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Performances

15 Sep 2004

Le Figaro Reviews Pelléas et Mélisande at Palais Garnier

Debussy tout feu tout glace La critique de Jacques Doucelin [15 septembre 2004] Une salle qui tousse à gorge déployée en été, hors de toute épidémie de grippe, au mieux manque d'attention, au pire s'ennuie. Voilà le résultat du transfert...

Debussy tout feu tout glace

La critique de Jacques Doucelin
[15 septembre 2004]

Une salle qui tousse à gorge déployée en été, hors de toute épidémie de grippe, au mieux manque d'attention, au pire s'ennuie. Voilà le résultat du transfert du Pelléas et Mélisande de Debussy du Palais Garnier à la Bastille. On connaît les mérites et les défauts de ce spectacle très "distancié", ultrachic et ultramode, du scénographe Robert Wilson inauguré en 1997. L'imagerie souvent sublime, les éclairages d'une virtuosité inouïaut;e et les quelques dessins de Bob Wilson projetés sur la toile de fond comme dans la scène de la grotte, éblouissent à juste titre le spectateur.

Servent-ils toujours le chef-d'oeuvre de Debussy ? C'est la question que pose la gestique sémaphorique des héros, parfois figés dans des postures aux limites du comique, inspirées d'un lointain Orient plus ou moins digéré et dont la signification demeure totalement absconse. Refuser tout réalisme dans un opéra aussi vibrant de passion charnelle et de désir moite est par trop réducteur. Le sommet du ridicule est atteint dans la scène de la tour ou l'abstraction géométrique extreme de Bob Wilson n'aide ni Debussy ni le public.

[Remainder of article here]

[Summary: The reviewer describes a production where the staging and vocal performers present an icy imagery that confronts the orchestra's rendering of fiery music. Hence the title, All Fire All Ice.]

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