Comments on: Declaration of Bankruptcy? “L’Auberge du Cheval blanc” from the Opéra de Lausanne

By: ERNESTO G. OPPICELLI

ERNESTO G. OPPICELLI — Tue, 08 Feb 2022 10:17:03 +0000

Dear Mr. Peter, your words take effect on my mind and heart! Bravo, bravissimo: I am also grateful for your thought about the ‘golden operetta’ that ought to be re-discovered … there are many wonderful titles there and MaestroSalvi is doing something right about it: I know he will continue , I do hopehe may give us Suppé’s DONNA JUANITA as soon as possible.
All the best, Ernesto

By: Peter

Peter — Wed, 02 Feb 2022 17:54:00 +0000

If I write here in English it is only because most of the articles are in this language.
I hope Mr. Oppicelli (I thank him for and agree in most parts with his review) understands it as well.
Since I have not watched/heard this mise en scène (the descriptions and the photographs are already enough not to watch it) I can’t comment the orchestra and singers.
But what I can tell is the fact that already the translation from German to French destroys the atmosphere of this typical and idiomatic Austrian and – more precise – Salzkammergut operetta.
But to feel this you should have, of course, an affinity to Austria and this region at the banks of lake Wolfgang and your native language should preferably be German or at least should you have a feeling for different languages.
So, it doesn’t matter whether the singers of this French version are good or not, for me it is already an absolute no-go to sing it in this language; English maybe would be better but still doesn’t really work.
Of course, there are operettas which – concerning their style and atmosphere – suffer less from a translation.
E.g. Die Lustige Witwe (The Merry Widow) which is written in a refined and elegant style so that also a French translation is conceivable.
But this Benatzky operetta has to be in German!
And yes, it is absolutely stupid to think that you reach a younger generation with silliness and ridiculous lovelessness.
Unfortunately, exactely this has become very common in the world of operetta (and opera) as well.
And when I read the articles on this website, I have very often the impression that the writers agree with this (not so) “new” tendance. And I feel pity that most of the time the focus here lies on the slapstick revue operetta (preferably in the Berlin style, whatever this means) of the 20th century and the obsession with homosexuality in every possible and impossible situation.
Where is the magnificent “golden” operetta? There would be very much to discover or at least to restore into “original” versions (and to record it).
But you have to do such things with the necessary respect (which doesn’t exclude humour!) and with taste and a lot of joy.
And without that often seen sarcastic hint as if the producers felt ashamed of staging them…
In this respect, I am extremely grateful for all this excellent (very often historic) recordings (with really great singers and orchestras) we have. Otherwise my ears would starve to death…

By: ERNESTO G. OPPICELLI

ERNESTO G. OPPICELLI — Thu, 27 Jan 2022 12:53:12 +0000

Si l’on a respect pour les auteurs et leurs créations alors L’AUBERGE DU CHEVAL BLANC de Lausanne est roba da vomito – c’est du vomi. Jamais vu rien de pire (ah, oui, peut-êetre une VEUVE JOEYEUSE de Lyon et/ou Marseille). Tout y est à condamner, sauf les choeurs qui chantent avec brio. Cette représentation est vulgaire al 100 x 100 e io – purtroppo – j’ai eu le courage de voir tout le spectacle (devrais-je me gifler? J’aurais dû le faire au moment, mais je le ferai – promesso). Les interprètes sont èpouvantables oubliant la sympathie et le trait comique de l’opérette – ils obéissent au metterus-en-scène, n’est-ce pas, mais ils semblent le faire avec joie. Terrible! Léopold est irritant et ennuyeux. Il ne rappelle pas le cher Bourvil! Ah, non, vraiment. Gioseffa n’est pas Gioseffa et son chant ne donne pas aucun frisson même si elle chante un air se croyant la Callas. E la portalettere? Credete che io abbia degli applausi per lei? Pour moi elle n’est qu’une factrice qui flotte dans l’air à la ronde et joue avec le public comme dans un programme de la télévision – le public est dans une immense joie. Poveri noi! Bistagne est à oublier totalement – j’avais vu dans ce role le grand Aldo Fabrizi et alors avec lui – oui – c’était une vraie fête. Ah … si quelqu’un ne savait pas que l’empereur de cette hstoire était ‘gay’ il faut bénir les metteurs en scène qui ont le moyen de nous instruire du fait. Poveri noi, poveri noi.
La belle et simple opérette de Benatsky et compagnie est ici assassinée et il y a toujours qui admettent qu’il faut renouveler tout pour avoir les jeunes gens comme clients … mais les jeunes gens ne sont pas du tout sots … au contraire ils ont plus de respect que ces metteurs en scène – intelectuels de pacotille qui sont également très astucieux à gagner fior di quattrini … des belles sommes d’argent déboursées de la direction du theatre. Ces directions sont les vrais coupables.
Les théâtres ont bien appris les leçons de l’Opéra Comique parisienne, de la Komische Oper de Berlin, de la Staatsoper de Monaco di Baviera (Cherchez de rester en dehors de leur récente GIUDITTA!!!) … et avec orgueil nous donnent cet AUBERGE. Peccato, ma così va al mondo oggi … Per fortuna ho una buona collezione di cd e dvd che possono farmi dimenticare queste idiozie … Pensate, pensez, think! There is in the States, Ohio a theatre that has no difficulty in offering operettas just as they were created by their authors e gli applausi sono sempre tanti, calorosi e sinceri.
Perdonatemi se continuo a difendere le mie opinioni che altro non sono che il mio totale rispetto per gli autori … e lo ripeterò finchè avrò fiato.