Two Py, Not Square (Dialogues des Carmélites and Hamlet)

Stage director Olivier Py is busy all over Europe these days. Videos of two of his latest productions can be viewed online (and they're not on YT, so they won't magically disappear without warning.) On a post over at the Parterre Box*,  redbear commented:

...his Theatre des Champs-Elysees “Dialogues” [is] a “perfection rarement atteintes” and the “Hamlet” in Brussels last month “brillante.”

At Arte Live Web, where you can watch a video of Dialogues des Carmélites (featuring French divas Véronique Gens, Sophie Koch, and Patricia Petibon as Blanche) for about six more months, we learn:

Francis Poulenc's composition is based on the eponymous drama by Georges Bernanos and is an outstanding masterpiece of French opera of the 20th Century. The historical setting and the extraordinary protagonists make "Dialogues of the Carmelites" as an impressive allegory on human existence, death and the relationship of people to each other and to God.

Then check out Ambroise Thomas' Hamlet at La Monnaie; and not just because there's a nude barihunk (thank you, barihunks.com). It also is an opera we don't get to hear that often, and it's an impressive production. Marc Minkowski conducts, and Stéphane Degout is the wonderful Hamlet (he was a super Pelleas last season, too); Degout's brief nakedness adds a special creepiness to a mother giving her grown son a bath. Mathieu Rémy as Laertes is a tenor to watch out for, too. You can see the full opera on France's Culturebox until June 2014. 

My fluency in French is slightly below survival level, so even though I know the basic plot of each opera, I found these synopses from the Metropolitan Opera very helpful:

Hamlet

Dialogues des Carmélites

*A rather interesting (and impressively civil) discussion regarding pros and cons of Regieoper.

Wagner: Der Fliegende Holländer – 1985 Bayreuth (Part 2: I Never Sang for my Father)

I would call this production of Der Fliegende Holländer ur-Regie. It doesn’t look like what we think of as regie, with its detailed period costumes and décor; but there is definitely a firm director’s hand guiding the plot. Harry Kupfer has a strong point of view that does not coincide exactly with Wagner’s original ideas. However, he makes a convincing case for his interpretation.  And he clearly worked closely with the singers on their characters. Each one (including each member of the chorus) has a strong character and an individual take on the action. Kupfer also choreographs many of the actors’ movements to coincide with musical gestures. It’s effective and not obvious or clichéd—I didn’t really notice the synchronization until the second or third viewing. In addition to the versatile set, the lighting enhances the action well.  The three acts are played without a break, per Wagner’s original intention.* 

Lisbeth Balslev has a bright, full, and clear voice. She sings with warmth (and an occasional appropriate chill); and fortunately, she lacks that stereotypical Wagnerian wobble that puts so many people off opera. She is a superb actor, too, and does “neurotic” well. I read recently that she studied nursing before starting her opera career. She apparently drew on her experience working in a psychiatric ward for her gripping portrayal. Senta is hunted, haunted, and obsessed. I just wanted to hug her and comfort her.