(Quebec) CRITICAL / New this year at the Quebec Opera Festival, the Opera Studio allows young performers to showcase their skills in two short operas of Mozart and Salieri. So we are witnessing on at two operatic farces where enthusiasm singers compensates for humor and dusty Molieresque proposal.
When created in 1786, Prima la musica, poi speech and theater director were presented that evening at the request of the Emperor of Austria, at both ends of a large room in a kind of competition which Salieri was victorious. Both take us behind the scenes, where poet and theater director maestro struggle to create operas in impossible conditions, interrupted by impromptu benefits and hysterical quarrels of prima donna in the making.
We would have imagined the outdoor stage or both ends of the ballroom of the Hilton or the Chateau Frontenac, where spectators could gather pollen from one proposal to another with a glass of champagne in his hands. The experience would have been different in front of the theater of La Bordered sadly third full when the first Sunday night.
Some laughter FUSED have well over misunderstandings and jokes that punctuate the two stories, but say that obsolete humor irritates more than it amuses. backstage quarrels were perhaps people laugh at the time, aware of litigation and conjuring tricks that led to the creation of a particular opera, but 250 years later, the problems of mistresses of the marquis-so seem very distant.
The impressive and inventive foam wigs – quilted flowers, butterflies and various quirky decorations – Guylaine Petitclerc, the Danièle Boutin costumes and makeup to transform Geneviève Tremblay interpreters grotesque and contribute greatly to the interest of the proposal.
The young performers are getting passionate in the interpretation of their roles. The excess is sometimes comical, as when Guay Andréanne in Tonina, threw himself face down to end a sequence completely crazy singing in the opera by Salieri or when Elizabeth Boudreault drops of a man in another for vocalizations sequence in that of Mozart. In the game, however, a well-placed eyes have often been more effective than an avalanche of mimicry heavily supported.
The staging by Franсois Racine is ingenious and very effective at times, but the same construction works creates more hollow and rehearsals where the viewer’s interest relaxes.
The song here is the service of humor and fades a bit behind the excesses of theatrical interpretation. The power and volume are still developing in some passages, but all follow the partition accurately, accompanied on piano by Maurice Laforest.
The show will again be presented on Tuesday, August 2 and Friday, August 5 at The Lined.