At the Paris Opera, Gustavo Dudamel and Robert Wilson offer the coronation of the "Turandot"<

La musique est à peine retombée que le public, dressé, jette une clameur d’enthousiasme : Gustavo Dudamel vient de diriger, samedi 4 décembre, avec la Turandot de Puccini mise en scène par Robert Wilson, le premier ouvrage lyrique de son mandat de directeur musical de l’Opéra de Paris. Un rite de passage qui a confirmé tous les espoirs soulevés en 2017 dans ce même Opéra Bastille par le succès de La Bohème, déjà de Puccini – on dit qu’il aurait accéléré la décision d’engager le chef d’orchestre vénézuélien à la succession de Philippe Jordan. Le maestro aux bouclettes brunes, désormais partiellement lasurées de blanc, patron du prestigieux Orchestre philharmonique de Los Angeles, assoit ainsi sa position à la tête de l’institution.

Sharp, devouring, but also flexible and powerfully efficient, Dudamel's fawn wand has vision and breath, capable of covering a partition that goes from intimism to almost large.A communicative inspiration: the opera orchestra, inventive and virtuoso, as well as the choirs, impressive despite some discrepancies with the pit, testify to the beautiful work carried out by the new chef, Ching-lien Wu.At 80 years old since October 4, Robert Wilson, sitting at the famous Rang 13 of the Bastille Opera, seems petri of eternal youth.Like its ritualized theater, vertigo of infinite and silence, geometries and lights cut with high dark sliding panels such as blades.Twenty-eight years after his Madame Butterfly-Puccini already, but Japan, not China-, the American in Paris won a great master of time and space.

Thinking about Little Dahyun Wanting So Desperately to Speak to Little Tzuyu in Chinese when they first put it… https: // t.CO/BVZRLZ3AHX

— lauren Tue Jan 19 18:23:22 +0000 2021

Admittedly, the production of this Turandot, created in 2018 at the Teatro Real in Madrid (transposed to DVD in 2020 at Bel Air Classiques), was taken up on the stage of the Canadian Opera Company of Toronto where a certain Alexander Neef then officiated, whowas not yet the director of the Paris Opera.But the work seems to have been thought of for the vast plateau of Bastille, with its multitude of singers in period costumes - crowd in black clothes, capable of blending into darkness, imperial guard in magnificent samurai armor, sumptuous outfitsof mandarins and scholars.

The story of this eastern princess, who, like a sphinge, has the heads of her contenders subjected to the initiatory test of three puzzles cut one by one, is naturally part of the Wilsonian gesture, his direction of hieratic actor andcodified, heiress of nô, her hypnotic stism, the absence of direct interaction between characters frozen in proscenium in a face-to-face with the public.In turn exhibited from the limbo or plunging there, the characters oscillate, tremble, turn on themselves, drawing choreographies of signs.In the antipodes, the death of Liu, the head bowing on the shoulder, in a fragile and poignant grace, and the brilliant and monumental arrival of Turandot, red silhouette in levitation on a dizzying mobile gateway a few meters from the ground.

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