{"id":166723,"date":"2026-10-15T17:12:29","date_gmt":"2026-10-15T21:12:29","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/cendrillon-niccolo-isouard-arion-baroque-pallazzetto-bru-zane-concert-interview-alexandre-dratwicki-salle-bourgie-cyrille-dubois-montreal\/"},"modified":"2026-10-15T17:13:52","modified_gmt":"2026-10-15T21:13:52","slug":"cendrillon-niccolo-isouard-arion-baroque-pallazzetto-bru-zane-concert-interview-alexandre-dratwicki-salle-bourgie-cyrille-dubois-montreal","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/cendrillon-niccolo-isouard-arion-baroque-pallazzetto-bru-zane-concert-interview-alexandre-dratwicki-salle-bourgie-cyrille-dubois-montreal\/","title":{"rendered":"A resurrected and vocally spectacular Cinderella at Bourgie Hall"},"content":{"rendered":"\n

A<\/strong> Cinderella<\/em><\/strong> who, at the beginning of the 19th century, was THE lyrical version that was listened to all over Europe, before Rossini and Massenet, does that ring a bell? Probably not. It was a certain Niccolo Isouard, a Parisian composer of Maltese origin, who created his version of the famous Perrault tale at the Op\u00e9ra-Comique on February 22, 1810, to a beautifully crafted libretto by Charles-Guillaume \u00c9tienne. The success was lasting, and the conquest of the lyrical stages lasted several decades. The Arion Ensemble, under the direction of Mathieu Lussier, will perform the so-called “fairy-tale” opera twice at the Bourgie Hall, on Saturday, October 18, and Sunday, October 19, in a “staged setting” by Julien Patenaude. I spoke with Alexandre Dratwicki, Artistic Director of the Palazzetto Bru Zane, Center for French Music, who is closely collaborating on the production of this Quebec presentation.<\/strong><\/p>\n\n\n\n

INFO AND TICKETS<\/strong><\/a><\/p>\n\n\n\n

PanM360: What can you tell us about Niccolo Isouard, who has been quite forgotten?<\/strong><\/p>\n\n\n\n

Alexandre Dratwicki (Palazzetto Bru Zane):<\/strong> The real problem with Isouard is that all the composers of this generation active in the comic opera of the time (the last years of the 18th century and the beginning of the 19th century), who were very successful, are equally forgotten. We have very few recordings or things that are very dated. The reason for the neglect of these composers is also, in general, the reason for the neglect of a genre, since French comic opera from the Revolution and the Empire is no more than a line in the histories of music, but it has no reality on the international stages of theaters. One must also consider that it is due to the problem of spoken texts, which are often very long, very high-quality, but also difficult and complicated to interpret. These are not just transitions of a few seconds. <\/p>\n\n\n\n

As a result, the problem with these texts is that as soon as we move out of a Francophone sphere, there are translation issues, or more often, in fact, since translations do not exist (or are very rare), we prefer to move on to something else and do Italian opera from the same period, and Mozart, of course.<\/p>\n\n\n\n

That said, at the time, Isouard took advantage of the fact that his great rival, Boieldieu, had gone to Russia as a guest composer at the Russian court for quite a few years. So Isouard, who was the number two in comic opera, just after Daleyrac and Gretry, took advantage of Boieldieu’s absence to fill the space. He was the composer who achieved the greatest success, he was extremely productive, with very high-quality librettos.<\/p>\n\n\n\n

All of Isouard’s successful librettos not only traveled but also led to translations that were themselves musically adapted. Even if the lineage is not absolutely direct, one could say that Isouard’s libretto became Rossini’s La Cenerentola,<\/em> transformed and set to new music.<\/p>\n\n\n\n

There are other examples like that. At the court of Saint Petersburg, there is a Cinderella<\/em> by Steibelt, based on the same libretto as Isouard’s, completely recomposed, but with the same dialogs, the same characters.<\/p>\n\n\n\n

PanM360: How would you describe Isouard’s style?<\/strong><\/p>\n\n\n\n

Alexandre Dratwicki (Palazzetto Bru Zane):<\/strong> It is a very classical style, meaning that you can hear the Italian influence. This is reflected in the forms, the principles of writing, the importance of rhythm, and the musical motifs that are phrased in the Italian style, with strong first beats, harmonies that operate with the typical rhythm of Italian music.<\/p>\n\n\n\n

Where I think this Cinderella<\/em> has an edge, even compared to Rossini’s, is in the significance that Isouard gives it with writing for extremely virtuosic and swift coloratura sopranos. Cinderella’s two sisters are actually the stars of the evening, as each has a grand aria, plus two great duets, and then they participate in the entrance choruses, etc. They throw impressive vocal pyrotechnics throughout the entire score, with scales and very high notes.<\/p>\n\n\n\n

For me, it’s the most difficult thing we could encounter at the time in Paris, in terms of technical demands. It also reminds me of the two ladies in Mozart’s Schauspieldirektor<\/em>, where there are also two singers competing. Here, they are two sisters. Stylistically, we are in the realm of the most difficult concert arias by Mozart, with the dreadful counter-notes, and in addition, very long and highly developed phrases.<\/p>\n\n\n\n

I think that today, people can find their pleasure in this Cinderella<\/em> in several different places, whether it be in the pyrotechnics or in the quality of the dialog. I find that it is one of the funniest works of the time. It’s a humor that is quite refined, which is constant throughout all the dialogs. From beginning to end, we smile. There are some very good jokes, which are ultimately very relevant.<\/p>\n\n\n\n

PanM360: We should also know that it’s a<\/strong> Cinderella<\/em><\/strong> without a fairy godmother…<\/strong><\/p>\n\n\n\n

Alexandre Dratwicki (Palazzetto Bru Zane):<\/strong> The problem is that today, having seen Walt Disney, we expect pumpkin transformations, but it’s true that if we go back to the original tales, if we look at all the Cinderellas<\/em> that have existed, the magical element was not as developed as it was at the end of the 19th century in Massenet or later in Walt Disney. But well, we still have this magical rose that Alidor gives, who is a somewhat magician tutor. We also have that moment when Cinderella is not visible to others.<\/p>\n\n\n\n

And then, we have this sleep chorus at the beginning of Act II which, with the use of the harp, an instrument used in a very pre-Romantic way, creates a really successful scene of Alidor’s appearance. What is even more satisfying for today’s audience, I think, is that this magical element appears right at the beginning of the overture. The opening measures with the solo body and the harp resemble Weber, Lortzing, Marschner, that is, the fantastic of the 1830s.<\/p>\n\n\n\n

In 1810, when the Parisian audience hears this magical harp and this instrument, the horn, at the op\u00e9ra comique, it appears very advanced compared to what is generally done in Europe in the op\u00e9ra comique.<\/p>\n\n\n\n

PanM360: The original orchestration was “redone” in 1845 by Adolphe Adam. At the time, it was considered a significant improvement over the 1810 version. And yet, we changed our minds…<\/strong><\/p>\n\n\n\n

Alexandre Dratwicki (Palazzetto Bru Zane):<\/strong> So, the truth about this rewriting is that in Parisian theaters, they had hyper-standardized orchestras that were employed.<\/p>\n\n\n\n

So, it was necessary to make the musicians’ contracts profitable. And in 1840, we have four horns, two trumpets, three trombones, and they need to play. So, if Adam wants to bring classical repertoire to the national theater, he has to reorchestrate everything for the people he has in the orchestra pit. All these musicians must have something to play.<\/p>\n\n\n\n

I think Adam has made some things heavier. Some moments absolutely did not call for trumpets, trombones, and that sonic muscularity. But there are also things that are enriched.<\/p>\n\n\n\n

I mainly think that when we return to the original orchestration, we are much more in tune with the lightness of the music. I am particularly thinking of Cinderella’s entrance romance, Alidor’s romance, the prince’s romance. These are passages that really don’t need to be over-orchestrated to be enriched. On the contrary, because afterward, it means having big voices. And big voices to sing Cinderella quietly complaining by the fire, that’s quite inappropriate. It’s true that we’ve had Tosca<\/em> and Rachmaninoff since then, but I think for this repertoire, it would give a rather clumsy touch.<\/p>\n\n\n\n

Moreover, we are fortunate to have singers, especially the ladies and the prince, who have very intricate voices. Here, the orchestra can highlight the nuances. And we have the character of what an intimate and introspective romance is.<\/p>\n\n\n\n

PanM360: We are spoiled. Cyrille Dubois, no introduction needed. But also Emma Fekete, Magalie Simard-Gald\u00e8s, and Florie Valiquette, two magnificent female voices from here. Julien Patenaude in the role of the Baron of Montefiascone…<\/strong><\/p>\n\n\n\n

Alexandre Dratwicki (Palazzetto Bru Zane):<\/strong> For us at Pallazetto Bru Zane, it is important, when we go to a country where there are people who know how to sing, to hire them as much as possible. And in Quebec, God knows you really have singers who are role models, who come to Europe and are applauded. Moreover, it would be a form of insult to want to bring back 7 French people to sing Cinderella<\/em> when we have suitable voices here.<\/p>\n\n\n\n

Moreover, if every time we can go to Italy, Germany, Canada, and where we have local artists who are convinced that these projects are interesting, they will talk about it among their community and it helps to foster interest, curiosity. Finally, let’s not kid ourselves, filling the Bourgie Hall twice means we need the audience to come.<\/p>\n\n\n\n

PanM360: And on top of that, it will be recorded for a later release. It will be a rare version available.<\/strong><\/p>\n\n\n\n

Alexandre Dratwicki (Palazzetto Bru Zane):<\/strong> There are two. An old version by Richard Bonynge under a Soviet-era label in Eastern countries (Olympia), and a more recent one from the Manhattan School of Music (under the Albany label).<\/p>\n\n\n\n

PanM360: You are very active. A few more gems in the works?<\/strong><\/p>\n\n\n\n

Alexandre Dratwicki (Palazzetto Bru Zane):<\/strong> We always have them. At the moment, we are preparing a Lancelot<\/em> by Jonci\u00e8res in Munich and a Roma<\/em> by Massenet in Monte-Carlo. We will also perform La Carm\u00e9lite<\/em> by Reynaldo Hahn in Budapest, as well as a Rom\u00e9o et Juliette<\/em> by Steibelt with Les Talens Lyriques in Paris.<\/p>\n\n\n\n

PanM360: All of this is frankly fascinating. Thank you!<\/strong><\/p>\n\n\n\n

Production team : <\/p>\n\n\n\n

Emma Fekete, Cinderella<\/p>\n\n\n\n

Cyrille Dubois, Prince Ramir <\/p>\n\n\n\n

Laurent Deleuil, Alidor <\/p>\n\n\n\n

Magali Simard-Gald\u00e8s, Clorinde <\/p>\n\n\n\n

Florie Valiquette, Tisb\u00e9 <\/p>\n\n\n\n

Julien Patenaude, Baron de Montefiascone<\/p>\n\n\n\n

Dominique C\u00f4t\u00e9, Dandini<\/p>\n\n\n\n

Arion Baroque Orchestra<\/p>\n\n\n\n

Ephemeral Choir<\/p>\n\n\n\n

Mathieu Lussier, conductor <\/p>\n\n\n\n

Roseline Blain, choir director<\/p>\n\n\n\n

Julien Patenaude, set designer <\/p>\n\n\n\n

Alexandre Dratwicki, artistic advisor<\/p>\n","protected":false},"excerpt":{"rendered":"

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