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OPERA TODAY ARCHIVES »

Performances

20 May 2005

Susan Graham in Paris

Blouson vert pomme, jeans bleus, corsage fuchsia, cheveux courts et roux couronnant une taille imposante, Susan Graham joue sans affectation l’Américaine à Paris dans les couloirs austères et académiques de l’Opéra Garnier. Dans quelques jours, elle interprétera le rôle de Sesto (Sextus) de La Clémence de Titus dans une mise en scène déjà représentée à Salzbourg en 1994 où elle était alors Annio (Annius). «J’ai eu la chance d’avoir de grands professeurs pour cet opéra, explique-t-elle, puisque j’ai tenu trois fois le rôle d’Annio alors que Sesto était chanté par Tatiana Troyanos, Ann Murray et Frederica von Stade. J’ai toujours dans l’oreille les inflexions et l’intensité de Tatiana. C’était ma première apparition professionnelle à Chicago, en 1989…»


La Clemenza di Tito (Graphic: Opéra National de Paris)

Susan Graham, la libre expression

Jean-Louis Validire [Le Figaro, 17 May 05]

Blouson vert pomme, jeans bleus, corsage fuchsia, cheveux courts et roux couronnant une taille imposante, Susan Graham joue sans affectation l'Américaine à Paris dans les couloirs austères et académiques de l'Opéra Garnier. Dans quelques jours, elle interprétera le role de Sesto (Sextus) de La Clémence de Titus dans une mise en scène déjà représentée à Salzbourg en 1994 ou elle était alors Annio (Annius). "J'ai eu la chance d'avoir de grands professeurs pour cet opéra, explique-t-elle, puisque j'ai tenu trois fois le role d'Annio alors que Sesto était chanté par Tatiana Troyanos, Ann Murray et Frederica von Stade. J'ai toujours dans l'oreille les inflexions et l'intensité de Tatiana. C'était ma première apparition professionnelle à Chicago, en 1989..."

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L'amour de Sextus

La critique de Christian Merlin [Le Figaro, 21 May 05]

évidemment, le terme "nouvelle production" n'est pas le plus approprié : nouvelle à Paris certes, cette Clémence de Titus vue par les époux Herrmann a déjà vingt-trois ans d'âge. Elle marqua en 1982 le début du renouvellement entrepris par Gérard Mortier à la Monnaie de Bruxelles, et dix ans après, en 1992, la meme mise en scène symbolisa sa reprise en main du Festival de Salzbourg : fil rouge d'une carrière, il n'était guère étonnant que cette production soit reprise à Paris dès la première saison de Mortier. Dans un décor nu, d'une blancheur rendue tour à tour éclatante et terne par des lumières remarquablement pensées, la mise en scène a les qualités et les défauts typiques des travaux de Karl-Ernst et Ursel Herrmann : une intelligence confondante, mais qui a tendance à verrouiller toute interprétation. L'Antiquité n'est présente que sous une forme néoclassique : celle de superbes arcades débouchant sur une statue d'ange dont les ailes prennent feu, celle aussi de la colonne brisée en meme temps que le pouvoir de Titus. Les costumes sont de toutes les époques et d'aucune, avec un coté très napoléonien pour l'empereur romain.

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