Name: La Princesse Jaune
Start: 2021-10-01T00:00:00.000Z
End: 2022-05-22T00:00:00.000Z
Location: Théâtre Municipal Raymond Devos

Organization

Conductor

Laurent Campellone

François-Xavier Roth

Stage director

Géraldine Martineau

Assistant Director

Elizabeth Calleo

Set designer

Salma Bordes

Choreographer

Sonia Duchesne

Lighting designer

Olivier Oudiou

Costume designer

Léa Perron

Singer

Soprano

Jenny Daviet

Léna

Tenor

Sahy Ratia

Kornélis

Mezzo-soprano

Aude Extrémo

Djamileh

Haroun

Baritone

Philippe-Nicolas Martin

Splendiano

Atelier Lyrique de Tourcoing

Opéra de Toulon

Opéra de Tours

Orchestra

Les Siècles

Angers Nantes Opéra

Orchestre symphonique Région Centre-Val de Loire/Tours

Palazzetto Bru Zane

La Princesse Jaune -  (The Yellow Princess)

Tourcoing

France

Théâtre Municipal Raymond Devos

La Princesse jaune Saint-Saëns (+1 More)

Public

The Yellow Princess

Approved

"Japan was fashionable, we only talked about Japan, it was a rage" writes Saint-Saëns when recounting, 40 years after its publication, the genesis of The Yellow Princess . Premiered on June 12, 1872, the score alternates six numbers interspersed with dialogue. The protagonists find themselves in the last two duets for passages which Saint-Saëns will write are "one of the best things I have done in the theater". He admitted, however, that "this innocent little work was greeted with the fiercest hostility". Shortly before, we created in the same place Djamileh de Bizet, inspired by Namouna(1832) by Alfred de Musset. Fervent orientalist, breathtaking colorist, the composer shows in this miniature all his know-how and his mastery of orchestration. Félix Clément also notes – about the overture – that “the concordance of sounds is so singular, that the music heard in the time of Ramses and Sesostris would not seem more extraordinary to modern ears”. The title role is offered several passages enhancing the heady sonorities of the mezzo-soprano tessitura, a sort of study à la Carmen to come. As in La Princesse jaune , the spoken dialogues (which have never been replaced by sung recitatives) can prove to be the stumbling block for non-French-speaking artists.

English

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