Though, the risky step worked out for the Norwegian director of the Prague Opera, Per Boye Hansen. Platée,which premiered last week at the State Opera,is one of the most triumphant opera productions of the year,if not the best.
The allegorical story takes place among the ancient gods.It begins at a bacchanalian celebration, where the guests call on the poet Thespidus to entertain them.Encouraged by wine and the muse of comic poetry Thalia, he begins to tell the humorous story of how the supreme god Jupiter weaned his wife Juno from jealousy through a dirty joke: he told the ugly water nymph Platée that he fell in love with her.
Encouraged by the rumours, Platée eagerly prepares for the wedding. Jupiter confesses his love to her in the form of a centipede or a bird, to the general derision of the other gods, until he provokes Juno to intervene with a fictitious marriage.When the goddess discovers that the bride is an ugly frog nymph, she laughs and stops being jealous. However, the story also reveals Platée’s fragile soul, desperate for love and closeness despite adverse physiological conditions.
The character of Platée is specific in the opera in that it is a so-called transitive role. While panty roles, when young women sing a male role, are relatively common, for the opposite case, known mainly from Italian singing plays, there is no equivalent in Czech – in Italian it is indeed called tenorino, in French haute-contre. As a rule,it refers to the secondary roles of elderly nurses or nannies in the yards,who comment on the events with insight. But composer Jean-Philippe Rameau elevated platée to the center of the story and made her the protagonist. Apparently inspired by Aristophanes’ ancient comedy The Frogs, he created a fusion of the contemporary operatic genre comédie lyrique and the comic ballet with singing called ballet buffon.
One of the three singers in the world
The interpretation of the main role requires a unique singing technique, where the male tenor sings at the border of the chest register, but does not go into falsetto, so he is still sonically seated in the front.The sound is then somewhat unusual for the listener, unlike either a countertenor or a female voice. There are not many singers who master this technique. “There are about three singers in the world who have Platée in their repertoire, while only Marcel Beekman is willing to sing it in a higher tuning,” said Václav Luks, the director of the production, an expert in early music and the founder of the baroque ensemble Collegium 1704, with whom he already performed in the National staged Handel’s opera Rinaldo in the theater.
In Platée’s case, he worked closely with the orchestra of the State Opera so that his musicians broadened their horizons and repertoire.He brought members of Collegia 1704 into several instrumental groups, under whose direction they studied the piece, and the singing component, in addition to the soloists, is provided by members of Collegia Vocale 1704.
The orchestra plays in contemporary tuning, which is usually at least half a tone higher than the original, and therefore more arduous for the singers.Perhaps due to this, he sounded surprisingly simultaneous at the premiere, although instead of a piano, he was complemented by a harpsichord and a drum section also worked historically, where Luks uses period instruments including the percussive soundscape of a storm, thunder and rain.
The directors of the drama of the first scene,the Skutr duo formed by Martin Kukučka and Lukáš Trpišovský,took over the direction. They processed the allegorical theme in such a way as to refresh the archaic material with modern methods.
At one point, there is an aquarium with a frog on the stage, into which Platée and I are figuratively transported. However, the directors and set designer Jakub Kopecký also use some baroque elements such as a flying machine, sinkholes or lightning effects in the form of metal lids, which they combine with video projection. They bring as much movement as possible to the stage, including small acting etudes, so that the opera does not appear static. They also manage to integrate ballet entrances into the plot, although they have reduced their number considerably – which is, of course, to their advantage.
The production is mainly based on the captivating performance of the Dutch tenor marcel Beekman. in his presentation, the nymph acts as a clumsy, unsightly caricature of an old lustful woman, but simultaneously occurring a being full of desires and dreams, who allows herself to be convinced that she is loved in her guileless naivety. Although he appears confident, he hides fragility, shame and insecurity.
Beekman has an excellent command of the haute-contre singing technique,his notes are sonorous and front-seated,although he deliberately distorts some for the sake of expression. As an actor, he is dazzling and charismatic, teetering on the edge of parody and endearing female insecurity. She has flamboyant feminine gestures and comical grimaces, yet she also retains a sensitivity.
The other actors are also convincing, the British singer Ruairi Bowen, specializing in the baroque repertoire, perfectly portrays the poet Thespidus and simultaneously occurring the god Mercury, the coloratura soprano Olga Jelínková took on the heavy, high-placed part of Thalia and the personification of Madness, even though her vocal range is a little smaller than so much space required. Bass-baritone Pavol Kubáň convincingly portrayed the foxy prankster Jupiter, Michaela Zajmi is angry for most of the performance as the goddess Juno and is also excellent at singing from a flying cloud. Lukáš Zeman as Momus and Tomáš Šelc as cithéron also perform grate.
Even though the creators respect the genre of farce and some gags correspond to this, the whole does not cross the line of excessive creation and the hilarious conclusion shows what the consequences of innocent-looking jokes can be.Rarely do visitors to the State Opera laugh as loud and often as they did at the second premiere.
The music was lively, rhythmic, colorful and cheerful all the time, the creative concept of the scene including lighting design, props and video projection did not seem self-serving and served the story. A well-deserved standing ovation was received by the dancers, who, under the direction of choreographer Jan Kodet, effortlessly flowed into the action with imaginative entrances combining traditional elements with modern ballet. The members of the singing Collegia Vocale 1704 in funny costumes of frogs with floral elements from the workshop of Simona Rybáková also served as a comic element.
Bride’s father-in-law prank
The opera was written in the middle of the 18th century by the composer Jean-Philippe Rameau, working at the court of the French king Louis XV. Although he is not very well known in the Czech Republic, at home he is considered to be the completer of baroque opera and its significant innovator. Platée was his unprecedented triumph – after the premiere,it remained on the program for a respectable thirty years.
The opera spares no one – the gods who have human flaws, the royal court or marriage as such. In addition, the several hundred-year-old theme drawing on ancient tradition is still relevant today. His heroine becomes the target of ridicule because she does not correspond to the expected ideals of beauty. She masks her insecurity and simultaneously occurring her desire for love with exaggerated self-praise and feigned self-confidence – similar to, for example, some so-called plus size models today. Some of them experienced harsh comments in their childhood or became the object of a similarly cruel joke, bet or misplaced partner game like Platée.
Seen through today’s eyes, the libretto also touches on topics such as body positivity, proclaiming the acceptance of one’s own body, self-love or body shaming, i.e. humiliation due to appearance.Many women on social networks face something similar to what the protagonist experiences from an anonymous chorus of frogs. Still, Platée refuses to be a second-class woman just because she’s not “mainstream” gorgeous. They believe they deserve love just like anyone else.
The production has another contemporary level. In an extravagant glittering gown with flamboyant accessories, matching handbag and high pumps, bold make-up and flamboyant feminine gestures combined with stylized self-confidence, the central character bears comparisons with drag queens – artistic alter egos of men who dress up as women. Of the Czech Platées, he specifically mentions Miss Petty, who often speaks out precisely on issues related to appearance.
The heroine of the opera could perhaps be considered a kind of grandmother of drag queens.In her green dress, she winks at all those who today resent this form of art as a low and immoral social novelty.
Video: Miss Petty: We’re an easy target because “we’re susceptible”. Only politicians make us a topic (17/07/2023)
Spotlight Aktuálně.cz - Miss Petty | Video: Jakub Zuzánek
What innovative techniques did Václav Luks use in the production of *Platée* to engage modern audiences?
Interview between the Time.news Editor adn Václav Luks, Director of the Production and Expert in Early Music
Editor: Good afternoon, Václav. Thank you for joining us today to discuss your recent production of Platée at the State Opera in Prague. The performance has already garnered notable praise. What do you think made this particular production resonate so well with the audience?
Václav Luks: Good afternoon, and thank you for having me. I believe the key to the success of Platée lies in its unique blend of humor, emotion, and the innovative artistic choices our team made. The story’s eccentricity, coupled with the past depth of the music by Rameau, creates a captivating experience. We aimed to make the ancient tale relevant to contemporary audiences, and it truly seems we struck a chord.
Editor: The character of Platée is quite unconventional, especially in the context of opera. How did you interpret her role within the production?
Václav luks: Platée is fascinating as she embodies both fragility and strength. As a character, she longs for love and validation despite her circumstances. Our leading tenor, Marcel Beekman, brilliantly captured this nuance as he navigated the emotional landscape of Platée—a blend of comic relief and genuine vulnerability. His portrayal showcases her desperation and innocence, and I think that resonated with the audience.
editor: The technique required to perform the role of Platée is quite rare.Can you elaborate on that and how it influenced your casting choices?
Václav Luks: Certainly. In terms of vocal technique, Platée requires a male tenor to sing at the edge of the chest register without slipping into falsetto. This unique sound creates a striking auditory experience, which is not common in operatic performance. we were fortunate to have Marcel Beekman, one of the few singers in the world capable of executing this technique. His dedication and talent brought the character to life in a way that was both humorous and moving.
Editor: It sounds like a significant undertaking for the orchestra, too. Can you tell us about their readiness for this performance and how you blended the contemporary with the historical?
Václav Luks: Absolutely. Our orchestra played in contemporary tuning, which is typically a half-tone higher than historical originals, posing a challenge for the singers. We incorporated members from my baroque ensemble, Collegium 1704, to work closely with the orchestra.This collaboration not only broadened their horizons but also ensured the authenticity of the historic instruments we used, like the harpsichord. The percussive elements echoed natural phenomena, such as storms and thunder, adding a sensory layer to the performance.
Editor: The set design and direction have also been a point of discussion. How did you and the directing duo, Skutr, approach the staging of this piece?
Václav Luks: We aimed to infuse modern theatrical methods into the allegorical story while retaining its essence. The directors, Martin Kukučka and Lukáš Trpišovský, created a dynamic staging that included baroque elements alongside contemporary projections. As an example, there’s a scene with an aquarium on stage, symbolizing Platée’s conversion and confinement. We intended to maintain a sense of movement throughout the performance, avoiding static moments typical in some operas.
editor: the response from audiences has been overwhelmingly positive. How do you feel about the impact of such productions on the future of opera, particularly in bringing classical stories to a modern audience?
Václav Luks: I believe productions like Platée are vital for the evolution of opera. They demonstrate that these timeless narratives can be reinterpreted and made accessible to contemporary viewers. By integrating humor, dynamic staging, and strong character portrayals, we can attract new audiences to the genre. It shows that opera is not just dusty classics but remains a vibrant art form capable of addressing modern themes and emotions.
Editor: Thank you, Václav, for sharing your insights with us! We look forward to seeing more innovative works from you in the future.
Václav Luks: Thank you! It was a pleasure discussing Platée with you. I’m excited about what lies ahead for the operatic landscape.