As far as regular spectators can remember, there haven't been many attempts to stage an opera on the Parvis stage. We saw one, a few days ago, 18 years ago. It was Puccini's Madame Butterfly, staged by the Poznan National Opera in Poland. Thanks to my archives. A show that wasn't really convincing, unless you took it at face value to appreciate the kitsch vision of Lieutenant Pinkerton with his long blond mane and his performance, which was more like a boat trip than a Japanese-style tragedy. In short, we left thinking that the Parvis stage probably couldn't stage an opera worthy of the name, whether for technical, artistic, or economic reasons.
And now the Parvis is offering us Tosca, by the same Puccini, in a production from the Théâtre Impérial - Opéra de Compiègne. No, not a live broadcast from the Metropolitan Opera in New York, as it regularly offers. But a real live version, on stage before our very eyes, ready to be amazed. The ambition of the proposal, the rarity of the event, and curiosity prevail: here we are, seated facing the stage hidden by the large red curtain. Unsurprisingly, we are not alone in making the trip, as the curtain opens in front of a packed house. Of course, we are neither at the Opéra Garnier nor the Opéra Bastille. Of course, we do not expect to fully experience the magic formula of the opera with its large orchestra, dream voices, rich cast, choruses, costumes, and breathtaking sets. It remains to be seen if Tosca can escape the big halls. From the first minutes, we notice that the voices are there, with Axel Fanyo in the title role, Christian Helmer as police chief Scarpia, and Joel Montero as Mario. The music too, with the Orchestre des Frivolités Parisiennes conducted by Alexandra Cravero. Even if the cast is small, even if there isn't a swarm of soldiers, police officers, nobles, villagers, and artisans to provide the chorus, curiously replaced by a soundtrack while everything else is very much alive. Even if the staging, sets, and costumes are contained by the modesty of the format, this Tosca starts to work. And the relationship between the singer in love with the painter and the police chief who will use his power to try to possess her comes to life before our eyes. A frankly delightful hour and a half that opens up beautiful horizons. An enthusiasm shared by the spectators of the Parvis, as evidenced by the loud applause at the end of the show.
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