A true gem, this Cinderella by Niccolo Isouard, premiered in 1810 at the Opéra-Comique. After savouring last night’s performance at the Bourgie Hall, by an Arion orchestra in great form, conducted briskly by Mathieu Lussier, and supporting often masterful performances by the soloists present, one understands why this lively work captivated the French public for a good part of the 19th century before being unfortunately relegated to the shadows of history by Massenet’s version (1899) and Rossini’s (La Cenerentola), which are more popular nowadays on opera stages. It must be said that this Cinderella has a form that has itself largely disappeared, that of an alternation between singing and spoken dialogue. Nevertheless, when one has heard an ensemble as effective as the one assembled by the producers of this largely Quebecois iteration, one can’t help but imagine a much more frequent return of this kind of show. At least on our side of the Atlantic, because in Europe, it is obviously less rare. Well…
If you want to learn much more about Isouard’s Cinderella, and about the composer himself, read the interview I conducted with Alexandre Dratwicki, Artistic Director of the Palazzetto Bru Zane – Centre de musique française, who closely collaborated on this production.
INTERVIEW WITH ALEXANDRE DRATWICKI
Cinderella was presented in a staging by Julien Patenaude, who also played the role of Baron Montefiascone, Cinderella’s wicked stepfather, and the father of the two despicable stepsisters. Simple yet effective movements, and small scenic details to set the scenes: a hearth for the Baron’s castle (where Cinderella lives) and flowers on the ground for the episode at the King’s Palace. But above all, some projections on the back wall that are frankly hilarious and adapted to the local context. For example, at the end of the first act, when the King’s carriage transports the stepsisters to the Palace, leading to the intermission, an image of downtown Montreal with a castle worthy of Walt Disney further back, bordered by a traffic jam, indicates that the convoy will be about twenty minutes late because it is stuck on Décarie. I had a good laugh.
From the Overture, the tone was set: Arion is in great shape, particularly Simon Poirier, the solo horn, who launches an effective melody that we will hear again later, accompanied by the lace-like harp of Antoine Malette-Chénier. A formidable score for a brass instrument that is already difficult to control, especially here in its “natural” format, that is, without valves. Everything is done with the mouth and the hand in the bell. Poirier pulled it off with panache, even though a few notes were too “muffled” by the aforementioned hand in the pavilion. Nevertheless, respect. We knew, from that moment on, that the musical quality (instrumental) would be there. We also understood that the general attitude would be good-natured, with amusing projections accompanying these initial minutes occupied solely by the orchestra. Another good idea from Julien Patenaude: the characters are presented ironically. For example: Clorinde, occupation: detestable sister. Alias: Florie Valiquette. And so on. Really funny.
We are finally convinced for good with the arrival of the soloists. They are all good, vocally, in addition to playing with great precision. The characters are certainly caricatured, but not over-written. Emma Fekete is an appropriately authentic and kind Cinderella. Her clear, light soprano, but with enough substance, gives her the perfect timbre for the role, that of a normal, simple, and selfless young girl. The two wicked sisters are deliciously despicable. They have the most stratospheric passages, in which they must flit about like agitated hummingbirds. Florie Valiquette (Clorinde) and Magali Simard-Galdès (Tisbé) seem to fully enjoy their roles, imbuing them with a reprehensible condescension (towards Cinderella and “inferiors” in general) as well as a sycophantic obsequiousness dripping with bad faith in front of the one they think is the King (but is actually just a simple servant). Simard-Galdès excelled in the Act II Bolero where she attempts to seduce the (false) King, with music and a flair that, 65 years ahead of its time, evokes a certain Carmen.
Cyrille Dubois is the big name in this production, and he does not disappoint. His light but powerful tenor allows him to embody a Prince Ramir who is candid yet sincere and amiable. Laurent Deleuil is an efficient Alidor, Minister, and a bit of the King’s Magician, but, in my opinion, it is Dominique Côté who steals the show on the male side, even though he sings little (and when he does, we appreciate his warm baritone). It is especially in his flamboyant portrayal of Dandini, the servant who passes himself off as the King, that he excels and impresses. He is also the only one to (almost) play his role without a script. From his first appearance, we were hooked. He struts, he boasts, he winks at the two sisters (who take him for the King) with genuine delight, and with his unbuttoned shirt, he absolutely resembles a cheesy uncle who has been given 24 hours to fulfil all his dreams. Fabulous.
The choral episodes, of very fine quality, are solidly performed by Chœur Éphémère.
We will note a technical detail to improve: the surtitles, which are actually “back titles” (projected on the back wall), are almost unreadable if you are in the front half of the hall, as the singers and their music stands mostly block them. They could be raised higher…
That said, this production deserves to be praised for its immense quality. The same protagonists will also make a recording for ATMA Classique, an initiative that is likely to become a reference version, as there is currently no worthy competition. A 1998 recording under the Olympia label, conducted by Richard Bonynge with moscovite forces, has become unavailable, in addition to suffering from low-quality sound, typical of productions from the Soviet era (even though the USSR had already died). Another, more recent version (2018) is available on Albany Records, and conducted by the Manhattan School of Music Opera Theatre. I listened to it, and while the soloists show great talent, the orchestra is simply not on the same level as Arion.
Another performance is given on Sunday at 2:30 PM. If you are reading this on Sunday morning, you still have a chance to savour this treasure, not only hidden but also unearthed and brilliantly resurrected here.
Bring more like this. Long live this collaboration between Arion and the Palazzetto Bru Zane.
