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Rameau, Hippolyte et Aricie: Soloists, Orchestre et Choeur du Concert d’Astrée. Compagnie Les Cavatines.Conductor: Emmanuelle Haïm. Théâtre du Capitole de Toulouse 15.3.2009 (JMI)

New Production

Director: Ivan Alexandre
Sets: Antoine Fontaine
Costumes: Jean-Daniel Vuillermoz
Lighting: Hervé Gary
Choreography: Natalie Van Parys

Cast:

Hippolyte: Philippe Talbot
Aricie: Anne-Catharine Gillet
Phèdre: Allyson McHardy
Thésée: Stéphane Degout
Diane: Jennifer Holloway
L’Amour: Jaël Azzaretti
Oenone: Françoise Masset
Mercure: Johan Christensson.

Pluton/Jupiter: François Lis
Neptune: Jerôme Varnier
Tisiphone: Emiliano González Toro

The Théâtre du Capitole's restoration of this Rameau opera has been received with enormous enthusiasm by all the French media which seems perfectly  natural, considering that Lully and Rameau are the most important  representatives of French baroque opera, although they are almost totally abandoned by the  bigger opera companies. There is no doubt that the  works of these composers, who cover the  second half of 17th century XVII and first half of 18^th, are a fundamental part of  the French musical patrimony and so this production seems to me a wholly praiseworthy effort to restore the operas of this period, especially in France.

Jean Philippe Rameau is the great successor of Jean Baptiste Lully in French music, although his first opera Hippolyte et Aricie was not premiered  until almost  50 years after Lully’s death. This is  a very important work in the music of the  time and very representative of the  French baroque, which is so very different from the better known Italian baroque. If arias and virtuosity reign in Italian baroque opera,  in  French baroque there is a predominance of  declamatory singing, ballet and absence, in general, of pages of personal virtuosity. In this “battle” between two so different styles the popular triumph has fallen on the Italian side, in which  I also include Händel, though not by nationality of course, but for following the Italian  style to the point of becoming a definite point of reference for it.  The fact that the scales have not favoured the the French side is no reason to ignore its  important contribution to baroque music, however.

For the restoration of Rameau's first opera, premiered  when he  was  already over 50, the Capitole has commissioned a new production from the French musicologist Ivan Alexandre, whose experience as stage director is not extensive. At a time when  stage directors seem so often distant from the musical work they direct, it is all the more interesting to witness the opposite. The experience works very well indeed and opens a very interesting perspective for the future. Ivan Alexandre offers a 'spectacle' absolutely faithful to what  could be staged in the  French baroque period, a genuine return to the work's historical roots. The result is a brilliant and refined production with a very intelligent  use of painted curtains, allowing  some magnificent and true “trompe-l'oeil” effects:  from the Erymanthe forest  to the great depth offered  in Pluto's Kingdom,  by way of the Temple of Diana, the Neptune scene in the ocean and the use of elevated devices for  appearances by the Gods, the whole  production works beautifully. The rich baroque costumes are a beautiful complement to staging and there is some very good  lighting. Considering that we are referring to French baroque opera, I must also mention the some exceptional choreography. In sum, this is a remarkable production served very faithfully by  a wealth of taste.

 

Aricie: Anne-Catharine Gillet
 

The music was the responsibility of Emmanuelle Haïm leading her Orchestre du Concert D' Astrée, one of the outstanding baroque groups  in France. Ms. Haïm is a true connoisseur of Rameau’s music  and she seems to be totally identified with it, ever since her time as harpsichord player  for Les Arts Florissants. Her reading  was at the top flight of expectations for such a special  occasion.

Although the opera is named Hippolyte et Aricie, the work is based on Racine’s Phèdre and  the true protagonist is really Thésée, Jupiter’s son and Phèdre's husband. Hippolyte is Thésée's son by another woman and  is in love with Aricie, but she is the daughter of Thésée's enemy, Pallas, who has compelled her to take a vow of chastity to Diana. Before she does so, Hippolyte reveals his love for Aricie and Diana promises to protect the couple. This enrages Phèdre, because she feels an illicit desire for her stepson herself. News arrives that Thésée has made a journey to the underworld to rescue a friend and is probably now dead which means that Phèdre may pursue her passion for Hippolytus and offer him the crown of Athens. In the end, after many misunderstandings,  Phèdre's suicide and attempts at vengeance,  Diana keeps her vow to the young lovers, amid great rejoicing.

Among the large cast the French baritone Stéphane Degout as Thésée excelled particularly, giving an  outstanding performance. In a very short time,  this young singer has developed into someone of great promise.

Soprano Anne-Catherine Gillet was a convincing Aricie in every sense, the tenor Philippe Talbot was a decent Hippolyte and the  American mezzo soprano Allyson McHardy was a very able Phèdre. Jaël Azzaretti was a very pleasant  and outstanding L' Amour.  Another American, the soprano Jennifer Holloway (Diana) left me somewhat perplexed in the  first half, since her voice seemed too small and almost inaudible at some point. However in the second half everything changed for the better and she was once again the good singer that I remembered from past experiences of her. I suspect that having to sing high up on the stage for the first half could  have been the reason for all this.  The rest of the characters have lesser importance in the plots but all were in general very  well served.

The theater was fully sold out, evident proof of the interest of this restoration. There was a very warm reception for all the artists with special  tributes for Emmanuelle Haïm, Stephane Degout and Jaël Azzaretti.

José M Irurzun

Pictures © Patrice Nin

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