The Conductor William Christie has done a lot to promote the operas of Rameau and to make them relevant to a modern audience but this production from Paris Chatelet, produced by José Montalvo may be a step too far. We see a three-tiered stage: the bottom tier contains mostly human beings while the upper two levels contain mainly videos and animations, although there is some interaction on these levels between the animations and the live performers. This may have looked impressive on stage but it is totally pointless on film because all the viewer sees is people on film interacting with people on film. Nearly everything is in long shot because that is the only way that the viewer can see all three levels simultaneously. You may want to concentrate on the live action at the bottom of the screen but you are continually distracted by rampaging rabbits, lions, tigers, horses, hominoids and a railway train flashing across the upper two-thirds of the picture, all interacting with a live troupe of breakdancers. Don't ask me about the plot. I don't think there is one.
If my description seems confused it is because I was confused and extremely irritated by this silly production. There is much good vocal music in this opera and it is admirably performed, particularly by the mezzo Stéphanie d'Oustrac as Argie and tenor Topi Lehtipuu as Atis. Even during the vocal numbers we have to put up with the distraction of a breakdancer spinning on his head or a dancer waving his arms about as though he is giving a sign-language interpretation what is being sung.
The only part of the production that I found visually attractive was Stéphanie D'Oustrac in pink thigh-length boots and hot pants. The version I saw was sub-titled across the bottom third of the screen, effectively blotting out the only part of the action that I was interested in. I wish the person who did the subtitling the best of luck when they next resit their GCSE French.
If my description seems confused it is because I was confused and extremely irritated by this silly production. There is much good vocal music in this opera and it is admirably performed, particularly by the mezzo Stéphanie d'Oustrac as Argie and tenor Topi Lehtipuu as Atis. Even during the vocal numbers we have to put up with the distraction of a breakdancer spinning on his head or a dancer waving his arms about as though he is giving a sign-language interpretation what is being sung.
The only part of the production that I found visually attractive was Stéphanie D'Oustrac in pink thigh-length boots and hot pants. The version I saw was sub-titled across the bottom third of the screen, effectively blotting out the only part of the action that I was interested in. I wish the person who did the subtitling the best of luck when they next resit their GCSE French.