{"id":5847,"date":"2025-11-13T12:26:47","date_gmt":"2025-11-13T11:26:47","guid":{"rendered":"https:\/\/ensemblepygmalion.com\/temps-fort\/2022\/"},"modified":"2026-02-02T10:56:47","modified_gmt":"2026-02-02T09:56:47","slug":"2022","status":"publish","type":"temps-fort","link":"https:\/\/ensemblepygmalion.com\/en\/temps-fort\/2022\/","title":{"rendered":"2022"},"content":{"rendered":"\n
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Stefan Brion<\/figcaption><\/figure>\n\n\n\n

L<\/span>akm\u00e9<\/span> a<\/span>t t<\/span>he<\/span> O<\/span>p\u00e9ra-Comique<\/span><\/h2>\n\n\n\n

Working with a stellar lineup of singers, Rapha\u00ebl Pichon and Laurent Pelly took on this jewel of the Op\u00e9ra-Comique, an international success performed more than 1,600 times since its creation in 1883. Five years into its association with the Op\u00e9ra-Comique, Pygmalion made its first excursion into the French Romantic repertoire of the 19th century, choosing the elegant melodies and refined orchestration of L\u00e9o Delibes.<\/p>\n\n\n\n

Sabine Devieilhe gave a memorable performance as Lakm\u00e9, eight years after the audience of the Op\u00e9ra-Comique had first admired her in the virtuosic and dramatic title role. St\u00e9phane Degout, a long-time collaborator of Pygmalion, offered a masterful interpretation of Nilakantha, her father.<\/p>\n\n\n\n

This Lakm\u00e9<\/em> \u2018without temples, without flowers, without the shadow of lush vegetation\u2019, as described by Laurent Pelly, leaves aside ornamental exoticism to reveal an imaginary and refined elsewhere, the setting for an impossible passion.<\/p>\n\n\n\n

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Stefan Brion<\/figcaption><\/figure>\n\n\n\n

L<\/span>akm\u00e9<\/span> \u00e0<\/span> l<\/span>‘Op\u00e9ra-Comique<\/span> <\/span> <\/span><\/h2>\n\n\n\n

\u2018In the pit and on stage, Rapha\u00ebl Pichon and his ensemble Pygmalion give their all in this new adventure that is, for them, French romantic opera \u2013 we expected nothing less from a group that has constantly pushed its limits and those of its repertoire. The richness of tone and subtleties of orchestration, the changes in mood, the soloist interventions and choral sequences all contribute to the success of this production.\u2019 (T\u00e9l\u00e9rama<\/em>, Sophie Bourdais, 2022)<\/p>\n\n\n\n

\u2018Since her debut in this role, Sabine Devieilhe has never achieved such harmony between singing and acting. In addition to her vocal miracle, unchanged for ten years, this time she displays astonishing physical commitment. She is certainly an unusual Lakm\u00e9, with her white hair, but she is extraordinarily credible, first as a marble goddess, then as a young girl opening herself up to love, and finally as the sacrificial victim of a conflict beyond her control. Every technical feat, every pianissimo in the high notes is accompanied by a gesture, a movement, an attitude that hits the mark.\u2019 (Op\u00e9ra Magazine<\/em>, 2022)<\/p>\n\n\n\n

\u2018In the pit, Rapha\u00ebl Pichon set his ensemble Pygmalion to 19th-century instruments, and it is a great success both for the balance with the stage, always delicate at the Salle Favart, and for the very defined sound colours, particularly in the winds but also in the percussion (translucent glockenspiel, expressive timpani by Camille Basl\u00e9), while still being capable of impressionistic nuances. The exoticism is never tacky.\u2019 (Le Figaro<\/em>, Christian Merlin, 2022)<\/p>\n\n\n\n

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