2024-03-26 00:44:56
March 26, 2024 Today at 01:31
“Rivoluzione e Nostalgia” brings together Verdi’s early operas in two evenings at La Monnaie. Krystian Lada’s hyper-realistic staging does too much. Or not enough. But Verdi fortunately escapes unscathed thanks to the orchestra and the voices. Superb.
“Revolution and Nostalgia”, at the Monnaiemight have been nothing more than a somewhat artificial “remix” of the best musical moments of the young Verdi. Superfluous fear. The assembly carried out by chef Carlo Goldstein of 16 extracts from operas from the 1840s is on the contrary of such skill that the work seems thought out in a single breath. We will sulk all the less regarding our pleasure as the house symphony is having fun, boosted by this brilliant maestro who is as energetic in the tutti as he is surgical in the entrances. As to casting vocala fine cantist, he totally convincesAll like the choir of La Monnaievery much in demand.
Director Krystian Lada uses and abuses sixty-eight current affairs films.
It remained to connect all the sequences, and in particular the great patriotic choruses. THE Polish director Krystian Lada, who also wrote the script and the sets, imagined a story which is in keeping with the revolutionary causes dear to Verdi – but fiddles with the librettos. The first part, “Rivoluzione”, takes place in May 68, in which three friends participate, Carlo, Giuseppe and Lorenzo. They gravitate around the young violinist Laura, a determined activist.
In the second part, “Nostalgia”, we find the same friends 40 years later – it is no longer the same casting, with the exception of the excellent soprano Gabriela Legun. Gentrified and disillusioned, the trio meets in an art gallery. Each person revisits their past through their own prism, haunted by the ghost of Laura and the triangular relationship of which she was the instigator – a theme, incidentally, dear to Verdi. We summarize for you, because it’s often confusing.
Culture shock
In “Revolution”, Krystian Lada uses and abuses sixty-eight news films – CRS, batons, tear gas, paving stones… But at least the giant video which swallows up space is itself an actress in its own right, perfectly in sync with what is happening on stage. Which will unsurprisingly host a simulacrum of urban guerrilla warfare, glowing backlit lighting, wild crowds and red flags. There are nine (amazing) break, hip-hop and krump dancers, symbols of the urban revolutions led by oppressed minorities. It is in tune with the times…
From this chaos emerges Laura, to whom Georgian coloratura Nino Machaidze offers stratospheric vocalizations, set up for its final grand air like “Liberty Leading the People” like Delacroix. A cliché, one more, but it’s effective if not always subtle.
The trailer for “Revolution and Nostalgia” at la Monnaie.
After the excitement of the first part, which multiplied the layers excessively, the break, with “Nostalgia”, is brutal. The staging is almost non-existent., like the atmosphere of these art galleries of which there are so many, where the boredom of those who frequent them, rich but jaded, shines through. How far away he is, May 68. This minimum stage service, however, has the advantage of making Verdi even more present. There are of course the great arias. To name just one, the Australian soprano Helena Dix (Donatella), a wonderful actress, imposes her high notes with enjoyable facetiousness. But above all, what strength, what dark beauty in these magnificent instrumental solos, like this moving concluding “I Lombardo” performed on stage by Saténik Khourdoïan, konzertmeisterin of La Monnaie. Because if the revolutionaries of the 60s today have white hair, and if some were undoubtedly in the room, Verdi has not aged a bit.
“Revolution & Nostalgia”
Composed by Verdi
Direction musicale: Carlo Goldstein
Director: Krystian Lada
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