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« Adriana Lecouvreur » Alexandre Lazaridès Document generated on 09/24/2021 2:13 p.m. Jeu Revue de théâtre « Adriana Lecouvreur » Alexandre Lazaridès Number 57, 1990 URI: https://id.erudit.org/iderudit/27317ac See table of contents Publisher(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (print) 1923-2578 (digital) Explore this journal Cite this review Lazaridès, A. (1990). Review of [« Adriana Lecouvreur »]. Jeu, (57), 184–187. Tous droits réservés © Cahiers de théâtre Jeu inc., 1990 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ n'ait été remarquablement servi par les musi­ ciens et les chanteurs, bien au contraire (à une exception près sur laquelle nous reviendrons); mais, si inscrire un nouveau titre à un répertoire «adriana lecouvreur» est déjà fort louable (remercions Bernard Uzan, le directeur général et artistique de l'Opéra de Montréal, de cette initiative), insuffler une vie nouvelle à l'œuvre elle-même, démarche rare­ Opéra en quatre actes. Livret d'Arturo Colautti d'après la pièce ment entreprise et plus rarement réussie pour les Adrienne Lccouvreurd'Eugbne Scribe et Ernest Legouvé. Musique de Francesco Cilèa. Mise en scène : Bernard Uzan; éclairages : Guy opéras, l'aurait été encore plus. Depuis la révo­ Simard; assistant chef d'orchestre : Brian Law; décors : San Francisco lution wagnérienne et après les derniers grands Opera Company; scénographie : C. M. Cristini; costumes : Malabar bouleversements que l'introduction de l'électri­ Limited Toronto; rédaction des surtitres : Michel Beaulac. Interprétation : l'Orchestre symphonique de Montréal et le Chœur cité, au début du siècle, a provoqués dans le de l'Opéra de Montréal, sous la direction de Michelangelo Veltri. monde du spectacle, il semble y avoir de grandes Avec Diana Soviero, soprano (Adriana Lecouvreur), Ermanno Mauro, ténor (Maurizio), Livia Budai-Batky, mezzo-soprano (Princesse de difficultés à gérer ce qu'on pourrait appeler les Bouillon), Louis Quilico, baryton (Michonnet), Joseph Rouleau, dimensions théâtrales de l'opéra, lesquelles sont basse (Prince de Bouillon), Adolfo Llorca, ténor (l'abbé de Chazeuil), Claude Grenier, basse (Quinault), Gordon Gietz, ténor (Poisson), trop souvent plus ou moins sacrifiées au chant. Gianna Corbisiero, soprano (Mlle Jouvenot), Ellen Paltiel, mezzo- Cause ou effet de cet état de choses, le battage soprano (Mlle Dangeville), Nicolas Grcenewegen, rénor (le Major­ publicitaire qui accompagne la production d'un dome). Production de l'Opéra de Montréal, présentée à la Salle Wilfrid-Pelletier de la Place des Arts les 11, 15, 20, 22, 26 et 29 opéra n'a d'égards, en général, que pour les septembre 1990. chanteurs. Ainsi, parce que le seul nom d'une prima donna peut suffire pour sauver la situation l'œil de trop ? (miracle pour les croyants, mais scandale pour Comment expliquer l'impression de déjà vu que certains autres), ce qui relève du spectacle pro­ la représentation d'Adriana Lecouvreur a pu prement dit sera traité comme par-dessous la susciter en nous, alors même que c'était la pre­ jambe. À la longue, la réception du public s'en mière fois que cet opéra était donné à Montréal? est trouvée affectée; on en est venu à oublier que, Non que le chef-d'œuvre de Cilèa, créé en 1902, si l'opéra occupe la place exceptionnelle qui a été Adriana Lecouvreur, de Francesco Cilèa, présentée par l'Opéra de Montréal, dans une mise en scène de Bernard Uzan. Sur la photo : Diana Soviero, Gianna Corbisiero, Gordon Gietz, Ellen Paltiel et Claude Grenier. Photo : Les Paparazzi. 184 la sienne dans la culture occidentale, c'est bien d'une héroïne d'opéra. Le procédé paraît bien parce qu'il tentait de fusionner le théâtre et le éculé et déteint de façon insidieuse sur toute la chant. scène finale, en soi fort émouvante, où Adriana dit adieu à la vie en même temps qu'à l'amour, Le silence presque généralisé que la publicité, puisqu'elle croit que Maurizio lui renvoie, pour voire la critique, observe sur les dimensions signifier leur rupture, le bouquet de violettes théâtrales d'un opéra laisserait croire que l'œil y qu'elle lui avait naguère offert. est de trop. Le souci semble être celui de ne pas dépayser, de ne pas déranger; de faire reconnaî­ Par ailleurs, il semble plutôt difficile de croire à tre plutôt que de faire connaître. Certes, il faut la sincérité de l'amour de Maurizio alors que, attirer les foules, et les impératifs économiques pour apaiser les soupçons jaloux de la princesse peuvent expliquer l'emprunt d'un décor, d'une de Bouillon, vainement éprise de lui, il ne trouve scénographie, avec cette conséquence toutefois rien d'autre à lui donner, en gage de fidélité, que que la plupart des décors et des scénographies ledit bouquet. Caution d'autant plus cynique (pour les opéras italiens en particulier) ont fini qu'elle a pour véritable objet le soutien politique par se ressembler de façon frappante. L'aspect de la princesse, indispensable—et consciente de convenu du décor fait que les spectateurs se l'être — à la réussite des visées de Maurizio, trouvent en présence d'un déjà vu rassurant; on encore comte de Saxe, sur la couronne de Polo­ s'y glisse comme dans une vieille robe de cham­ gne. Tout cela fait qu'il devient difficile, au fur bre; mais, en même temps, on s'endort sur et à mesure que l'intrigue s'enchevêtre et s'empê­ l'impression que l'opéra ne donne, au fond, rien tre dans les à peu près psychologiques, d'identi­ à voir, sauf, peut-être, des détails vestimentaires fier les raisons qu'il y aurait à se laisser prendre, (il y en a de très beaux dans cette production), en à se laisser émouvoir par les souffrances mélo­ attendant tel ou tel grand air, comme le «lo son dieuses d'Adriana et de Maurizio, à moins, bien l'umile ancella» du premier acte ou le «Poveri sûr, qu'on ne considère que le chant soit la seule fiori» du quatrième. Le bel canto finit par et vraie nature de l'opéra. Le point de vue occulter le texte qu'il arrache, par la puissance défendu ici est autre. Mais c'est la trop faible indéniable de son sortilège, à tout ancrage histo­ justification du personnage de Michonnet, le di­ rique. Quelque quatre siècles après son appari­ recteur de la Comédie-Française discrètement tion, l'opéra est traité avec le respect dû aux amoureux de la Lecouvreur, qui dérange le plus. fossiles, plus comme un signe que comme un Le personnage est à la fois attachant et comme objet. désorbité; en tout cas, son influence sur l'action est minime, voire nulle. S'il est presque toujours de l'intrigue sur scène au premier acte, ses apparitions ulté­ De prime abord, l'intrigue & Adriana Lecou­ rieures sont à la fois rares (le troisième acte se vreur, âpre rivalité entre deux femmes amoureu­ passe même de lui) et artificiellement motivées. ses du même homme, paraît conventionnelle, C'est ainsi qu'au dernier acte, il survient pour mais Arturo Colautti, le librettiste, l'a habile­ fêter l'anniversaire d'Adriana, sans se douter que ment renouvelée par la condition sociale de c'est plutôt à sa mort qu'il assisterait; dramati­ l'héroïne, la célèbre actrice de la Comédie-Fran­ quement parlant, la coïncidence est on ne peut çaise (qui fut quelque temps la maîtresse de plus providentielle; on aurait même soupçonné, Voltaire) que le destin dresse contre une prin­ si l'opéra de Cilèa n'était qualifié de «vériste», cesse; il lui en coûtera la vie. Cet aspect inventif quelque deus ex machina... est cependant vite terni par le recours à plusieurs quiproquos faciles et, plus encore, par de curieu­ à vue d'oeil ses invraisemblances, car il faudrait une belle Les aspects visuels de cette nouvelle production dose d'imagination (et j'en suis, pour ma part, de l'Opéra de Montréal répondent à des critères cruellement dépourvu) pour admettre que respi­ que l'on pourrait qualifier de «bon goût». Les rer des violettes «empoisonnées» puisse provo­ décors sont ceux du San Francisco Opera quer la mort d'une femme — même s'il s'agit Company et correspondent bien à l'idée que l'on 185 se fait d'un grand théâtre ou d'une demeure un long moment magique où, des coulisses, luxueuse sous l'Ancien Régime : plafonds élevés, Michonnet commente l'art de la Lecouvreur en murs lambrissés, girandoles de cristal, meubles train de dire le monologue de Roxane — et de style... Mais la conception des lieux est l'éclairage venu de la scène, invisible pour nous, tellement semblable d'un acte à l'autre, qu'on semble celui d'un autre monde où règne la vraie dirait des variations sur un seul thème. Ainsi, le Beauté; au second acte, Adriana et la princesse de foyer de la Comédie-Française ne se distingue de Bouillon, qui ignorent encore qu'elles sont l'hôtel de la princesse de Bouillon que par quel­ amoureuses du même homme et dont la pre­ ques détails; le pavillon de la comédienne Du- mière, pour complaire à son amant, doit sauver clos ressemble à la demeure bourgeoise de la Le­ l'autre tout en s'efforçant de garder l'anonymat, couvreur par sa configuration.
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