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Honegger, Jeanne D’Arc au Bûcher: Soloists, Orchestra, Chorus, Children’s Chorus and Ballet of Teatro Colón. Conductor: John Neschling, Teatro Coliseo, Buenos Aires. 19.5.2009 (JSJ)

Director/sets/costumes: Roberto Platé
Choreography: Alejandro Cervera
Lighting: Antonio Cardarelli
Chorus: Salvatore Caputo
Children’s Chorus: Valdo Sciammarella

Cast:
Joan of Arc: Vera Cirkovic
Brother Domingo: Didier Sandre
Prologue: Soledad de la Rosa
Prologue (spoken): Vanesa Mautner
Herald of Justice: Fernando Chalabe
Bedel: Guido de Kherig
Porcus: Osvaldo Peroni
Ass: Gabriel Centeno
Heralds: Carlos Ullán, Juan Barrile, Norberto Marcos
Catherine: Mónica Sardi
Margaret: Fabiola Masino
Heurtebise: Gustavo Gibert
Mother-o'-Casks: Lucila Ramos Mañé
Cleric: Gabriel Renaud
Peasants: Mauricio Thibaud, Sebastián Sorarrain
Perrot: Luciano Garay
The Virgin: Mónica Philibert
A Priest: Fernando Grassi

The Teatro Colón’s Jeanne D’Arc au Bûcher

The Teatro Colón’s first production of 2009, of Honegger’s Jeanne D’Arc au Bûcher, should be something of a historic moment in the organisation’s life, albeit not as dramatic as many would like. It was the first production since 2007 – the “awakening from its long slumber,” as one local critic put it, after a disastrous 2008 – and the first under the organisation’s new head Pedro Pablo García Caffi, and as such for the more optimistically minded it should mark the beginning of the recovery of the Colón’s once former glory (of which more below).

The production was not new but a revival of a 2000 production (repeated in 2002), adapted to the smaller Teatro Coliseo. A semi-staged affair by the Buenos Aires-born, long time Paris-based plastic artist Roberto Platé, it comprises a framed central pedestal on which Joan stands about 3.5 metres above the stage throughout, with the drama, such as it is, enacted before her and behind a more than 100-strong seated chorus.

At the time I described it simply as stark but effective and have no reason to change this view – effective that is except maybe for Joan, who appeared less than comfortable, especially after the pedestal had been raised up in transfiguration at the end.

Perhaps it was that but despite the constant spotlight on Joan, she – the French-Yugoslav mezzo Vera Cirkovic – came across for much of the drama more as a “presence” than its pivot. The fervour and torment of her outpourings were palpable but one sensed a restraint and a lack of depth they might have had had she been more secure underfoot.

They were also a pleasure to listen to, as was the narrations of Brother Dominic, played by French actor Didier Sandre. Their diction was perfect, particularly in the faster passages, which usually trip up the non native language speaker, and Sandre gave the full range of emotions to his role.

The roles are too many to name individually but all were well played. A highlight was the suitably unpleasant Porcus of Osvaldo Peroni, while the Herald of Justice, dressed like a New York policeman, looked out of place, compared with the more “period” dress of the majority of the rest of the cast.

The chorus was generally good, although on occasions their timing was a bit out, and the orchestra was superb under Brazilian conductor John Neschling – a highlight of course the ondes Martenot played by Venezuelan born, French resident Pura Pénichet-Jamet, who studied under Martenot.

The Teatro Coliseo may not be the Teatro Colón, where tickets were highly sought after, but it was still disconcerting to see the opening night of this production no more than about two-thirds full. Whether the financial situation is responsible, or whether people are expressing their discontent with the situation of the Colón is unclear. The rumours doing the rounds do not paint a happy picture but García Caffi has said on numerous occasions that the theatre will reopen next year and his reputation is now on the line.

Jonathan Spencer Jones

Picture courtesy of the  Teatro Colón, Buenos Aires

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