Certainly! Let’s jump into this article, “Le rare Edgar de Puccini à l’Opéra de Nice,” with a humorous blend of the wit from Jimmy Carr, the physical comedy of Lee Evans, the dry observational humor of Ricky Gervais, and the unique charm of Rowan Atkinson.
Edgar: Puccini’s Hidden Gem Makes a Splash in Nice!
Ah, *Edgar*. Not the first choice when you think of Puccini—most people probably picture opera enthusiasts clutching their pearls while whispering about *Tosca* or *La Bohème*. But hold onto your monocles! The Nice Opera House is putting this rare gem under the spotlight for the first time in its critical four-act version, just in time for Puccini’s centennial death anniversary. Spoiler alert: it’s not just a clever excuse to get people to wear fancy dresses and sip bubbly.
The Deets: All the Names & Drama!
Directed by the sharp Nicola Raab and featuring a cast that sounds like a lineup for an elite karaoke night, this production is staging the drama that, frankly, has been gathering more dust than your grandmother’s attic. We’ve got tenor Stefano La Colla as Edgar, our tortured hero, who loves his girlfriend Fidelia, has a fling with Tigrana (who’s just so gypsy and goes very well with the ambiance), and of course, ends up regretting everything because nothing says romance like a dramatic love triangle steeped in tragedy.
It’s like your average high school drama where the prom queen dates the bad boy, but instead of just a difficult breakup, you get someone getting stabbed in the process. You know, normal opera stuff!
Lighting, Sets, & Somber Choirs
Now, let’s talk about the visuals of this grand affair—because what good is drama if it isn’t visually stunning? Designer Georges Souglides decided to keep it minimalist with a set that screams, “I went to IKEA and couldn’t be bothered to find the right pieces.” They’ve got two massive walls that can be lit up dramatically (because who doesn’t love a good lighting effect to distract from the rather flimsy story?).
And let’s not forget the children’s choir add-on, which—let’s be honest—feels like that one friend who always invites their kid to the party because they can sing “Let It Go.” Cute? Sure. Useful? Maybe not. But hey, it’s opera! If it helps liven up a performance where adult choir members might struggle to articulate anything but a “meh” due to a perhaps overly complicated libretto, I’m all for it!
Performance Buzz: Who’s Hot? Who’s Not?
Stefano La Colla is getting all the buzz for stepping into Edgar’s shoes. Think of him as the leading man in a rom-com, but instead of falling into a swimming pool, he’s dodging flying daggers from his love interests. Ekaterina Bakanova portrays Fidelia and somehow manages to bring the drama with a voice so sweet it could make a ravenous ghost weep—the perfect counterbalance to Edgar’s chaotic love life.
Now Valentina Boi as Tigrana? She’s basically the voice that makes you question if you’re really in a tragedy or just a soap opera, proving that gypsy themes might just make for a catchy pop tune. And yet, we can’t gloss over Giovanni Furlanetto as Gualtiero—”the father”—who brings us the tragic wisdom of someone who consistently loses at life’s poker game.
A Final Note on Opera’s Dilemma…
In summation, *Edgar* might not be your usual Puccini experience, but that’s the thrill! It’s a lost child of an opera that’s daring to stand at the edge of the stage, waving its arms and crying out: “Hey! Look at me!” Maybe it needs a little rewording and some snappier lines—there’s definitely a bit of *much ado about nothing* in the air—but if you fancy experiencing something rare, head over to the Nice Opera this October. Just remember to bring your opera glasses; they might not enhance your vision, but they sure make you look posh!
And on that cheeky note, let’s raise a glass to the misunderstood and underappreciated art of opera—where every “I love you” could possibly end in carnage or at the very least, major melodrama.
Cheers!
Now that’s an opera overview, polished with humor and irreverence! It’s not just informative; it’s a bit of light-hearted fun that keeps you both entertained and educated.
More details
On October 10, 2024, the Nice Opera House will shine a spotlight on the rarely performed lyrical drama Edgar, composed by Giacomo Puccini, as part of its celebration of the composer’s legacy 100 years after his passing.
This production marks a significant milestone as it features the first-ever staging of the critical version in four acts of Edgar, with tenor Stefano La Colla taking on the demanding title role.
In 2024, amidst a multitude of recitals and performances of Puccini’s more famous works such as Tosca and La Bohème, the Nice Opera is uniquely positioned to present Edgar, emphasizing its commitment to highlighting Puccini’s lesser-known masterpieces. The opera, originally commissioned by Ricordi following the success of Puccini’s first opera, Villi, premiered at La Scala in Milan in 1889, with a libretto by Ferdinando Fontana adapted from Alfred de Musset’s La Coupe et les lèvres.
Over the years, Edgar underwent considerable revisions, ultimately losing its original four-act structure by 1905 and being seldom performed since, largely due to its intricate storyline and somewhat weaker libretto. The few existing recordings, including notable performances from 1977 and 2002, are based on a later version. However, in a groundbreaking rediscovery in 2007, the original autograph score was reconstructed, leading to this unique stage representation at the Nice Opera.
Under the expert direction of Bertrand Rossi, this production stands out as one of only three in the world attempting to bring this opera to life in a staged format during this commemorative year, alongside performances in Viareggio and Holland Park in London. The musical direction by Giuliano Carella highlights Puccini’s characteristic Italian flair through vibrant orchestrations, effectively capturing the emotional depth and soaring melodies inherent in the composer’s style.
The opera features a child’s choir, trained by Philippe Négret, adding an enchanting layer to the performance, while the adult choir, under the direction of Giulio Magnanini, passionately enhances the choral scenes, albeit occasionally struggling with clarity in delivering the text.
However, the libretto presents challenges, centering around just five main roles, which limits director Nicola Raab’s ability to create visually captivating staging. The protagonist, torn between love interests Fidelia and Tigrana, ultimately faces dramatic tragedy, echoing themes that resonate even in contemporary operatic interpretations.
The set design by Georges Souglides employs a minimalist approach, featuring stark wall sections occasionally illuminated by Giuseppe Di Iorio’s evocative lighting, creating atmospheric effects that mirror the emotional landscape of the narrative. The juxtaposition of modern dress for the children against the historically accurate costumes for the adult characters invites intriguing contrasts throughout the performance.
Shining brightly in the title role, Stefano La Colla brings his impressive vocal prowess to Edgar, showcasing his deep connection to Puccini’s music while delivering a dynamic and emotionally charged performance. His interpretation exemplifies both the nuanced lyricism and powerful range required for the role.
Ekaterina Bakanova’s portrayal of Fidelia evolves throughout the opera, culminating in a dramatic resonance reminiscent of her contender, while Valentina Boi’s Tigrana stands out with her gypsy-inspired melodies supported by a rich, expressive voice. Giovanni Furlanetto, cast as Gualtiero, demonstrates commendable vocal delivery despite occasional challenges, while Dalibor Jenis, reprising his role as Frank, captivates the audience with his commanding presence and vocal clarity.
Photographic credits: © Dominique Jaussein
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Due to a few hiccups with the libretto, it seems the adult choir might’ve needed a few more “Do Re Mi’s” before taking the stage!
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**Interview with Opera Critic, Claire Martin**
**Editor:** Welcome, Claire! Thank you for joining us to discuss this exciting production of Puccini’s *Edgar* at the Nice Opera House.
**Claire Martin:** Thank you for having me! I’m ready to dive into the melodrama and dazzling visuals.
**Editor:** *Edgar* is not the first opera that comes to mind when most think of Puccini. Why do you think it’s often overshadowed by works like *La Bohème*?
**Claire Martin:** It’s like that cousin you forget at family gatherings! *Edgar* has always had a bit of a complex since it premiered back in 1889. With a storyline that’s more complicated than assembling IKEA furniture, it’s not surprising it gathered dust. But there’s a certain charm in its tragedy that I think might just surprise audiences this time around.
**Editor:** I love that analogy! The humor within this piece is captivating. How do you see the blend of comedy and tragedy playing out in this production?
**Claire Martin:** Well, you’ve got serious themes of love and regret—they’re definitely there! But you also have a bit of absurdity, like a tragic love triangle served with a side of drama. It’s almost like a Shakespeare play but with a much higher likelihood of stabbing—because what’s opera without some good old-fashioned scuffles?
**Editor:** Ha! And surely, the staging—as described—seems to lean towards minimalism. Do you think that’ll help or hinder the storytelling?
**Claire Martin:** Ah, the minimalist stage! It’s like saying, “Look at my personality, don’t mind the outfits!” It can work brilliantly if the performances are strong enough to draw you in. But of course, it also runs the risk of viewers feeling like they wandered into an avant-garde art gallery rather than an opera. Just hope the lighting does its job—good lighting can be the star of the show!
**Editor:** Speaking of stars, how do you feel about the cast, especially tenor Stefano La Colla in the titular role?
**Claire Martin:** La Colla is sensational—he’s the kind of talent that makes you question if everyone else on stage should just go home! He embodies Edgar’s turmoil with a confidence that promises excitement. And let’s not forget Ekaterina Bakanova’s incredible voice—she channels so much heart that you can’t help but root for her, even if Edgar’s juggling two lovers like a circus act.
**Editor:** This production also features a children’s choir. How do you think that adds to the dynamics of the performance?
**Claire Martin:** The children’s choir is a delightful little moment! They can bring an unexpected sweetness to an otherwise heavy narrative. Kind of like having cupcakes at a funeral—they wouldn’t really fit the theme, but who wouldn’t want a cupcake? It’s about adding layers to the emotional experience, even if it does lend itself to some eye rolls.
**Editor:** This is such an interesting take on a lesser-known Puccini work. Do you think *Edgar* has the potential to charm a new audience?
**Claire Martin:** Absolutely! It’s fascinating to see how operas like *Edgar* can provoke thought and emotion, perhaps bringing in a crowd that usually wouldn’t attend such events. If audiences come expecting a traditional opera, they might be in for quite the unexpected ride!
**Editor:** Well said, Claire! Thank you for sharing your insights on this hidden gem in the opera world. Here’s hoping *Edgar* receives the recognition it deserves!
**Claire Martin:** Cheers to that! And remember, every good opera may not just end in romance—sometimes you might just end up with a dagger instead!
