Seven-beat measures, a score that makes great use of percussion – there are even some in the dressing rooms at the edge of the stage –, costumes designed by Yves Saint-Laurent in bright colours – like the colours of the stained glass windows of a cathedral –, a choreography that…
Seven-beat measures, a score that relies heavily on percussion – there are even some in the dressing rooms at the edge of the stage –, costumes designed by Yves Saint-Laurent in bright colours – like the colours of the stained glass windows of a cathedral –, a choreography based on jerky gestures and frenetic leaps: from the very first measures, “Notre-Dame de Paris” is a feast for the eyes and ears. Created in 1965, this ballet by Roland Petit retains an unchanged power, and we had the sensation of rediscovering it at the premiere, this July 1st, five years after it entered the repertoire of the Bordeaux Opera.
This is obviously due to the strength of the Victor Hugo novel from which it is inspired: this story where the gypsy Esmeralda seduces and is trapped, and where beauty and ugliness are not necessarily where we expect them. In this area, we must salute the performance of Oleg Rogatchev as Quasimodo, capable of jumping and turning while he maintains the same unbalanced posture for two acts. Bringing above all the touch of humanity behind the appearance of the monster by the strength of his gaze and the almost childlike energy that he gives to the character.
Flawless technique
Opposite him, Mathilde Froustey is an independent Esmeralda, a femme fatale, closer to Carmen than to the carefree teenager in the novel, but tender when she learns to love Quasimodo. For her first major role at the Grand-Théâtre, the star dancer imposed herself with the qualities expected of her: flawless technique, superb lines and a strong temperament.
First major role also for the young Tangui Trévinal as Phœbus, who shows here his heritage from the Paris Opera school: a broad, clean and noble dance. But the most impressive is probably the other star, Riku Ota, who embodies a cold, almost robotic Frollo, whose internal contradictions do not explode. Except by impeccably embodying the music of Maurice Jarre, tense, rhythmic and dramatic. The ballet of the Bordeaux Opera once again gives proof of its musicality, and it works.
Until July 12. From 10 to 60 euros. opera-bordeaux.com
