrow. It won’t be this time. In fact, we found ourselves with the bulk of the cast of Johann Strauss’s operetta, The bat, presented in 2023. UdeM could perhaps have reversed distributions A and B so that we discover new faces. Emmanuel Raymond went from Alfred in Strauss to Tamino in Mozart. Justin Domenicone, who stood out for his acting abilities in 2020 in Offenbach and in 2023 in Strauss (role of prison guard Franck), does the same in Papageno. But neither Raymond nor Domenicone, already “limited” in secondary roles, have the voice (timbre), the technique or the musicality of a major role.
Conversely, Andoni Iturriria Machinandiarena, who played the clown in the role of the lawyer Blind in 2023, is well cast in Monostatos, for which he has the vocal profile. As for Brenden Friesen (Sarastro), we evaluated him very favorably in 2019 and 2020. He returns here as a guest soloist. The voice is impressive, it’s already moving and he doesn’t seem to know what he’s singing. But it’s a truly imposing bass that the market is demanding. Jean-Philippe Laroche is also a guest soloist for the role of the Sprecher: shortage of bass. To see the general picture: shortage of talented singers, even.
On the women’s side, the Maud Lewden / Marion Germain tandem from 2023 is successfully renewed. We have commented favorably on Maud Lewden since 2018: she is not a voice of swoon-worthy charm, but she is a very good singer. She is currently doing her doctorate. As for Marion Germain, we would have liked to have spared her the Queen of the Night, which is not her role, even if she can do it, as she can take on many vocal jobs, with solid talent and professionalism. We will also keep our ears sharp for the excellent mezzo Julie Boutrais, who sang the 3e lady.
The vocal portrait being clear, just as it was clear that there would be absolutely nothing more to gain from such a spectacle, we left for the break. There is a repeat on Saturday with other singers and a tandem Pierre Heault as Tamino and Théo Raffin as Papageno, opposite Sarah Raiss as Pamina. Attention curious adventurers.