For this final revival of Nicolas Joël’s classic production, the Toulouse Opera unveiled an international caliber principal cast, raising expectations to a peak on opening night.With its grandiose sets, meticulously crafted costumes, and occasionally questionable wigs, the staging proves undeniably effective: clear, focused, and dramatically direct.
Under the spirited baton of Fabrizio Maria Carminati, the Capitole Orchestra delivered a luminous reading of the score. Special praise must go at once to principal flutist Sandrine Tilly, outstanding in her “duet” with Jessica Pratt during the mad scene.
The Capitole Chorus, in splendid form, projected both power and cohesion, filling the vast stage spaces with commanding presence.
Though their roles offer limited scope for individual display, Irina Sherazadishvili and Fabien Hyon fulfilled their assignments with poise and musical integrity.
In his brief appearance, Valentin Thill presented a valiant Arturo, confidently projected and vocally secure.
Michele Pertusi was a flawless Raimondo. The Italian bass’s marble toned voice conveyed natural authority without sacrificing emotional depth. A formidable performance from a towering artist.
Another giant hovered over the evening: the immense José Van Dam, who had passed away just days earlier. One could sense that his fellow Belgian, Lionel Lhote, was inspired by his memory. His Enrico Ashton proved merciless, yet the character’s darkness was balanced by a magnificent timbre, finely chiseled diction, and commanding projection. A genuine triumph, and a moving tribute to the master.
Following his acclaimed Werther, Pene Pati returned to bel canto repertoire. Perhaps opening night nerves took their toll in his first aria, “Sulla tomba,” where the voice showed a fleeting crack. He soon recovered, shaping an ardent and steadfast Edgardo. There is little doubt that the high notes will blaze even more brilliantly in subsequent performances.
Finally, Jessica Pratt confirmed her status as one of the foremost Lucias of our time. She dispatches the score’s formidable challenges with ease, drawing on her experience and deep familiarity with the role to craft a deeply personal portrayal. Never veering into caricature, her Lucia is profoundly human. A magnificent interpretation.
Bravo to the Opéra National du Capitole for a superb evening, and anticipation is already mounting for the equally promising alternate casts to come.
Direction musicale : Fabrizio Maria Carminati
Mise en scène : Nicolas Joel
Reprise de la mise en scène : Stephen Taylor
Scénographie : Ezio Frigerio
Costumes :Franca Squarciapino
Lumières: Vinicio Cheli
Reprise des lumières: Jacopo Pantani
Double distribution : 20, 21*, 24, 25*, 27** et 28* février, 20h | 22 février et 1er** mars, 15h
Lucia : Jessica Pratt, Giuliana Gianfaldoni*
Edgardo : Pene Pati, Ramón Vargas**, Bror Magnus Tødenes*
Enrico : Lionel Lhote, Germán Enrique Alcántara*
Lord Arturo : Valentin Thill
Raimondo Bidebent : Michele Pertusi, Alessio Cacciamani*
Normano : Fabien Hyon
Alisa : Irina Sherazadishvili
Orchestre national du Capitole
Flûte solo : Sandrine Tilly
Chœur de l’Opéra national du Capitole
