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Turandot », « Rigoletto », « II Barbiere Di Siviglia », « La Traviata », « La Bohème », « Salome » Paul Lefebvre

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Turandot », « Rigoletto », « II Barbiere Di Siviglia », « La Traviata », « La Bohème », « Salome » Paul Lefebvre Document généré le 24 sept. 2021 15:31 Jeu Revue de théâtre Six Spectacles de l’Opéra de Montréal « Turandot », « Rigoletto », « II Barbiere di Siviglia », « La Traviata », « La Bohème », « Salome » Paul Lefebvre En mille images, fixer l’éphémère : la photographie de théâtre Numéro 37 (4), 1985 URI : https://id.erudit.org/iderudit/27841ac Aller au sommaire du numéro Éditeur(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (imprimé) 1923-2578 (numérique) Découvrir la revue Citer ce compte rendu Lefebvre, P. (1985). Compte rendu de [Six Spectacles de l’Opéra de Montréal : « Turandot », « Rigoletto », « II Barbiere di Siviglia », « La Traviata », « La Bohème », « Salome »]. Jeu, (37), 164–173. Tous droits réservés © Cahiers de théâtre Jeu inc., 1985 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ six spectacles de l'opéra de montréal «turandot» «la traviata» «rigoletto» «la bohème» «il barbiere di siviglia» «salome» Turandot. Opéra en trois actes. Livret de Giuseppe La Traviata. Opéra en trois actes. Livret de Fran­ Adami et Renato Simoni, d'après la pièce Turan- cesco Maria Piave, d'après la Dame aux camélias dotte de Carlo Gozzi; musique de Giacomo Puccini, d'Alexandre Dumas fils; musique de Giuseppe Ver­ complétée par Franco Alfano. Chef d'orchestre: Al­ di. Chef d'orchestre: Michelangelo Veltri; mise en fredo Silipigni; mise en scène: Robin Thompson; scène: Roberto Oswald, en collaboration avec Ani- décors et costumes: Allen Charles Klein; éclairages: bal Lapiz; décors et éclairages: Roberto Oswald; Stephen Ross. Avec Claude Létourneau (un manda­ costumes: Anibal Lapiz; chorégraphie: Brydon Pai­ rin), Ludovic-Raymond Boisselle (le Prince de Per­ ge. Avec Elena Mauti-Nunziata (Violetta), Roland se), Maria Pellegrini (Liù), Thanos Petrakis (Calaf), Gosselin (le docteur Grenvil), Thérèse Sevadjian Don Garrard (Timur), Jean-Clément Bergeron (Flora) Claude Létourneau (le Marquis d'Obigny), (Ping), André Lortie (Pang), Paul Trépanier (Pong), Jean-Clément Bergeron (le Baron Douphol), Vinson Claude-Robin Pelletier (l'Empereur) et Marisa Gal- Cole (Alfredo), Guy Piché (Gastone), Suzanne Ray­ vany (Turandot). Présenté à la salle Wilfrid-Pelletier mond (Annina), Christian Chiosa (Giuseppe) et de la Place des Arts, du 21 février au 14 mars 1984. Louis Quilico (Giorgio Germont). Présenté à la salle Wilfrid-Pelletier de la Place des Arts, du 20 novem­ Rigoletto. Opéra en trois actes. Livret de Francesco bre au 11 décembre 1984. Maria Piave, d'après la pièce de Victor Hugo Le roi s'amuse; musique de Giuseppe Verdi. Chef d'or­ La Bohème. Opéra en quatre actes. Livret de Giu­ chestre: Bruno Amaducci; mise en scène: Frans seppe Giacosa et de Luigi lllica, d'après les Scènes Boerlage; décors: Harold Laxton; costumes: Ri­ de la vie de bohème d'Henri Murger; musique de chard Lorain; éclairages: Wayne Chouinard. Avec Giacomo Puccini. Chef d'orchestre: Raffi Armenian; Louis Quilico (Rigoletto), Roland Gosselin (le Comte mise en scène: James Lucas; décors, costumes et de Ceprano), Gail Desmarais (la Comtesse de Cepra- éclairages: Claude Girard. Avec Dano Raffanti (Ro- no), Enrico di Giuseppe (le Duc de Mantoue), dolfo), Theodore Baerg (Marcello), Pierre Charbon­ Claude-Robin Pelletier (Borsa), Gaétan Laperrière neau (Colline), Peter Barcza (Schaunard), Claude (Marullo), Charles Prévost (le Comte de Monterone), Létourneau (Benoît et Alcindoro), Veronica Kineses Joseph Rouleau (Sparafucile), Costanza Cuccaro (Mimi), Maria Rosa Nazario (Musetta) et Jean-Louis (Gilda), Marie-Marthe Bernard (Giovanna) et Martha Sanscartier (Parpignol). Présenté à la salle Wilfrid- Jane Howe (Maddalena). Présenté à la salle Wilfrid- Pelletier de la Place des Arts, du 26 février au 19 Pelletier de la Place des Arts, du 22 mai au 13 juin mars 1985. 1984. Salome. Opéra en un acte. Livret d'Oscar Wilde, // Barbiere di Siviglia. Opéra en deux actes et trois traduit en allemand par Hedwig Lachmann; musi­ tableaux. Livret de Cesare Sterbini, d'après la pièce que de Richard Strauss. Chef d'orchestre: Franz- de Beaumarchais le Barbier de Seville; musique de Paul Decker; mise en scène: Véclév Kaèlik; décor Gioacchino Rossini. Chef d'orchestre: Pierre Hétu; et éclairages: Josef Svoboda; costumes: Richard mise en scène: Jean Gascon; décors et costumes: Lorain; chorégraphie: Élise Englund. Avec Christine Robert Prévost; éclairages: Freddie Grimwood. Lemelin (le Page), Charles Prévost (premier soldat), Avec Jean-Clément Bergeron (Fiorello), Jon Garri­ Grégoire Legendre (second soldat), Roland Gosse­ son (Almaviva), Gino Quilico (Figaro), Julia Hamari lin (un Cappadocien), Peter Wimberger (Jokanaan), (Rosina) Pierre Charbonneau (Bartolo) Thérèse Se- Iraina Neufeld (l'esclave), William Ingle (Hérode), vadjian (Berta), Antonio Funicelli (Ambrogio) et Janice Meyerson (Hérodias), Laila Andersson (Salo­ Claude Corbeil (Basilio). Présenté à la salle Wilfrid- me), Jean-Clément Bergeron (premier Nazaréen), Pelletier de la Place des Arts, du 18 septembre au Robert Peters (deuxième Nazaréen) et Paul Trépa­ 9 octobre 1984. nier, Brian Power Smith, André Lortie, Jerold Siena, Claude Létourneau (les Juifs). Présenté à la salle Wilfrid-Pelletier de la Place des Arts, du 30 avril au 18 mai 1985. 164 Turandot de Puccini, acte II, scène II. Opéra de Montréal, 1984. Photo: André Le Coz. Il y a un grave problème à l'Opéra de son suivante) illustrent bien les man­ Montréal: on n'y a pas d'idées sur l'opé­ ques et les problèmes de la compagnie ra. Pourtant, le monde musical montréa­ montréalaise. lais est depuis quelques années dyna­ misé par le développement de pensées Côté musique, certaines questions se musicales articulées, solides: l'Orches­ règlent vite et bien. L'orchestre - l'Or­ tre symphonique de Montréal de Dutoit, chestre symphonique de Montréal — est le Studio de musique ancienne de discipliné, précis, clair. Les choeurs, di­ Jackson et Poirier, l'Ensemble I Musici rigés par René Lacourse depuis le début, de Turovski, la Société de musique sont irréprochables. C'est du côté des contemporaine du Québec de Garant chefs que les choses se corsent. L'Opéra sont autant de voix dont l'intérêt vient de Montréal en choisit qui, habituelle­ d'un rapport défini à leurs répertoires ment, connaissent bien leur métier, musicaux respectifs. Or, cette dynami­ mais qui font davantage oeuvre d'exé­ que interne, nécessaire à toute entre­ cutants (au sens limité) que d'interprè­ prise artistique digne de ce nom, est, de tes. L'idée de fonder une production sur toute évidence, absente de l'Opéra de la rencontre entre un chef aux positions Montréal. Sinon, comment expliquer musicales déterminées et une partition l'éclectisme — confinant à l'à-peu-près semble au-delà de la conception que se - qui caractérise ses saisons? font les dirigeants de l'Opéra de Mon­ tréal d'une maison d'art lyrique. Les six spectacles dont il sera ici ques­ tion (les deux derniers de la saison 1983- À Montréal comme ailleurs, l'opéra est 1984 et les quatre productions de la sai­ victime de la popularité que connaît cet 165 Rigoletto de Verdi, 1984. Photo: André Le Coz. art depuis une quinzaine d'années et qui un rituel de classe. Mais à Montréal, ce provoque, pour ce qui est des chanteurs, n'est pas vraiment cela: le public un déséquilibre entre l'offre et la deman­ d'opéra est on ne peut plus composite2 de. Ainsi, des chanteurs (c'est surtout et l'opéra n'a pas joui et ne jouit pas de visible — audible! — chez les ténors) qui la tradition nécessaire à l'exercice de ce n'ont pas les qualités requises pour rituel social. Le rituel célébré à Montréal chanter convenablement leurs rôles ont est strictement opératique: cet art de la quand même une feuille de route res­ représentation tente de se couper de pectable dont Montréal, hélas!, devient tout rapport de sens à ce qui lui est ex­ une des étapes. térieur pour devenir le plus possible au- toréférentiel. Engoncé entre Monteverdi et Berg, le répertoire de l'Opéra s'est figé1 et ses La convention opératique — ce terme représentations tiennent plus souvent qu'on utilise pour nous faire avaler ce qu'autrement du rituel. En Europe, le qui nous ferait hurler au cinéma et au sens de ce rituel est au moins clair: le théâtre — est à prendre dans son sens rituel est beaucoup dans la salle et c'est le plus lourd à l'Opéra de Montréal: le conventionnel ou, pis, le convenu. On emploie sur la scène un réseau de signes 1. Si bien qu'il ne s'enrichit pas de créations (rares et peu populaires) mais par des activités qui tien­ nent plutôt de l'archéologie: on monte les opéras de jeunesse de Mozart, on exhume des Meyerbeer 2. Faut-il rappeler que la seule série télévisée ré­ de sous des tonnes de poussière, on découvre les cente consacrée à l'art lyrique — où nous menaçait Verdi des «années de galère», on traque les Rossini une indigestion de Yoland Guérard et de Yolande oubliés... Dulude - était produite par Télé-Métropole? 166 Il Barbiere di Siviglia de Rossini, d'après Beaumarchais, 1984. Photo: Photographex. qui logent sous l'horizon d'attentes vi­ voir ce que, souvent, on n'a jamais vu. sant (et atteignant...) la transparence. Ce sont des clichés, littéralement, que C'est le règne du joli, du «décorati- l'on veut voir. Comme tout repose sur visme»; on cherche visiblement à émer­ le déjà-entendu, pas étonnant que l'on veiller le public, recourant fréquemment désire du déjà-vu.
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