If I were allowed to be a member of the chorus in any collective opera production, my first choice would very well be Laurent Pelly’s Laçale du regiment. Who would not want to be the eye of the saucepan-helmeten soldiers, or the pearl – the old lady who is old in this magnificent lady in the body with the jokes of the dirty soldiers and the men who love her?
Pelly’s production, which was damaged in 2008 and has preserved its appearance, is directed with precision to produce high quality and enjoy scenes full of gags that are seen in every scene. Interpreted as a mountain landscape made of maps, chantal thomas’s sets depend on the imagination; It may be set during World War One, but this is very light on comedy. It is amazingly entertaining from start to finish, even including the defeat, which was especially present under Giacomo Sagripanti’s Giacomo Sagripanti. The notary pops out of the fire place when his services are needed, Tonio rides a tank with a pumpkin to find sandra ah krakenshorp, duchess du krakenshorp, aims for a little kick in the girls. There is no set chance and one gets the sense that everyone performing is having as much fun as the audience.
Erin Morley’s Marie, whom we meet as she Karate – Chops washes clothes into clean squares, is a different character from the working canon: a beautiful girl but not feminine. He chooses songs aimed at the beautiful women of Air Airs who are expected to sing and brake in dressing, but they can still sing beautiful coloraturas. In other words, he is the perfect soul of the new spirit, beating strongly in 1840. Royal men are ready to be tested.
Morley, a soprano who has been at the top of her game for so long that it’s easy to forget her brilliance, delivers a perfect vocal performance here. Every note was clearly defined, deeply tuned and sung with deceptive ease, as it soared the upper bounds above the ledger line. Oh and he’s funny and funny all the time, the straw that met him is physical from his character, from his ex-warrior walk to the occasional buttis. A particularly sweet moment: In a fight with a hostile father, Morley shuts himself behind an invisible door with a cry of “Slam!”
Tenor Lawrence Grownlee wasn’t entirely out of place, but his tone was not particularly pleasing to Morley’s Marie. Tonio’s famous “Ah Mes Amis,” and nine high Cs, was very good – the Cs would not have done but dropped – but the ears “were a very rear show, allowing for a more animated sound, allowing for a more animated sound. Brownlee is a born naturalist; and singing.
Peter Kálman, as Marie’s beloved “Pope” lover, had a warm, generous bass-baritone to match his love, if he wrote it. He also unabashedly included another running comic in the name of Marquise de Berkenfield: Birkenstock, right? Or a Birkin bag? The second Trio of the Trio, where Marie, Tonio and Pulpice are finally reunited, was the high point, with the three of them going on drawn glee.
It’s hard to say who has more fun in Pelly’s production, but a case could be made for a tie between Susan Graham and Sandra O—the Marquise de Berkenfield and the Duchess Du KrakenfOrp. Each of these fuel mezos has its own weapons; Graham’s Marque cleans his servant (Paul Corona, funny as a straight man in this comedy) in the face with the famous fox-fur that is long useless and uses his cool height. Oh Krakenthorp has its own person, wrapped up behind it and what seems to be a strange attraction for the Marquise’s maids. Each shows up in his role, just like the first-rate musicians in Hammy Tight Concert. I could watch them face to face for at least another hour.
Giacoco Sagripanti performs Donizetti with unlimited arve, bringing out its intelligence and wit and, with it, the full colors of the orchestra. Three hours just flew by sagripanti in Helm. Meet Opera’s Opera Chorus, always right, is unique here. They are beautiful and dance with energy and especially for the sleepy men, each member of the chorus feels alive with each person. They all love their Marie, but it’s a testament both to their skill and to the care this product is directed at that we get the sense they all love her in different ways. The scene where they gave him hugs and little trinkets was really touching.
The singing is beautiful, the production is Darling and the French accents have a dynamic quality. What more could a boy girl want? So, get rid of the drums – there’s only one thing left to sing: the rataplan!
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