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Fallen woman, saint, married virgin: Puccini used the three female tropes when he wrote The triptych. To be fair, the three women of his highly appreciated opera triptych are represented with nuance and empathy. But everyone, at a more or less degree, complies with the expectations of their time.
The production of Christof Loy, which opened in Paris on Tuesday evening, was seen for the first time in Salzburg three years ago. Then, as now, the success of the evening is based on the performance of the Lithuanian soprano Asmik Grigorian in the three operas in one act. But also, intriguing, Loy reworked the traditional order of acts – starting with Gianni Schicchi (generally last), with Tabarro (generally first) in the middle, and ending with Sister Angelica. This gives Grigorian a development arc – of the girlfriend of self -assured by the spouse's spouse with the damaged nun.
Surprisingly, this is the first time that Loy – well established in the German -speaking world and the Benelux – has been seen at the Paris Opera. The choice is clever. Puccini's operas are so literally that it is almost impossible to deconstruct them, and Loy makes no such attempt. Instead, he follows the text with meticulous attention to details, building his characters carefully. He is helped in the effort by a formidable cast.
Gianni SchicchiSlapstick's heritage fraud tale said, and Loy simply keeps the rhythm lively and frequent gags. Misha Kiria is a commander and sympathetic in the title role, Alexey Neklyudov brings a touch of Mafia Scion and a superior sweet register in the part of Rinuccio, and everyone holds their breath when Grigorian sings “O Mio Babbino Caro”.
For TabarroSet designer Étienne Pluss created a barge so literally that it lows when Michele (sung with mosquitoulous by Roman Burdenko) place the port and the starboard lights on the bad sides. Loy introduces an assortment of ragasing of circus quirks to play curious indulgeous intrigue on the touch, but the accent remains on the song. Luigi by Joshua Guerrero is passionate and wonderfully heroic; Grigorian as Giorgetta, torn between the two men, retains our sympathies with all the beautifully formal sentences.
Sister Angelica can often be incredibly sentimental. Loy finds an essential dimension in his prudent studies of character of individual nuns and the details of their relationships with each other and their community. Karita Mattila summons all her considerable authority to make an overwhelming account of the principle of composure, the aunt who visits the convent to tell Angelica that her child is dead. The two women generate enough electricity on stage to feed a village for a week. But it is Grigorian who dominates, with a performance that is both finely controlled and completely engaged; She has an extraordinary charisma and knows exactly how to give her everything without risking a disaster.
Carlo Rizzi leads with rapid and obstinate efficiency, plowing several towers overall; The orchestra plays with more refinement than its pragmatic gestures seem to invite. The evening is a triumph, received with delighted applause. If Puccini is your thing, it's such a good way to think about it.
★★★★ ☆
On May 28, Operadeparis.fr
