Olyrix the lady of spades, asset of the anniversary season at the Lossu Olyrix<

L'histoire du Liceu de Barcelone en tant qu'institution commence en 1837 avec la création d'un établissement d'enseignement musical (nommé d'abord Lycée philodramatique et puis Lycée philharmonique) et de spectacle vivant (avec notamment des opéras donnés par les élèves). Dix ans plus tard -en 1847-, l'institution qui conserve son appellation scolaire "Liceu" devient professionnelle et acquiert des murs en construisant son propre théâtre sur la promenade de La Rambla au cœur de la ville. Aujourd'hui en 2022, la maison catalane, fière de ses origines, célèbre ses 175 ans par une série de concerts et de spectacles invitant des artistes renommés, ainsi qu'avec plusieurs expositions dont celle consacrée à Renata Tebaldi actuellement en cours. Et pour ouvrir cette année festive, la reprise d'une production classique et trentenaire de la maison est à l'affiche, La Dame de Pique par Gilbert Deflo datant de 1992. Sur le plateau, le ténor Yusif Eyvazov mène la distribution russo-catalane en faisant ses débuts scéniques in loco (après deux autres versions de concert précédemment). L'autre vedette du programme, Sondra Radvanovsky a cependant dû quitter la production pour des raisons personnelles (deuil familial) et céder sa place à Lianna Haroutounian dans le rôle de Lisa.

The staging of Gilbert Deflo is colorful, very classic and faithful to the booklet, with the sets and opulent costumes that place the subject of action in the Palais de la Tsarine Catherine II in Saint Petersburg towards the end of the 18th century.His approach in any case gives priority to Tchaikovski, but rather to the composer (Piotr) than to the Librettist (modest).Music thus becomes the main vector of drama in a framework steeped in gallantry, although the director succeeds in subtly emphasizing the superstitious and diabolical obscurantism of an unhappy Hermann in love and in the game, just like pallor and gloomof a deadly countess, effigy straight out of a horror film.Deflo breathes an air of modernism with luminous projections, illustrating the silhouettes on the backdrop or the optical effects of a tide in which Lisa drowns and puts an end to her romantic journey (between Hermann and Yeletsky).The large black walls, delimiting the scene and covering the tray in the changes of decor, are skilfully used for dramatic ends, in this case to plunge the spectator into the tormented spirit of the protagonist.On the contrary, the potential of the scene of the show at the beginning of the second act remains modestly exploited, especially the aspect of the abyme in which the ballet turns out to be little worn, clumsy and deynchronized, while the tsarine anthemwhich closes the scene remains less emphatic than expected.

Tenor Yusif Eyvazov is led in Hermann to spend amply vocal energy as soon as he entered the stage.However, if the insufficiency of voluminosity does not count among its faults, its expressive range however lacks relief.The projection is vibrated and tends to impose itself by relying excessively on the breasting voice, resulting in a sometimes shocking accuracy.The Russian diction is impeccable and supports its solid dramatic game, which is gradually improving and reaches its peak in the third act.This also supports vigor in vocal level also, while the line descends into the sphere of the median tuning for its comfort zone.The final air "Chto Nacha Jizn?"IGRA!»(What is our life? A game!) Confirms with a smooth, round and more expressive phrasing.

Lianna Haroutounian (Lisa) presents a robust and fleshy voice, with stable and posed serious bearing its large sounding sound.His chest voice flourishes and exceeds the orchestra without difficulty, but the musical expression struggles to vary.The textual articulation is clear and aligns with the theatrical performance of an innocent girl torn between her conjugal duty and passionate love which ultimately pushes her in the icy waters of the Pétersbourg neva.

Elena Zaremba undoubtedly camps a dismal countess convinced in particular by her scenic game.Her long dress and wig hides a consumed and exhausted body (which is revealed in the intimacy of her room), the macabre accomplice of Hermann's curse.It sports a pointed instrument, very little extensive but colored however with a blackened and dramatic stamp which is perceived in the seat.The Lents are suitable for its musical sensitivity, while the pronunciation of French is neat, while respecting the nasals.His air "I'm afraid to speak to her at night" seems to be less comfortably to be his tessitura of mezzo.

Rodion Pogossov made his debut in the Lisu, in the role of Yeletsky.Melidiously steeped phrases emanate from its round and light baritone, less flexible in vocalizing passages but solidly resonant.The text is neat and its air "ya go lioubliou, lioubliou bezmerno" (I love you madly) is filled with lyricism, although his acting actor denotes a proud man (like a Onéguine) than a young mansentimental.

Other homemade beginnings, those of the Polish baritone-bass łukasz Goliński who performs two roles this evening, Count Tomski and that of Zlatogor (the character of the "show").It displays an imposing and dark volume which finds its fair resonances in the bass.If the seat is sovereign, the top of its range is however fragile, with a braid projection and a flickering accuracy.

The trio of officers is made up of David Alegret (in Chekalinski), a lyrical and radiant tenor with a somewhat gross and clumsy pronunciation, of the bass Ivo Stanchev in mouse to the vaulted, nourished and dark, vocal authority, as well as theTenor Antoni Lliteres, singing with confidence and brightness his part of Tchaplitski.

The mezzo-soprano Lena Belkina (also for the first time at the LISEU) presents itself in the roles of Pauline and Milovzor.She sings "Milie Podrougi" (my dear friends) with great tenderness and finesse in phrasing, relying on a stable and nourished serious register.The Prilepa de Mercedes Gancedo is vaulted and velvety, enriched with a right projection, immaculate and vigorous.

Macha by Gemma Coma-Alabert is a clear-obscure mezzo with a developed range which does not lack volume and fabric, while the master of ceremonies of tenor Marc Sala struggles to find the stability of intonation, especially in the treble.Mireia Pinto is a thin and piercing voice governing, with a solid medium and a less intelligible pronunciation.

Maestro Dmitri Jurowski, from a famous family of chefs (with his father Mikhail and his brother Vladimir), comes up against many rhythmic problems between the scene and the pit, especially in the relationship with the choristers (the tempo in pit pitconstantly tends to accelerate).The license orchestra plays with conviction and energy as soon as the symphonic accents is opened, especially the brass section which thunders powerfully without ever derailing in the correctness and the rhythm.In addition to the concerns of interior and exterior synchronization, the choir is also faced with issues of emission and sound clarity.The faces are masked, the song is veiled by the orchestral mass, and the female desks often struggle with the accuracy in the summits.On the other hand, men manage to come out by two very moving and elegant cappella songs, with great sensitivity in the piano nuance (in particular the orthodox anthem which concludes the evening and begs for the soul of the unhappy Hermann after his suicide).

The public warmly salutes the artists at the end of the show, notably the chef and the musicians, as well as the staging team.