We left the representation of Coronation of Poppea of Monteverdi by the young singers of L’Atelier de l’Opéra de Montréal and the Orchester de l’Agora under the direction of Nicolas Ellis, Sunday, convinced of having, finally, seen this intermediate way of opera which is missing in Montreal for so many years.
Riders to the Sea by Vaughan Williams, a partnership between Ballet Opera Pantomine (BOP) and the Opéra de Montréal, in 2021, at the Théâtre Maisonneuve, had shown the way. But at this level of shortage in the representation of an entire repertoire which cannot be staged at the Salle Wilfrid-Pelletier, the time is not to rediscover lyrical works in the back of drawers. There is a major need which concerns Monteverdi, Rameau, baroque opera, a majority of Mozart’s lyrical works and so on.
Down to earth
What was staged this weekend at the Salle Pierre-Mercure should have existed for 20 years and with two shows per year. See two operas 24 hours apart, X: The Life and Times of Malcolmbroadcast by the Met then, in theaters, The coronation of Poppea, was actually very interesting. So much so that simple, down-to-earth questions are worth asking.
“Which of the two experiences left an impression on us? » The coronation of Poppea. “Would we go and see again one day of our own free will X: The Life and Times of Malcolm ? ” No. “Would we have a professional interest in comparing the interpretation of another conductor or another baritone in the role of Malcolm X in Anthony Davis’ opera? ” No. The answer to these last two questions for The coronation of Poppea is obviously positive.
So, is an opera from 400 years ago a museum piece that freezes operatic art in an outdated era? Well no ! What current political leader, from what sphere of power, said: “Reason is a strict measure for those who obey, not for those who command? […] The most powerful will always be the one who is right […] Whether my desires are right or not, they will come true. » ? So where do your eyes turn?
Their author is in fact Giovanni Francesco Busenello for Scene 9 of Act I of Coronation of Poppea which pits Nero against his advisor and ex-preceptor Seneca. Saturday evening at the Maison symphonique, the 7e Symphony by Shostakovich who spoke to us as if in 1942. This applies to Monteverdi 400 years apart. We’ve written it before: that’s what defines a classic.
The right format
The spectacle put on in this co-production of the Opéra de Montréal and the Orchester de l’Agora is admirable. Just like BOP’s work on Vaughan Williams two years ago, this is not a “student show +”, but a real production on a smaller scale.
The device imagined by scenographer Gabriel Tsampalieros, a black and white marble staircase, is very functional and gives free rein to Aria Umezawa’s imagination. The director’s complicity is also and above all with the very inventive costume designer Jessica Chang Poirier. Thus, after the coronation scene, Poppea unrolls long red sleeves along the staircase like trails of blood. The protagonists take off their clothes and end up in black underwear while rushing down the stairs. They are both the former powerful who have fallen from their pedestal and the Roman people who will henceforth be subjected, for three years, to the reign of the infernal couple formed by Nero and Poppea. The means are simple, the images eloquent.
Speaking of eloquence, while a Coronation of Poppea complete lasts around 3 hours 30, this weekend’s show, very skillfully condensed, lasted 2 hours 40 including intermission. As we wrote on the occasion of the long presentation ofAlcina by Händel, in concert by Les Violons du Roy, we are not a capital (London, Berlin, Paris) which sees baroque opera all year round. It is therefore “respectful pragmatism” that is law. And, without going into an analysis of musicological choices, it was respectful.
Despite some esoteric sounds in the orchestra, possibly due to the association of a lirone with the other instruments, we will praise the work of Nicolas Ellis and the exceptional complicity of Sylvain Bergeron on theorbo and Antoine Malette-Chénier on harp. They have accomplished an extraordinary job.
Excellent platter
Criticizing the voices is a bit tricky in that we attended a performance on a Sunday at 2 p.m. (the voices are less warm and sharp during the day) even though everyone had sung the night before. No professional singer would generally agree to sing a 3 hour opera twice in less than 24 hours. So, for example, if Ian Sabourin as Ottone projected relatively little, was it due to these unusual conditions and fatigue from the day before or is it an intrinsic limitation for him? The future will tell.
The winners of the show are obvious: Ilanna Starr as Nero with perfect vocal efficiency and tremendous dejection, Emma Fekete as the ambitious and charming Poppée and Sophie Naubert as perfect Drusilla (and Love in the Prologue). Among the voices that are undoubtedly excellent and probably more impressive in the evening and under normal conditions, Rachèle Tremblay in Ottavia. A huge surprise from a singer to follow in a very small role: Mishael Eusebio as an emissary who comes to announce the death sentence to Seneca. His fine, intelligent and perfectly articulated singing is admirable and the timbre is superb. You will have to follow him.
The one who won the public’s vote was the bass Matthew Li. For our part, we are more circumspect. The voice is impressive, but the singing and the way of conceiving the role seem to follow a bit of the following simplistic principles: “Attention, everyone, I am going to surprise you with my voice…”, “By the way, I already told you that you will be surprised by my voice? “. Then the subject is no longer Monteverdi: the song, the line, the meaning or the dramatic interaction, it is the voice of Matthew Li. At least he knows what he will have to work on at the Workshop. With very interesting means, the contralto Sydney Frodsham is at the opposite end: she overplays a little to the point that one wonders if she still controls her broadcast.
Obviously, we ask for more of such experiences, regularly and in abundance. Congratulations to all. There is undoubtedly even more potential, because the public was there while we are in a period of very large excess concert offering.