The Paris 2017 “Fantasio” Liveblogging Thread

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Welcome to the White Shirt live comment thread for Offenbach’s “Fantasio” (Paris/TdC 2017), staged by Thomas Jolly and conducted by Laurent Campellone.

Cast Listing:

Fantasio – Marianne Crébassa
King of Bavaria – Franck Leguérinel
Princess Elsbeth – Marie-Eve Munger
Prince of Mantua – Sébastien Bou
Marinoni – Loïc Félix
Flamel – Alix Le Saux
Sparck – Philippe Estèphe
Facio – Enguerrand de Hys
Max – Kévin Amiel
Hartmann – Flannan Obé
Rutten/Taylor/Swiss Guard – Bruno Bayeux

The production continues to be available through Culturebox, and through the German Culturebox YT Channel, French subtitles included.

Libretto: French pdf. And that’s about it. If you’d like a brief intro, there’s an English wiki.

315 thoughts on “The Paris 2017 “Fantasio” Liveblogging Thread”

  1. the fact that it makes me disproportionally happy to see a pit with a lot of woman just underlines that I have seen this far too few times still.

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  2. awww, this is very Lillle Cenerentola with the heart in the snow. Just the kind of mood I could use tonight. 🙂

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          1. yes, perfectly worked her brand of borderline maniac stage presence, and she is so, so funny in this one, too. (perhaps one for the list? I think I have the DVD in my archive)

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          2. no no , it will be either ruggiero or ophée … though i do have a wish list of VK belle hélène always hidden… and some ACA’s Medea…. but let s keep them underwrapped for now…

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          3. your pick, I’m sure we’d be happy with each of them (okay, Medea is kind of hard to stomach for the moms among is, perhaps, especially when ACA is acting).

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          4. (do you happen to have a working version of munich orphee ?)
            (and perhaps we can set schedule for the next 2 weekends instead of 1? like 1 for Orphee and one for Ruggiero? 🙂 )

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          5. Yep, Orphée working version would be at hand. I’m not sure I’ll manage to DB it tonight (still grading papers for tomorrow), but will try. And I’d happily queue the Coote Ruggiero for afterwards… I think that one is in full on YT?

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          6. how is grading coming along Anik? want some eggs? i declare the paper partially done, just typed the last sentence of the “Conclusion” (but still in patch-up mode). After egg, (though quite sick of looking at it), the goal is to read from the beginning.. and send out to all co-authors for first look…

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          7. Could I have my eggs in a vodka, or something like that…?
            Congrats on the conclusion!
            I’m still knee-deep in papers and a script that needs to be done for tomorrow.

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          8. only bottle i have is fish sauce 😉 (and it did go into the scrambled egg, along with tomato, brown mushroom, watercress, and asparagus..)
            good luck with them papers.. i back now to combing Section 2…

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          9. okay, I think your eggs beat the bottle, sounds yummy.

            I’ve finished grading for tonight and am now class-prepping for tomorrow and designing slides… I need more hours in my days!

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          10. Passed out last night over class prep, continued over breakfast, now off to teach. I would line up in our special spot with the thermos right afterwards, though.

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      1. of course i learned after that superb opera comique 300 yr anniversary video.. saw it again the other day, was sooo great, and exactly what this opera Fantasio is in style

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        1. yes, that was a wonderful show – ACA Marguerite, and I would never have looked into any Manon if it hadn’t been for Petibon’s performance there.

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          1. French Weekend. All I am missing is a walk through early Sunday-morning Paris and, later, a bottle or two of red with all of you in a tiny cornershop bistro, on battered chairs that don’t quite hit the pavement evenly, and with the cars going by closely, but not even noticing them.

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  3. well, at least the princess has good taste in companions, just like Jessica Rabbit: they have to make her laugh.

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          1. i was just thinking.. she was not casted for any of those CT roles at TCE, grrrrr . it’s not like there’s a lack of mezzos! You know what, even with P.Gardina! and Iervolino!!!!

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          2. Gardina and Iervolino are not on the French circuit, really? But Crébassa has announced she wants to sing more Handel!

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          3. L. Zazzo is not on French circuit either, didn’t prevent them from casting him… (i’m a bit puzzled though how less Dumaux is casted compared to PJ..)

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          4. PJ has the big media following. and he sings beautifully, and with a lot of style and intelligence (so does Dumaux), I just don’t really find him that convincing on the acting side. Dumaux, on the other hand, has amazing stage presence.

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        1. oh, but there are still so many pitfalls beyond train and veil in those dresses!
          (I got married in a white dress, too)

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          1. Your patterns are original at least: Hood – Hair – Headgear chain mail beats the old “tall, dark and handsome” 😉

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  4. One could think this opera is a statement against arranged marriages. There’s so much talk about it and everyone has doubts about it, even the King.

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    1. yes, I like how she had agency here, and how he, while he is interested in her, doesn’t act entitled. And te bickering is a nice touch

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    1. I’m still with the Governess telling the Princess that the Prince and Marinoni switched their roles?
      And now back to the monster train.

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  5. oh, new element to add to all the heavy tenor/soprano duets: instead of a seething, possessive baritone, how about a snarking mezzo puling face and saying things like “girl, you know that this is sexist BS; right? Dump him, dump both of them!”

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  6. At that voice, Elsbeth should have pried open the iron bars with her bare hands by now. (though she certainly is no slouch in the vocal department, either)

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    1. Yes, maybe it’s really a thing of page boy versus hero warrior and maybe the page boy physicality is so convincing because it is similar to how many young and lively people of any gender would behave unless socialized towards princess ideals? (I know this of course does not fit for everyone, and some are drawn to the princess ideals and others are not). But maybe here, it is not so far away from the singer’s own physicality and in that sense maybe it can even be called „natural“ (in line with what she said in interviews)? I don’t even see her physicality here as particularly masculine it’s just not particularly feminine either. Very unlike Barcellona, who seems to become a completely different person in her heroes roles, independently of styling.

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      1. Good question – To me, the physicality seemed stylized, most of all, going a little towards the grotesque, but perhaps with a n everyday physicality as the starting point for the stage?
        Barcellona is a good counter example (so is Connolly), they seem to start working from not necessarily an idea of manliness, but with a very different idea of balance and weight.

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          1. also aon opéra comique thing.
            he brings flowers, she says: you did NOT just put your hand there, take it away. For now:

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    1. I loved her in Figaro, but she gets more stage-time here. And the Offenbach is really a great fit for her at the moment. Daaaaaamn that prison duet!

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        1. All credit to Agathe. And to Crébassa’s Oh Boy Album, since the Offenbach on that one really had us listen up.

          How did Ed Jr. like it?

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          1. It was a perfect opera for littles. I’m going to remember it for when he’s older and we can watch it together. The music is delightful, the set is magical, and the story is light (with an independent princess who doesn’t get married off and a male protagonist who gets into and out of trouble with his brains).

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      1. I love how the ”light” music in this scene conveys such strong emotions. It’s so much more effective than dramatic shouting. And that ”pour un peu d’amor, je donnerais mes jours”, aww…

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        1. jeah, i remember that phrase “pour un peu d’amor, je donnerais mes jours” .. i think so much is also Crebassa’s effective acting and singing to deliver that line just so

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          1. ..just, so, sigh. But to make this less monothematic (if still connected): I love Munger’s acting in the moment when she recognizes he is the guy from the balcony, (“C’est lui”), reminds me of MMonroe’s “Josephine!” in Some like it hot.

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          2. “Josephine!”
            Classic.
            Yes, that moment stuck with me, too – very well done, that moment of recognition. And with all the talking about Crébassa and stances an boots an smoking because we are a predictable lot, we didn’t give enough credit to Munger’s convincing performance and the balance she finds between defiance and not making it cutesy. She still has some weight to it, with heartbreak just underneath the top layer. I wonder if her voice material will allow her to grow into a Pamina, but she’d have really good stage energy for that: emotive, but also with spunk.

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          3. But there isn’t that much in the repertory drawer, either – it’s princess, or ingenue (or both) or tragic queen or sassy maid.

            >

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        2. Yes, very good point! I’ve bee thinking about this a lot regarding Rossini, where the music often even seems nearly ironic in it’s jollyness and it’s super effective, like in the moment when Tancredi sees Amenaide crying and getting beside himself over that in the pre-final scene.

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          1. yes, it’s that weaving in and out – at times ironic, then again very involved, but it is moving in persepctive, keeping an interested audience on their toes – always already a comment (even if the comment is ‘awww’)

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      1. I was wondering if Crébassa has a contract clause that says “DMs in no matter what color in ALL shows” because she ends up in those a lot.

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          1. Yes, thadieu, what would you like? 🙂
            Because in my case, it would be mezzo Orphée (VK), or mezzo Ruggiero (Stuttgart).

            Liked by 1 person

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