The Opéra National du Rhin offers with its Opera Studio a concert version of Candide by Leonard Bernstein to the enthusiastic public gathered in the University Palace of Strasbourg, on the occasion of the 30th anniversary of the Carte culture system:
Two forewords introduce the situation. The first, that held by Guillaume Bidar, bassoonist of the Orchestra and union representative of the musicians, announces the holding of the show despite the support of the phalanx for the challenge demanding the withdrawal of the pension reform text. The second, that of the director of the Opera, Alain Perroux announces an absentee: the role of Candide, initially entrusted to tenor Damian Arnold, will finally be taken at short notice by Glen Cunningham, who has arrived at the Opera Studio this season (a replacement and even a double: for this second date and the day after at La Filature de Mulhouse).
The discreet statues of this renovated palace, including that of Leibnitz, sound like a commentary on the opera, responding in a way to the Candide of Voltaire from whom the story is inspired. For this concert version, the Orchester Symphonique de Mulhouse, conducted by the young and already experienced Samy Rachid, settles on a raised stage at the back of the University Palace of Strasbourg. The Choir of the Opéra National du Rhin dressed in black and classically installed behind the Orchestra easily manages to fill the acoustic space of the Palace. Slightly more technical passages such as Money, Money, Money show the result of good preparation by Choir Master Hendrik Haas, visibly very attentive to the balance of the voices between them and to accuracy. The evening performance is also that of Samy Rachid. His very fluid but precise gestures lead his direction, but his generally very lively tempo comes up against the very reverberant acoustics of the room on several occasions. The dynamic conductor manages to involve all the musicians in an effective version with a few shifts here and there, but each time arriving at the right port, reassuring the public who applauds spontaneously between the scenes.
Man of theater, cinema, but also singer, armed with a lavalier microphone which he could even do without, Lambert Wilson takes on the role of narrator in French between scenes. Without going into the burlesque excess of the version of Candide by Barrie Kosky at the Berlin Comic Opera (our review), the option here is more in the chic dramatization of a short narration of the story that joins the scenes together. Lambert Wilson also assumes the role of Pangloss in English with a fluid baritone voice which, despite notes a little shortened by lack of breath, a few liberties on the tempo and an improvable accuracy without however shocking, commands respect for his sung English . This theatrical role in essence suits him, but he blossoms even more when it comes to playing the cynical Martin with his forced and funny laughs.
Glen Cunningham assumes the role of Candide added to his originally planned role as Governor. The tenor confirms with his courage the power and the roundness of his treble, with generally a lot of vibrato but a very discreet breath. Taking his eyes off his tablet for a few moments, he embodies the role all the better, notably offering his moist eyes to Cunégonde and interpreting in a poignant way of despair. Nothing More Than This.
CANDIDE Congratulations to Glen Cunningham! Friday night, @GlenACunningham gave an unexpected and remarkable performance in the title role of the musical Candide! The same afternoon, the tenor took over the role at short notice. Toï toï toï for the last one in Mulhouse! pic.twitter.com/nSbYFj96AD
— National Opera of the Rhine (@Operadurhin) 19 mars 2023
The soprano Floriane Derthe, adorned in a shiny dress with bluish and gold hues, integrates into her interpretation of the role of Cunégonde games of gaze intended for the public. Its super high notes with a tight vibrato pass with a lot of ease. The difficult melody Quiet is overcome without tension or cheat sheet.
Liying Yang visibly enjoys embodying her role as Old Lady, with a caricatural Polish accent (with excessively rolled “r”, distorted vowels at the end of the word). Like her scenic ease, her round voice fills the space and supports the songs around her.
Mezzo-soprano Brenda Poupard deploys her vocal power to interpret Paquette in the palate, but with a slightly wide vibrato, losing the audibility of her consonants along the way (to focus on the melodious accuracy of the vowels). It’s the one she hangs out with: Maximilien, looking like a fake dunce in a blue suit played by bass-baritone Oleg Volkov, who has probably recovered his consonants to complement his naturally powerful low register. A moderately wide vibrato does not prevent it from being very intelligible.
A little in opposition and in his various roles (including that of Captain and inquisitor), the baritone Andrei Maksimov is the reserved student of the group with discretion in the ensemble songs, but to better deploy his great dynamic capacity. Tenor Iannis Gaussin is very expressive theatrically in Vanderdendur, clearly articulating his song in a voice with a clear timbre. Entertaining the public, he shows a great ability to manage the fast tempo imposed by his Have a good trip !
The public recalls and warmly applauds the artists, in particular Candide. The youth, gathered around this opera, on the set and in the room, has something to make you optimistic (and would even lead at times to dream that “everything is going for the best in the best of all worlds”).
