Rameau's ‘theatre of enchantments’ on DVD
Identifieur interne : 001433 ( Istex/Corpus ); précédent : 001432; suivant : 001434Rameau's ‘theatre of enchantments’ on DVD
Auteurs : Graham SadlerSource :
- Early Music [ 0306-1078 ] ; 2006-05.
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DOI: 10.1093/em/cal021
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<p>With its strong emphasis on the visual, French opera of the Lully–Rameau period would seem particularly well suited to DVD. As Voltaire memorably put it, at the Opéra ‘you can see gods, demons, wizards, marvels, monsters, palaces created and destroyed in the twinkling of an eye. We tolerate these extravagances: we even like them, for there we are in fairyland.’ More than any other operatic tradition of its day, French opera aimed (not always successfully) at a complete synthesis of components. It is thus interesting to judge the extent to which four recent Rameau productions succeed in what for La Bruyère was the essential task of ‘holding the mind, the ear and the eye in an equal enchantment’.</p>
<p>Until now the <italic>EM</italic> reviews section has included few DVDs. Given that all four musical performances can be recommended with confidence, this review focuses mainly on the visual aspect of these recordings.</p>
<p>It needs to be said immediately that anyone in search of historically informed productions will not find them here. That in itself need be no disqualification: better a lively and thoughtful a-historical or even anti-historical approach than a worthy but lifeless museum piece. The principal criteria, for me at least, must be the extent to which the chosen production style projects and illuminates the essential elements of the drama and, above all, avoids misrepresenting the character of the music or demeaning its importance.</p>
<p>Rameau's last completed opera, <italic>Les Boréades</italic>, makes an interesting test case. It was intended for Louis XV's court in 1763 but was abandoned when the Paris Opéra burnt down during the rehearsal period. The work, a <italic>tragédie en musique</italic>, is set in ancient Bactria, where the ruling caste, the eponymous Boreades, are descendants of Boreas, god of the North Wind. According to tradition, the queen Alphise must marry a Boread, but she loves Abaris, whose ancestry is unknown.</p>
<p>This situation allows the librettist (probably Louis de Cahusac) to develop themes that are unusually powerful for French opera of the period. Rather than agree to a loveless dynastic marriage, the queen decides to abdicate—one of a number of instances where the opera stresses the idea of freedom, whether personal (there is a strong feminist strand here) or political. This, and the fact that the Boreades lack the unreserved support of the Bactrian people, is all the more provocative when we recall that the French Revolution was only 26 years away. Like several Cahusac librettos, this one includes masonic elements—among them the hero's voyage of initiation, prepared for in a ceremony involving the presentation of a talisman. The freemasons, of whom Cahusac was one, regarded the light-deprived north as a symbol of ignorance. Thus at the dénouement, when Apollo makes a crucial revelation that resolves the plot, the Boreades' ignorance is dispelled, and a rubric in the score directs that the stage be flooded with light.</p>
<p>The present recording, <bold>Rameau: Les Boréades</bold> (Opus Arte <sc>oa</sc> 0899 <sc>d</sc>, <italic>rec</italic> 2003, 218′), is of the Opéra National de Paris production directed by Robert Carsen. The conductor is William Christie, with Les Arts Florissants and a strong cast led by Paul Agnew and Barbara Bonney. Carsen makes a genuine attempt to get to grips with at least some of the above themes. His decision to divide the cast more or less equally into Boreades and Apollonians, the former clad in identical Stasi-like grey trenchcoats, the latter in flowing white cotton, places the emphasis squarely on control <italic>vs</italic> freedom, tradition <italic>vs</italic> innovation, cynicism <italic>vs</italic> love—at the expense, it must be said, of the masonic elements. As such it proves effective enough, though it raises problems of coherence, especially when the chorus is required to act as a single unit. The abdication scene suits this approach well. It is enacted during a kind of pre-nuptial feast (complete with champagne and four-tiered cake) to which the Boreades ominously bring their own cutlery: they clearly intend tradition and order to be obeyed. (We have earlier seen evidence of this, when a nymph with the temerity to sing ‘Liberty is the supreme good’ is literally swept away by the Boread thought-police.)</p>
<p>To demonstrate the baleful effect of the North Wind, the director introduces the conceit of the changing seasons, so that the opera begins in summer and ends in spring. This produces some pleasing visual opportunities: at different stages of the action, petals, autumn leaves and snowflakes are distributed from revolving umbrellas, and the control-freak Boreades dutifully sweep them into patterns. Strangely missing is any sense that the North Wind actually blows things around. The petals, leaves and flakes descend in perfect tranquillity, even when the accompanying orchestra is pitched into a Force 12 storm. Indeed the movement of the wind—a recurrent and powerful feature of the music—is almost without visual analogue throughout. The result is oddly ineffectual.</p>
<p>Such disparity between what we see and what we hear is further illustrated near the start of the opera. In a flower-filled meadow Alphise and her companion refer repeatedly to a hunt which is evidently in progress. Suddenly the Boreades enter and pick the flowers at a furious rate—a stylized representation, it appears, of the North Wind's destructive power. Visually the effect is undeniably arresting, as if a hyperactive KGB unit were seconded to a Dutch tulip farm. But wait. If the wind is so destructive, why is the music here so unruffled? And why those prominent horn calls? Nobody expects a stag to appear as proof of the hunt, but this lack of rapport between ear and eye must puzzle those who do not already know the opera—surely a fair proportion of the audience. Here is an instance of an arbitrarily imposed intellectual conceit taking precedence over the substance of libretto and score. The advantages of defamiliarizing hackneyed repertory are widely accepted: to defamiliarize the unfamiliar seems perverse.</p>
<p>My strongest reservation has to do with the choreography devised by Édouard Lock and executed with amazing energy by his troupe La La La Human Steps. The director's decision to divide the cast into two opposing groups had the unfortunate consequence of giving the bulk of the dances to the Boreades. (The score distributes them among a wider range of performers.) For these, the choreographer has devised a ballet style of mind-boggling banality, the prevailing character of which resembles the flailings of out-of-control robots. Dislocation of music and gesture is total. Almost all the dancers' movements are performed at a manic rate, regardless of whether the music is slow or fast, languorous or cheerful. The effect is so ugly and mindless—like graffiti daubed on a masterpiece—that I could hardly bear to watch as Rameau's extraordinarily varied dances were desecrated one after another. It is not that I hanker after periwigs or <italic>tonnelets</italic> or even, necessarily, period dance. But choreographers must accept the score for what it is rather than what they might prefer it to be, and they must, above all, have the humility to put their own talent at the service of the music rather than the other way round.</p>
<p>It would be unfair to end on such a sour note. Christie and his performers give a first-rate account of this powerful opera, and I am glad to have experienced a production which, for all my reservations, has much to commend it. But I suspect that, when next I experience a recording of <italic>Les Boréades</italic>, it will be on CD rather than DVD.</p>
<p>Compared with the <italic>tragédie en musique</italic>, a genre that has so often defeated the modern producer, comedies like <italic>Platée</italic> and <italic>Les Paladins</italic> present fewer headaches. <italic>Platée</italic>, first performed during wedding festivities at Versailles in 1745, was to become one of Rameau's most successful operas, and deservedly so. Its theme is the mock-marriage between Jupiter and an ugly marsh nymph. To the modern mind, the idea of deriding physical afflictions is distasteful, yet the intrinsic cruelty of the situation is kept largely at bay, partly because the title role is sung by a man, and partly because Platée herself is so impossibly vain.</p>
<p>The present recording, <bold>Rameau: Platée</bold> (TDK <sc>dv-opplt</sc>, <italic>rec</italic> 2002, 150′), is another Opéra National de Paris production, this one directed by Hugues R. Gall. Marc Minkowski, whose CD recording has been widely acclaimed, once again conducts Les Musiciens du Louvre in a performance that reveals long familiarity with the work in the theatre.</p>
<p>The plot of <italic>Platée</italic> takes place in the frog-rich environment of a swamp. For the director this evidently brought to mind <italic>The Muppet Show</italic>. Thus the set, as in that TV series, represents an auditorium—eventually a rather slimier one—while a Kermit lookalike strolls in and out, and even conducts the orchestra briefly. The cast, headed again by Paul Agnew (now metamorphosed from Apollonian to amphibian), nicely exploit the work's humour, which comes not just from the extravagant situations and comic stage business but from the numerous parodies of serious opera, its descents and transformations, its musical and poetic language. If the general acting style seems rather knockabout or even predictable, it works well enough in its own terms.</p>
<p>No production of <italic>Platée</italic> can succeed without an outstanding performance from La Folie, and Mireille Delunsch contributes a suitably over-the-top portrayal, not least of Rameau's ludicrous cadenza in ‘Aux langueurs d'Apollon’. But it is Paul Agnew who steals the show, with a characterization so unselfconsciously lovable that the cruelty of the final scene seems more shocking than ever before in my experience. In sum, this is may not be the most disciplined production of <italic>Platée</italic> or the funniest (though it is hardly fair to judge this in your sitting room), yet it is one I should happily see again.</p>
<p>Rameau's penultimate stage work <italic>Les Paladins</italic> was an attempt to cash in on the popularity of <italic>Platée</italic> and to show that, in the wake of the Querelle des Bouffons, French opera could rival the best qualities of <italic>opera buffa</italic>. It appeared in 1760 when the composer was in his late seventies. Despite failing health and a preoccupation with his final theoretical writings, Rameau managed to produce a work of astounding freshness and vitality. It was nevertheless a total flop, and despite occasional revivals (and numerous recordings of the ballet movements) its extraordinary character as a whole has never been widely recognized. Until now, that is. With their production at the Théâtre du Châtelet, Paris, recorded on <bold>Rameau: Les Paladins</bold> (Opus Arte <sc>oa</sc> 0938 <sc>d</sc>, <italic>rec</italic> 2004, 204′), William Christie and Les Arts Florissants, together with stage director José Montalvo, have catapulted the work to a central position within the composer's <italic>œuvre</italic>.</p>
<p>The plot of <italic>Les Paladins</italic> includes pre-echoes of Mozart's <italic>Die Entführung</italic>. Guarded by the cowardly gaoler Orcan, the beautiful Argie is a ward of Anselme, who, though elderly, has designs on her. She, inevitably, is in love with the young ‘pilgrim’ Atis, and much of the action revolves around the lovers' escape attempts, while the mock-flirtation of Argie's maid Nérine with the ridiculous Orcan provides a lively sub-plot.</p>
<p>Rameau's setting of Monticourt's libretto proceeds with breathtaking energy. This in turn has provoked an explosion of ideas in the present production. Montalvo uses a huge range of zany devices, including animations and state-of-the-art video techniques, to produce what is literally a multi-layered staging. The eye is bombarded with a never-ending array of visual tricks that are, by turns, witty, amusing and outrageously funny, and all presented in wonderfully vivid colours. Much of the animation has a surreal, Monty Pythonesque character and includes clever allusions to the libretto's ancestry: ultimately Ariosto's <italic>Orlando furioso</italic> by way of a tale by La Fontaine. The theme of illusion is never far away, whether involving rabbits and hats, magic roundabout horses or characters arriving by Metro. The overall effect brings to mind that phrase in which, in another context, Cahusac encapsulates French opera as ‘le théâtre des enchantements’.</p>
<p>As to the stage action, each character is ‘shadowed’ by one or more dancers, whose ingeniously expressive movements comment on what is sung (or even how it is being sung), like <italic>alter ego</italic>s miming choreographed subtitles. Described thus, the idea may seem bizarre but is extraordinarily effective, not least because the choreography, by Montalvo himself and Dominique Hervieu, is so sensitive to the audible gestures of the music even when parodying them. Does it even include an occasional sly dig at the robotics and finger-wiggling of the <italic>Boréades</italic> production?</p>
<p>In short, this is a visual and imaginative triumph. Moreover, it is matched by a musical performance that would be hard to surpass. For me, this is one of the best things Christie and his team have ever done. The singing has a rare freshness and purity, with particularly fine performances from Stéphanie d'Oustrac (Argie), Topi Lehtipuu (Atis) and Laurent Naouri (Orcan), while Sandrine Piau is superb as the Despina-like (or rather, Blonde-like) Nérine.</p>
<p>The earliest work in this Rameau batch is <italic>Les Indes galantes</italic>. It was the composer's second opera, produced in 1735, when he was arguably at the very pinnacle of his musical powers. The piece is an <italic>opéra-ballet</italic> comprising four mini-operas, between them illustrating aspects of love in far-flung parts. The librettist, Louis Fuzelier, uses ethnic locations—a Turkish island, a Peruvian desert, a Persian flower market and a North American forest—to develop themes that could hardly be more topical today: the interaction of and contrast between European and foreign cultures. Often the non-Europeans are shown in a more favourable light. The Turkish pasha, for example, shows magnanimity despite his heart's inclinations, while the Amerindians give the fickle Frenchman and jealous Spaniard lessons in fidelity.</p>
<p>This is not a work to produce on the cheap. Happily, the Opéra National de Paris production, recorded on <bold>Rameau: Les Indes galantes</bold> (Opus Arte <sc>oa</sc> 0923 <sc>d</sc>, <italic>rec</italic> 2003, 244′), rises magnificently to the challenge. Marina Draghici's sets and costumes are richly imagined and beautifully executed, a worthy modern counterpart to the opulence that Rameau's audiences would have expected. Likewise the staging, which includes such spectacles as a shipwreck and a volcanic eruption, not to mention elaborate ritual ranging from sun worship to a peace-pipe ceremony. (In the event, no one inhales.) The style of the all-important ballet, too, is generally satisfying. Blanca Li's approach is eclectic. While the dancing owes more than a little to 18th-century choreography, it incorporates elements that would not be out of place in a Tchaikovsky ballet or a modern musical, with little incongruity. Andrei Serban directs the whole production with such taste and elegance that one can relax and just marvel at this amazing, gimmick-free creation. Once again William Christie draws from Les Arts Florissants a stylish performance, with Nathan Berg (the Incan priest Huascar) and Patricia Petitbon (the Amerindian Zima) outstanding among the large and dependable cast. Don't miss the encore.</p>
<sec><title>Websites</title>
<p><italic>Opus Arte</italic> <ext-link ext-link-type="uri" xlink:href="http://www.opusarte.com/"></ext-link></p>
<p><italic>TDK</italic> <ext-link ext-link-type="uri" xlink:href="http://www.tdk-music.com/"></ext-link></p>
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