Oct 06 2008
Ageless and evergreen…French style
I have a thing for French opera. I always have, since I saw my first performance of Gounod’s Faust at the Colón many years ago. My expectations were not really high, as I was more used to the Italian drama that a Puccini or a Verdi would ooze. However, as the curtain was lifted on the first act, a new world opened before my eyes. The melodic lines, the finesse of the singing, the words, the dramatic tempo all melted in a magical feast for the senses. It was all there, subtle and enriching, like a three-course meal in a cozy French restaurant. Everything in its right measure, the perfect marriage of music and words, providing that the artists could accomplish their task correctly. That night they did.
And so it was that I developed a strong liking for French opera. I was not disappointed when I switched from Gounod to Massenet afterwards. First, there was Manon and, a few years later, Thaïs (which I have never been able to see live yet). Now, these past few weeks I found myself listening to the two works again after quite some time. Curiously enough, the excerpts I listened to were Act III of Manon, and Act II of Thaïs. In both these acts, the protagonists sing about youth and the aging process, albeit from a different perspective. There is young Manon urging her friends to enjoy youth, and to love, laugh and sing non-stop, because they will not be twenty years old forever and youth fades away only too soon, like love itself. Then, there is Thaïs bringing a different shade to the whole issue. She feels the emptiness of beauty with no purpose, and in fear asks her mirror to tell her she will be beautiful for good. (Dis-moi…que) rien ne flétrira les roses de mes lèvres, rien ne ternira l’or pur de mes cheveux, she sings as if she could seal a pact with the devil and never grow old. But her mirror is only too cruel and replies Thaïs, tu vieilliras!
So my reflection upon listening to this was…is youth an operatic obsession for the French? I could argue that, if that is the case, so are mirrors (Thaïs talks to hers and Gounod’s Marguerite does the same in Faust). However, I prefer to think that, more than an obsession — in fact, being forever young is an impossible aspiration for all cultures these days — youth for the French is a way of life. In this light, the prevailing idea would be to enjoy and use up your youth (and your life) while it lasts instead of regretting its passing in advance. In short, it is awareness of pleasure…enjoy what you have knowing that it will go away at some point.
This is my own interpretation of French wisdom, I must confess, but if I elaborate a little further, I can actually say I have seen the French really apply this rule. For example, a woman I once met in Paris told me: “we may not have a lot of money, but we do have lovely cars”. I would say that it is not only that. France has also made a very rich contribution to the realm of opera, with works that even today defy the passage of time, in characters that despite their fear or their knowledge have remained forever young.
W:
Francia…acaso existe lugar del mundo de lo artístico en el que no hayan contribuido sustancialmente?.
Se le oye la pasión, el tono acelerado con el que “cuenta” lo que le pasa. Hay discusiones en las que no puedo opinar, ya sabe que en mi caso respecto de la opera uso las categorias de E. Errazuriz, segun cuenta mi querida V. O en un escrito hecho en ocasion de su muerte, estas son ME GUSTA/NO ME GUSTA.
Por ej, Tosca me gusta, Manon me gusta, M.Butterfly Me gusta y La ultima puesta en el colon de holandes errante (kuitca escenografía) no me gustó……
Pase por mi espacio, es una orden.
Dear Emi,
I think you can give your opinion on all discussions. Music is, after all, about passion and feeling. Therefore, your categories are more than adequate.
I take the opportunity to thank you again for the Borges quote you posted on your website. As to the coffee that is pending between us, you only have to set a time and place, and I’ll be there to meet you and your significant other, whom I would also like to thank for the time devoted to the “friendship” endeavor.
See you around.
Regards,
W.
Lo que para mí sería un “must”:
*Mon coeur s’ ouvre a ta voix . Samson et Dalila
* Je veux vivre dans ce rêve. Romeo et Juliette
* Pour quoi me reveiller. Werther
* Adieu, notre petite table. (Pero ya ha nombrado a Manon)
Debería decir que, si debo elegir una ópera completa para escuchar, Werther ocupará el primer lugar. Y de terner que sólo escuchar un aria, “Mon coeur…” se llevará el laurel y mi escucha atenta. “Les pêcheurs de perles” también sería una buena marienda… para “pecadores”.
Me gustó leerte. Un beso
Dear Woolfian,
I agree with you. Passion is everywhere in French opera, and I enjoy that. There`s no other way to sing: “ainsi qu’on voit des blés les épis onduler, sous la brise légère, ainsi frémit mon cœur, prêt à se consoler, à ta voix qui m’est chère! La flèche est moins rapide à porter le trépas, que ne l’est ton amante à voler dans tes bras!”. My apologies, such a mesquin comment for your great text.
Kind regards,
Manon
Miss Fiamma,
How nice to have you around again! It is really a pleasure, so welcome back. I think your choices in the French territory of opera are really a “must”. You see, I even used to sing one of those arias you listed and, to be honest, French opera feels wonderful in the voice. Now, as to the full opera you mention, it is one of my favorites too, and I have what I believe to be a particular version, with Von Stade (yes, I have a weak spot for the woman, I confess) and Carreras when he was still in his prime. It is really a very good version of the opera, and I never even felt tempted to buy another one. You should definitely listen to it.
Les pêcheurs…only if Jussi Björling is singing…nothing like his exquisite technique and delicate voice to put the opera in the right tone.
I’m glad you liked this posting. See you around soon, I hope.
Regards,
W.
Dear Manon,
There is indeed no other way to sing love in its most self-contained expression…that aria has everything in it, it is now a classic in itself. And I am really abstaining myself from giving the name of the diva that now sings it in my head as I write this!
Thank you for your comment, it is not “mesquin” at all. I would even say that, these days, it describes pretty much the intensity of a recent love I had, and I must now let go. Again, nothing like the French to put the plight of love to music…
Best regards,
W.