Voice storm warning

A breath of fresh air sweeps through the papal city with the appointment of Frédéric RoelsFrédéric Roels as head of the Opéra Grand Avignon. After four years of restoration, this modernized theater with its silky, intimate acoustics has finally reopened its doors with a bold program. Benjamin Britten's "Peter Grimes."

The start of the musical season is eagerly awaited, because here in Avignon, everything is changing and distinctions are coming thick and fast. Indeed, the Avignon-Provence orchestra, which partners with the theater, has just been awarded the title of National Orchestra. At the same time, it has gained a talented new conductor: Deborah Waldman. This is a well-deserved recognition for this classical ensemble, which continues to dazzle us with its exceptional career. The tremendous commitment of its general delegate, Philippe Grison, and years of hard work under the harmonious direction of Samuel Jean, have played a major role in this achievement.

For this new production, conductor Federico Santi takes up the baton. It was a privilege to attend the premiere of this dark work. Rarely performed, George Crabbe's synopsis ("The Village," 1810) recounts a news item about a rumor spread by villagers. In a literary tone characteristic of British phlegmaticness, Montaigu Slater's libretto narrates the escalation of this turmoil, under the devout influence of a village that collides with the fate of a temperamental and enigmatic fisherman.

This grand lyrical drama, with its unexpected emotional impact, has the qualities of Don Juan or Manon Lescaut. In 1945, it marked the revival of English opera, which had fallen into disuse since Purcell. Three powerful acts unfold in a translucent, impressionistic harmonic style. The articulation of the scenes in the form of melodic surges is shared between the orchestra, the soloists, and a spectacular compact choir. It serves an intense, more symbolist dialogue, which sometimes takes on the intonations of a musical comedy. Despite this, the remarkable use ofa cappellapassages alsobreaks upthis swell, intensifying the dramatic expression. (Duet between Ellen and Peter, choirs, etc.)

Frédéric Roels' extremely successful staging is subtle and captivating. Bruno de Lavenère's set design, although austere, is ingenious. Two mobile pontoons and a boat frame the space against a seascape panorama of stormy clouds. At the center of the stage, a large black canvas, animated by ropes, transforms into a sail, waves, a sacred dome (temple or court?), and a hut. Laurent Castaingt's aerial festival of lights, vibrant or oppressive, magnifies this aesthetic of stormy waters.

When you close your eyes, the rich and inventive orchestration alone triggers a pictorial universe. The almost constant action of the horn section, supported with panache by Eric Sombret, is punctuated by haunting sustained notes that sound like a death knell! Marine trumpets, tubas, flutes, and harp strokes follow one another to create shimmering, geyser-like sound effects. The organ, which annihilates the instrumental pressure during prayers, seems to mask the hubbub that heralds the scandal. A feeling of loneliness and ambiguity persists, in a backwash of sea and heavy clouds, harbingers of things to come.

Peter Grimes | © Mikael & Cédric, Delestrade studio

Federico Santi's musical direction is a joy. He works, shakes things up, and infuses the Orchestre national d'Avignon-Provence with galvanizing energy, passion, and precision. In perfect harmony, the fluid and ardent current he inspires flows, propelled by a shimmering orchestration, with the performers surpassing themselves in theSea Interludes. Brass, woodwinds, and strings overlap in waves, revealing sea spray that takes your breath away. Harassed by a hurricane of timbres, the audience is caught in the grip of this rising tide at the front of the stage. Split apart in this witch hunt, the choir's raw power splashes the audience with defamatory crescendoa cappella salutes. And this continuesuntil thehigh notes. A vocal storm then breaks out: "Peter Grimes!!" ...

Peter Grimes | © Mikael & Cedric studio Delestrade

The vocal distribution is consistent. Ten soloists interpret the key characters in the drama, wearing clever, unadorned costumes by Lionel Lesire. The explicit details of the outfits have a functional effect in this stuffy society: the captain (cap), the priest (collar), the doctor (white coat), the two nieces, an evocative nod toLes Jumelles de Rochefort(platinum blonde bob, beige raincoat, pink mules), etc.

In the title role, heroic tenor Uwe Stickert offers an ideal timbre. His pure and dazzling delivery allows him to express Britten's vocal flow without an overplayed British accent. (We hope to hear a recording of his melodies). This great voice, with its dazzling clarity, pours forth with angelic vocal ease. Its timbre has an incomparable freshness, reminiscent of Jon Vickers, the glorious interpreter of this role. This paradox is combined on stage with the clumsy attitude of this volcanic character, who calmly imposes his complex personality. The heart-wrenching purity of his finala cappellamonologue,delivered in a disembodied, transparent voice, seems to strip him of all guilt. Like a possible redemption, we are amazed by the valour of his words. Ludivine Gombert (Ellen, the teacher) demonstrates mastery and beautiful sensitivity. A well-deserved ovation. Nevertheless, the overly affectionate roundness of her amber voice, albeit slightly muffled, seems to dampen her projection alongside the fisherman.

 Peter Grimes | © Mikael & Cédric studio, Delestrade

Bass Robert Bork (Captain Balstrode) speaks like a seafaring patriarch untouched by this bigoted animosity. His mature, booming voice drowns out the sound of the sea and the gossip. Cornelia Oncioiu (the landlady ofthe Boar Inn) displays striking vocal aplomb, while Svetlana Lifar (Mrs. Sedley), treacherous and anxious, aptly displays beautiful, spiteful low notes. Also noteworthy is the honorable, facetious, and entertaining vocal performance of the duo Charlotte Bonnet and Judith Fa,the twin sisters. Pierre Derhet (Bob Boles) is a dashing young tenor with a sparkling timbre to watch out for. The other soloists are perfectly in tune and in their element: Geoffroy Buffière as Swallow, Laurent Deleuil as Ned Kee obson, and Jonathan Boyd as Reverend Adams.

A real success for Frédéric Roels, who marks his arrival with this significant appetizer for the diversification of the repertoire. However, it is above all the fierce commitment of the Grand Avignon Opera Choir, reinforced by the powerful voices of the Montpellier National Opera Choir, which crystallizes the devastating power of this drama with its vindictive omnipresence.

Swept away by the waves, you won't emerge unscathed from this magnificent production, which draws you in despite yourself into a fictional reality with no way out. A sense of contradiction pervades this dark work, whose music is so luminous. Alone, facing us all, poor "fishers," Uwe Stickert touched our souls with the immaculate faith of his performance...¶

Praskova Praskovaa

Peter Grimes, by Benjamin Britten

Booklet by Montaigu Slater, The Borough by George Crabbe

Established on June 7, 1945, in London

Musical direction: Federico Santi

Directed by: Frédéric

Set design: Bruno Lavenière

Costumes: Lionel Lesire, made in the workshops of the Opéra Grand Avignon

with the participation of the Opera Knitting Club

Lighting: Laurent Castaing

Assistant director: Nathalie Gendrot

Music studies, organ and celesta: Thomas Palmer

 Distribution

Peter Grimes: Uwe Stickert
Ellen Orford: Ludivine Gombert
Captain Balstrode: Robert Bork
Auntie: Cornelia Oncioiu
First Niece: Charlotte Bonnet
Second Niece: Judith Fa
Bob Boles: Pierre Derhet
Swallow: Geoffroy Buffière
Mrs Sedley: Svetlana Lifar
Ned Keene: Laurent Deleuil
Hobson: Hugo Rabec
Reverend Adams: Jonathan Boyd
Fisherman: Jean-François Baron
Fisherwoman: Clelia Moreau
A lawyer: Julien Desplantes
1st & 4th burgess: Saeid Alkhouri
2nd & 6th burgess: Pascal Canitrot
3rd & 5th burgess: Gentin Ngjeta
A voice: Zyta Syme
A boy: Robin Martin (10/15), Ilyan Gourdon (10/17)
Grand Avignon Opera Choir
Choir director: Christophe Talmont
With the participation of the Montpellier Occitanie National Opera Choir
(Director Valérie Chevalier – Choir director Noëlle Gény)
Avignon-Provence National Orchestra
New production by Opéra Grand Avignon
In co-production with Opéra de Tours and Theater Trier
Opéra Grand Avignon – 1, place de l’Horloge, 84000 Avignon
Reservations: +33 (0)4 90 14 26 40
Duration: 2 hours 30 minutes
€75 – €10