SEEN AND HEARD INTERNATIONAL

Massenet,  Thaïs: Soloists, Oviedo Filarmonía and Chorus Ópera de Oviedo, Conductor: Alain Guingal,   Teatro Campoamor de Oviedo. 18. 10. 2007 (JMI)

 

Original Production from  Opera de Roma

Directors: Alberto Fassini (Original) Joseph Franconi Lee (Revival)
Stage Sets: Carmen Castañón following Pier Luigi Samaritani's original idea.
Costumes: Pier Luigi Samaritani.
Lighting: Franco Marri.

Cast
Thaïs: Pamela Armstrong
Athanael: Ángel Ódena
Nicias: Reinaldo Macías
Palémon: Stefano Palatchi
Crobyle: Sandra Fernández
Albine/Myrtale: María josé Suárez
Servant: José Manuel Díaz
L’enchanteureresse: Olatz Saitúa

Although Thäis doesn’t enjoy the popularity of Manon and Werther, both practically contemporaries, it has suddenly returned to opera houses in Spain. Last July it appeared in a concert version at the Liceu of Barcelona, now it turns up in Oviedo and within months it will be performed in Las Palmas. Musically, Thaïs never quite reaches the quality of the other Massenet operas, although it has many beautiful and popular passages, especially the famous 'Meditation.' The problem is that the opera needs an exceptional soprano in the title role and an important baritone. While Barcelona justified its revival with the presence of Renée Fleming and while  in Las Palmas they are  betting on Inva Mula’s debut, Oviedo decided to offer the work without big names  - a surprising choice which partly explained the audience's  welcoming but unenthusiastic response to it. It is very difficult to offer Thaïs without a first rate  soprano  blessed with  beauty and glamour and Renée Fleming meets every requirement, as might be also the case with  Anna Netrebko, Anja Harteros and possibly Inva Mula.

The production was directed by Joseph Franconi Lee, based on an original idea from Alberto Fassini and might best be described as allegorical. Sets consisted of sculptured groups of nymphs outside Nicias'  palace, a Botticelli shell with Venus in Thaïs' room and religious motifs scattered throughout the temple. Religious aspects of the plot were accentuated by an empty stage, while sensuality was marked by lush vegetation and the use of actor-dancers. The Costumes were attractive and colourful and there was outstanding lighting:  while the stage direction doesn’t go much beyond getting singers on the right marks, this is a serviceable production.

In Barcelona’s Thaïs we had as Andrew Davis as conductor, who proved to be one of the pillars of the performance. In Oviedo the conductor was Alain Guingal, an  undoubted guarantee of competence, but not exactly enough to inflame this music.  The orchestra was the Oviedo Filarmonía, known until very recently as Orquesta Sinfónica Ciudad de Oviedo:  orchestra has clearly improved under the baton of last maestro Haider since last year, although it has still some way to go. The best sound came from cellos and double bases, but the leader's  interpretation of  the famous Meditation was accurate than glistening. The Ópera de Oviedo chorus got off to a  shaky start in the first act but improved for the rest of the opera.

Thaïs was American soprano Pamela Armstrong, a good singer and actress, although rather short of triumphant in the role. Her biggest problem seems to lie in a weak low register although the rest of the voice is much better. She sang the mirror aria accurately without  not much brilliance and was at her  best in the final duet with Athanael.

 

Catalan baritone  Ángel Ódena was a reliable Athanael, better than Franck Ferrari in Barcelona, but he lacks the vocal heft and brilliance to give all the necessary weight to the tormented monk. Such an important part must have been a real challenge for him and certainly deserves praise for his performance particularly  for outstanding singing  in the final scene with Thaïs.

Cuban tenor Reinaldo Macías did not offer excessive interest as Nicias. The voice has a certain quality in the middle range, but becomes too tight higher up and he pushes it too hard. It's  probably  unjust to make comparisons, but in Barcelona we had José Bros.

Of the secondary characters Stefano Palatchi was a reliable Palémon, Sandra Ferrández was an appropriate Crobyle, while Maria Jose Suárez was better as Albine than as Myrtale. Jose Manuel Diaz was little coarse as the Servant and Olatz Saitúa offered musicality and very little voice in the Charmer.

There was a full house  as usual in Oviedo and the only applause during the performance was for the Meditation. At the final bows, Ódena and Guingal had the most enthusiastic applause.

To end, I wanted to add that during the Meditation  Thaïs gets new robes and I assure you that what with that, with her veil and with her bouquet of flowers, she looked exactly like Floria Tosca entering Sant’Andrea della Valle.

 

Jose M Irurzun