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| Soloists, orchestra and choir. Photo: Bruno Moussier |
The recent stormy departure of John Eliot Gardiner at the end of La Prize de Troie (The Capture of Troy) has had the effect of bringing the young conductor Dinis Sousa to the international spotlight, who has taken up the neglected baton to brilliantly conduct Les Troyens à Carthage, by Hector Berlioz.
Twenty years ago, marking the Bicentenary of Berlioz, Sir John Eliot Gardiner, as head of his Orchester Révolutionnaire et Romantique and of the Monteverdi Choir, conducted at the Théâtre du Châtelet a complete version of Les Troyens which caused a sensation.
Directed by Yannis Kokkos the headliners were Susan Graham, Anna Caterina Antonacci, Gregory Kunde and the young Ludovic Tézier.
20 years later, the conductor wanted to repeat the feat, at the Berlioz Festival in La Côte-Saint-André (in concert version). He is alas the craftsman of his personal mess, by a gesture that the certainly exceptionally high temperature and the intensity of such a project can in no way excuse.
To compensate for this defection at the end of La Prize de Troie (the opera being represented here in two evenings), the Director of the Festival, Bruno Messina called on the young conductor Dinis Sousa, assistant to Gardiner throughout the rehearsals of this work and also principal conductor of the Royal Northern Sinfonia and associate conductor of the Monteverdi Choir.
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| Dinis Sousa (© Sim Canetty-Clarke) |
Until his heartbreaking epilogue [Ed: departure] , the first evening had nevertheless allowed John Eliot Gardiner to recall his perfect knowledge of the score, which he approaches in all its clarity and, as in the shadow of Gluck for example, with rapid, lively tempos, without dwelling too much on the situations: advancing with delight to reach an artistic horizon and its emotional shore.
Dinis Sousa for his part energises the whole and lets his youth and his enthusiasm express themselves. His vigorous, but also eloquent and natural direction, always precise for both musicians and singers, lets Berlioz's music flourish and live.
The various entries, the Royal Hunt, and even more the ballet music (where Anna, sung by mezzo-soprano Beth Taylor, dances an astonishing lascivious oriental choreography greatly appreciated by the public), demonstrate under her direction a renewed magnitude.
But Dinis Sousa also perfectly knows how to surround the great love duet of Dido/Aeneas - this famous “Night of intoxication and infinite ecstasy” with all the essential musical sensuality.
The immense enthusiasm which hailed his entry on the stage both from the public and from the Orchester Révolutionnaire et Romantique and the Monteverdi Choir, both totally committed to his cause, was fully returned at the outcome of the performance.
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| Dinis Sousa (replacement conductor) - The Trojans in Carthage (© Bruno Moussier) |
The voice cast gathered here is first-rate and reveals an exemplary work of the French language (nothing is left to chance).
Aeneas, sung by Michael Spyres, already well appreciated in the past, takes on an even stronger authority at La Côte-Saint-André, a stage presence that further supports this character torn between his emotions and his duties. His voice rises full and radiant over its entire range, free of any constraint. Some highs are however less easy than usual, and notes are a little shortened, but the solar voice visibly continues to dazzle.
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| Michael Spyres, Paula Murrihy - The Trojans in Carthage (© Bruno Moussier) |
Alice Coote embodies an imperious Cassandre, traversing the stage in all directions, warrior, tragedian in the suicide scene, leaving the public paralysed. Mastering her part, apart from a slightly difficult high note or two, she reveals an unusual enthusiasm that her sharp metal voice easily delivers.
Lionel Lhote portrays the companion Chorèbe with his calm baritone voice, but also aflame with passion. Their duet immediately installs their cohesion and expressive articulation, Lionel Lhote even daring high notes like a tenor.
Paula Murrihy appears sovereign on stage, slender and elegant in a dress that fully highlights her.
Her Dido, Queen of Carthage, does not forget the woman who slumbers in her and that through her magnificent duet with Anna, the arrival of Aeneas will awaken. Vocally, the mezzo-soprano gives a lot of character to this role, which is one of the most absolute in the repertoire. Without copying the tragic colours of other interpreters or even their vocal breadth, she traces a vocal line of great pace, combined with nuance and the meaning of words and situations (even if her interpretation of her grand air "Adieu, fire quoted” could be more enthusiastic).
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| Dinis Sousa, Paula Murrihy & Beth Taylor - The Trojans in Carthage (© Bruno Moussier) |
Anna, sung by the mezzo-soprano or even contralto Beth Taylor, surprises by the opulence of the means, the voluptuousness and the depth of the low register, but also by the ease which she shows on stage: she openly makes fun of the very pessimistic Narbal with his shady stories and does not hesitate to dance.
Narbal perfectly portrayed by William Thomas, also Priam in the Prize of Troy, presents a class interpreter, his beautiful and harmonious bass voice flourishing without reserve in these two roles.
Bass-baritone Ashley Riches interprets Panthée in a solid way, while Adèle Charvet with her fleshy mezzo-soprano voice and warm grain makes short work of the young Ascagne.
Soprano Rebecca Evans fails to bring out the delicate role of Hecuba, and remains covered in the sets.
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| Michael Spyres, Paula Murrihy, Beth Taylor & Adèle Charvet - Les Troyens à Carthage (© Bruno Moussier) |
Radiating his singular, wide and powerful bass voice with imperious lows, Alex Rosen caused a sensation as Hector.
The young English tenor Laurence Kilsby, a member of the Académie de l'Opéra National de Paris since last September, deploys in Lopas and Hylas peaks of elegance and vocal distinction, in a voice with aerial high notes, both delicate and well seated. A rare poetry emerges from his singing.
Far from sticking to a totally concert version of Les Troyens, the organisers asked director Tess Gibbs, assisted by Rick Fisher for the lights, to animate the entire set. The result offers memorable images, such as the feverish arrival of the Trojan population on stage at the start of the Capture of Troy, rediscovering the light and the pure air of the countryside, then seizing the cursed horse.
Soloists and choristers are thus set in motion during the work, while leaving full room for singing and music.
The Orchester Révolutionnaire et Romantique and the Monteverdi Choir thus offer the alliance of this dynamism and their admirable bearing of will (and vice versa): unshakeable despite the storms.
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| Monteverdi Choir - The Taking of Troy (Les Troyens) (© Bruno Moussier) |
Berlioz emerges once again triumphant from the adventure, having overcome so many difficulties and hostilities during his career.
The theme of this year's Berlioz Festival is “Mythical! ". It is certainly not usurped.
First published at Olyrix, August 25, 2023
Translated from the original French text by Google Translate, with English revisions by Tony Magee.
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