Frank Cadenhead's Letter from Paris

Boris Godunov at the Châtelet: Alexi Steblianko as Prince Shuisky with the boyars Photo: Marie-Noelle Robert

For December, the Mariinsky Theater took up residence at Châtelet with three performances of Mussorsky’s Boris Godunov and four of Rossini’s Il viaggio a Reims, both conducted by their superstar chief, Valery Gergiev. The 1869 version of Boris, from December 9 through 13, was performed without intermission, adding emphasis to the raw power and dramatic coherence of this original vision of the composer.

Stars from St Petersburg’s historic opera theater came along and young baritone Evgeny Nikitin, (33 and the Onegin when the Mariinsky visited a few years ago) was in the title role. Not yet possessing the vocal weight of the greats in this role, his portrait of the tormented tsar was nonetheless dramatically powerful and musically rich. Old favorites like baritones Vassili Gerello (as Shchelkalov) and Vladimir Ognovenko (Varlaam) were also a welcome sight. There was no shortage of good tenors, with young Evgney Akimov particularly impressive as the simpleton.

Rossini’s Il viaggio a Reims, the definition of an ensemble opera, was given over to the young voices of the Mariinsky’s Vocal Academy, run by the maestro’s sister, Larissa Gergieva. Although some voices show more promise than others, it nevertheless suggests that the future looks bright for the Mariinsky.

At the Opéra National de Paris-Bastille, a holiday production of Prokofiev’s Love for Three Oranges, (1 through 29 December) as staged by Gilbert Deflo, was perhaps too carefully considered. Not nearly the madcap fun of the 2004 Aix-en-Provence production by Philippe Calvario, it was nevertheless reasonably fleet of foot. Despite the commedia del arte characters, the industrial scaffolding and reserved use of color kept the mood sober, the action was clearly laid out and the performers well-drilled. The production was given in the original language (French) of its Chicago debut in 1921 and was apparently filmed for TV and DVD.

The cast was well-balanced with high marks going to the splendid tenors - Barry Banks as Truffaldino and Charles Workman as the earnest Prince. Mezzo Béatrice Uria-Monzon seemed a little underused as Fata Morgana, but soprano Aleksandra Zamojska did a fine coloratura turn as Ninetta. José van Dam was little noticed as Chelio, but bass Viktor von Halem dominated the stage, both vocally and visually, as the 25-foot high cook. Sylvain Cambreling, who, without being officially designated, seems to be the 'principal guest conductor' at the Opéra (there is no musical director), did his work with efficiency and occasional élan.

© Frank Cadenhead, 3 January 2006 

See also the archives for previous reports from Paris.