Massenet,  Thaïs: Concert Version, Orchestra and Chorus of Gran Teatre del Liceu. Conductor,  Andrew Davis, Liceu de Barcelona,  8.7.2007 (JMI)

Cast:
Thaïs: Renée Fleming
Athanael: Franck Ferrari
Nicias: José Bros
Palemon: Stefano Palatchi
Crobyle: Olatz Saitua
Myrtale: Marina Rodríguez-Cusí
Albine: Francisca Beaumont
La Charmeuse: Sandra Pastrana
Un Serviteur: Luis Cansino

 

Thaïs has not enjoyed the popularity of some other almost contemporary works from Massenet, like Manon and Werther. The fact is that the most inspired page of the opera is without doubt the famous Meditation, written - as all the opera lovers know - for violin with harp and orchestra accompaniment, whereas the strictly vocal pages do not have same degree of inspiration. There is also no doubt that this opera needs an exceptional artist in the title role and we have been very fortunate that Renée Fleming has decided to bring it to  life offering this concert version in a European tour  covering some of the major houses. The tour began at Paris Châtelet in April, continued through Vienna and Covent Garden and ended in Barcelona with  the American diva's debut at  the  Liceu. Spain  is a country of contrasts and it is worth noting  that, after many years of complete absence from our theatres, we have now this Thaïs  programmed twice for next season (Oviedo and Las Palmas).

On this occasion the musical direction was in the hands of Andrew Davis, the third maestro conducting Thaïs in this European tour. Christophe Eschenbach and Michel Plasson preceded  him in Paris and Vienna. His reading seemed to me very convincing, much better than in other occasions when I have heard him in German repertoire. Some people believe that French opera needs a French conductor and I fully disagree with this idea. What is important is to be able to believe in this music and in this respect I must say that conviction was always present in Maestro Davis's reading. He obtained an outstanding sound from the Orchestra Simfònica del Gran Teatre del Liceu. I should also mention the fine interpretation of the famous Meditation by soloist Kai Gleusteen and the fact that the Liceu Chorus showed all of its high quality yet again.

It is clear that the success of this opera depends on the protagonist Thaïs, the repenting courtesan transformed into Saint Thaïs, holy patron of repented prostitutes, whose commemoration happens on October 8, according to Ekkehard Pluta’s program note. The great American diva Renée Fleming took the title role and  a friend said to me in the intermission that she did not know whether she liked the gorgeous red dress that she wore for  first part of the concert more than the diva herself. The truth is that as far as beauty, elegance and stage presence go,   Ms. Fleming was immense. There is no question that she is a great artist and singer, who delighted the audience with her acting  -  she was the only member of   the cast not using a score and moving graciously on stage - and vocal interpretation. From  her initial aria “Qui te fait si sévère” and mainly the  big Mirror Aria “Dis moi que je suis belle”  her voice always had beautiful colour, with great pianissimi, being able to climb easily to the high D, although the sound was too metallic when she reached it. Although she was an outstanding Thaïs, I must say that I preferred her unique Arabella, given in Zurich a few weeks before. I thought that her Thaïs needed more contrast between the two faces of the character, the courtesan and the repented saint and having said this, I also had the feeling that her extraordinary elegance worked against the necessary credibility for  this so romantic heroine.

The other important character in the opera is the monk Athanael,  whose characterisation has been the biggest problem for this concert tour. At Châtelet his interpreter was  Gerald Finley and for  the rest of the tour Thomas Hampson was announced as the monk, although lamentably he only sang in Vienna. In the Liceu he was replaced by the Frenchman Franck Ferrari who saved the concert, although he was not quite able to match up to a Thaïs like Renée Fleming.

José Bros was a luxury as Nicias. It is unusual for a tenor of his quality to sing a more or less secondary part like this one. His voice is developing in a very natural and interesting form, as a consequence of having selected his repertoire with great intelligence, a fundamental quality sadly not very common among all  singers.

In the smaller parts Stefano Palatchi was a fair Palémon,, Marina Rodriguez-Cusí (Myrtale) was pleasant and musical. Olatz Saitúa (Crobyle), was inaudible in some moments and Sandra Pastrana was below her best as La Charmeuse. Francisca Beaumont was a good Albine.

El Liceu was not exactly crowded for this performance. Sunday in July and an outside temperature over 30 degrees are not the best incentives to go to the theater at 5 o’clock in the afternoon although many well known aficionados came from different parts of Spain. Renée Fleming's first appearance was received in triumph and  she literally had the Liceu at her feet. José Bros and Andrew Davis shared the success too, although at a rather lower level.

Ms Fleming's dresses were a topic in every conversation after the show. For the first time in my experience, the program announced the dress designer, Angel Sanchez, and in Paris it was  Dior who  had the privilege of such a wonderful model.

In summary, with regard to sheer glamour Renée Fleming is undoubtedly  the greatest superstar these days, while as a singer there are very few – if any at all – who compare with her favourably.
 

José M. Irurzun