As a year-end production, La Périchole, an Opéra Bouffe by Jacques Offenbach, promises plenty of cheerfulness. We get this in abundance at the Opéra Royal de Wallonie, especially with Laurent Pelly directing. At the same time, he doesn't lose sight of the finesse of Offenbach's satire!
The operetta La Périchole takes place in Lima in Peru. On the square, the celebration of Vice-King Don Andres de Ribeira is being celebrated. The "Trois cousines" are present with their stall selling all sorts of – mostly strong – drinks. The king and some of his confidants have mingled incognito among the people. Two street singers arrive, La Périchole and her beloved Piquillo. They don't earn much, and exhausted, Périchole falls asleep while Piquillo goes out to find food. The Vice-King discovers the sleeping Périchole and falls instantly in love with her. She becomes his mistress but this is the beginning of a series of confusions and masquerades. Piquillo even ends up in prison when he resists the Vice-King. But ultimately the story ends happily. The Vice-King is gently put in his place (even briefly in prison) and Piquillo and Périchole are cheered by villagers and courtiers as bride and bridegroom.
We get the typical Offenbach characteristics with social stratification, the "ordinary" people, the outsiders and the upper class. The decadent aristocracy is gently but clearly mocked. Offenbach's sharp observation permeates his theatre here as always.
Laurent Pelly is the perfect director to stage this kind of comic work with an undercurrent of irony. Entirely in the spirit of the Second Empire in which Jacques Offenbach situated his "Opérette à la française", there is cheerful laughter, but at the same time the excesses and decadence of the bourgeoisie are exposed. But La Périchole does not lack sentimental content either, for when the enamoured couple finds each other again after all the foolish complications, the finale bubbles over with happiness.
On the stage of the ORW, the villagers are a colourful bunch of cheerful revellers, the status of Vice-King is ridiculed from the start by his funny outfit with wig and his pompous performance. Lionel Lhote feels right at home with it! Each character receives a typical caricatured portrayal that fits the story. Thus La Périchole transforms from the initially impoverished but self-confident street singer into a chic, elegant lady as mistress of the Vice-King. Armed with clever experiences, she returns to her original status.
The performers fully engage with the mad story. They act and sing with full commitment. Antoinette Dennefeld moves us as Périchole, charms as a lady and changes her sensual style according to the situation in which she appears. She sings with a clear sparkling soprano that also brings out the finesse of the irony. The soft tenor of Pierre Derhet doesn't prevent him from coming across convincingly and fighting for his Périchole. His tenderness is moving. Lionel Lhote proves that a comic role like this blasé Vice-King suits him well too. He clearly enjoys the various aspects of his part and his baritone sounds perfect as always. The smaller roles and especially the choir are totally absorbed in their performance.
Clelia Cafiero makes her debut with the Orchestre Opéra Royal de Wallonie. The young conductor makes a good impression with her lively and precise conducting style, guiding her musicians through the light but equally refined score.
The performance ended with some extras including year-end wishes and thus played into the exuberant atmosphere of the satisfied audience.
