Ainhoa Arteta, sopran soloist in Le Dernier Jour d´un condamné by David Alagna.
Orchestra National de France´s Opera concert Saturday 29 September at Salle Pleyel, were highlighted by a line of great singers
. Karine Deshayes together with Roberto Alagna in Jules Massenet´s short opera La Navarraise
. And Ainhoa Arteta together with Roberto Alagana as brilliant soloists in David Alagnas Opera Le Dernier Jour d´un condamné, (The Last Day of a Condemned)
. All was splendid conducted by Frédéric Chaslin
.
Karine Deshayes, soloist in La Navarraise by Jules Massenet.
Review by Henning Høholt.
These singers was not alone on stage, in addition to Roberto Alagna, tenor. Karine Deshayes, mezzo soprano in La Navarraise and Ainhoa Arteta, soprano in Le Dernier Jour d´un condamné, participated a line of good male soloists, Marc Larcher, tenor, Rudi Fernandez-Cardenas, baryton, Nicolas Cavallier, bass-baryton and Thomas Dear, bass, and a great choire: Choeur Les Cris de Paris.
Roberto Alagna
La Navarraise
Powerful musicality opens La Navarraise at Salle Pleyel giving the introduction in to he bassbaryton opening of the short opera (app 45 min) by Jules Massenet. In addition to his usual musically language, Massenet has in this piece added Spanish feeling by the use of castagniettes. Karine Deshayes is outstanding in the titelrole. Roberto Alagnas “Romance” was very beautiful.
David Alagna, composer of the opera: Le Dernier Jour d´un condamné
David Alagnas Opera Le Dernier Jour d´un condamné: After the novel by Victor Hugo. Drame intérieur en deux actes et un intermezzo. Livret de Roberto, David et Frédérico Alagna d’après le roman de Victor Hugo.
A melodic romantic sound frame, opening with an introduction with Choire and Roberto Alagna. As I dont know this composer, or the piece, I was in the beginning not sure in what direction this opera would go and where it would end.
The history is placed in a frame of a large symphonic orchestra. With 5-7-9-11-13 strings, 8 percussion, 41 persons choire. A recitative is often opening up before the arias, duets or ensembles, and often finished directly with the last tune, without any musically ending, or after play. It is working well. Roberto Alagnas beautiful Italian Bel Canto voice is giving extra beauty to this piecetogether with the wonderful soprano Ainhoa Arteta.
It sounds clear to me that
David Alagna has been inspired by a lot of classical opera composers, and are using a lot of that inspiration to build up his work. However, I am not really finding
David Alagnas personality and I am missing some really good melodic tunes. I only hear copies from every where in the musical history, but well arranged and put in to
David Alagnas work. – That is not negative, as all composers are letting them inspire from what they hear, and are forming this in to their personality.
Le Dernier Jour d´un condamné, CD cover. Deutsche Grammophone.
In the middle of the opera is a choir sequence, which brings me a good new inspiration inclusive a speaking crowd, and from then on, I felt that this opera is lifted up to a higher level, ending with Wagner inspiration in the dark strings. It gave Roberto Alagna great singing lines. During the way I noticed several time lyrical and beautiful poetic parts
. – Between the two acts a beautiful intermezzo In the opening of the second act a demanding soprano solo. I must admit that in the end I was feeling amazed and enriched. A good feeling. In the end, every body thought it was ended with Roberto Alagnas demanding big aria. But then it started up again. The last little part was not nessecarilly needed.
Le Dernier Jour d´un condamné, can be found on a CD by Deutsche Grammophone.
