The Imaginary Invalid, or Molière in great shape at 400 years old in Avignon

To celebrate the 400th anniversary of Molière’s birth, the Opéra Grand Avignon presents his latest dramatic work, the comedy-ballet “Le Malade imaginaire”, carried by Les Malins Plaisirs, Le Concert Spirituel and the L’Éventail dance company.

Jean-Baptiste Poquelin, known as Molière, and Marc-Antoine Charpentier once again bring together theatre, dance and music in a show lasting just under four hours (but which goes by very quickly). The director Vincent Tavernier, assisted by Marie-Louise Duthoit, offers a cheerful version, full of dynamism and very comical. Claire Niquet’s setting is simple, but effective: around silhouettes of houses with illuminated windows in the evening, Argan’s central dwelling unfolds to reveal its interior (specifically the living room, where most of the story takes place). , and also folds up during the prologue and interludes to make room for singers and dancers. Carlos Perez adds the little touch of his illuminations, giving the public the impression of seeing the light of day gradually slip by, coming from different angles and with different intensities. The setting changes one last time during the final scene, with a metamorphosis following that of this imaginary patient who is transformed, ironically, into a doctor.

The prologue, full of energy and colors, immediately announces the rhythm of the piece with the joyful and dynamic atmosphere that reigns there. A Carnival scene with the costumes of Erick Plaza-Cochet, each more exuberant and colorful than the other, is a parade of animal masks (donkey, deer, monkey), while a giant puppet represents the king, who dances among this menagerie and the shepherds of the city (agile dancers following the choreography of Marie-Geneviève Massé, assisted by Olivier Collin).

Pierre-Guy Cluzeau gives life to Argan, Imaginary sick. Very expressive and convincing from beginning to end, it also shows the fragility and candor of his character, but remains nonetheless very comical. The lively acting of the actors generally gives the work the rhythm necessary to capture the attention of the public. Marie Loisel is thus quick-witted and insolent in Toinette, very complicit with Angélique embodied by Juliette Malfray whose singing voice surprises and impresses by its placement, just like the control (to sing deliberately out of tune) of Olivier Berhault in Cléante. Béline, Argan’s wife, played by Jeanne Bonenfant, shows the pecuniary interest she has for her husband, but knows how to hide it from him (she is particularly comical when she is surprised by her husband trying to celebrate his alleged death). Béralde, Argan’s brother, played by Laurent Prévôt, is benevolent. Quentin-Maya Boyé and Benoît Dlongville (father and son Diafoirus), form a hilarious duo, making the public laugh willingly on several occasions. Nicolas Rivals imposes on stage in his role of Doctor Purgon, and Gabrielle Godin-Duthoit plays the touching Louison.

Singing and dancing take over from the actors during the interludes, fully appropriating the stage. Flore, embodied by the soprano Axelle Fanyo, delights the audience with her warm voice, a projection adapted to the musical style, with also round and clear highs (in addition to the acting denoting a great ease on stage). The mezzo Lucie Edel embodies the shepherdess Climène, showing a clear and captivating tone, as well as a completely understandable diction. Flore Royer (Daphné), shows a warm stamp, but she struggles to make herself heard in front of her colleagues in the ensembles. In his role as Tircis, the Malagasy tenor Blaise Rantoanina distills and strengthens a light and well-timbred voice, very comfortable in the mediums, but a little more in danger when he begins his treble. Baritone Romain Dayez lends Dorilas his broad, homogeneous voice with good support. Its projection inevitably puts it in value in the pieces with several. Finally, bass-baritone Yannis François digs into a cavernous but weakly vibrated voice (with a diction that is nonetheless understandable).

The musicians of the Concert Spirituel also contribute fully to the dynamism of this show. The precise musical direction of Hervé Niquet ensures synchronization with the platter. Maintaining the artists’ dynamism literally until the end of the performance, the energy of his beat is evident, even at the moment of applause, when he leads the curtsies of the orchestra.

The public greets standing and for long minutes, both on the floor and in the balconies, this evening and its performers.

The Imaginary Invalid, or Molière in great shape at 400 years old in Avignon – News – Ôlyrix