17th century opera re-enacted & set to travel
Benoit Fauchet

CAEN(France)—A stage lit by candlelight, men singing both the female and male roles, and historic costumes and acting: a troupe this week is re-enacting in the original baroque style a 17th century Roman opera — “Il Sant’Alessio” by Stefano Landi.
The original production was staged in Rome in 1632 at the palace of the powerful Barberini family, one of whom had become Pope Urbain VIII nine years earlier.
It was based on a libretto by Giulio Rospigliosi, the future Pope Clement IX and used spectacular sets and stage machinery, including flames to envelope the devil.
This time around, the re-enacted opera staged Tuesday night in this northwestern town is under the musical direction of American born William Christie, leading his Baroque ensemble, Les Arts Florissants.
After Caen, the production travels to London and New York before returning to France (Paris’ Theatre des Champs-Elysees) and going on to Luxembourg and Geneva.
Stage direction is by 30-year-old Benjamin Lazar, renowned for his treatment of another baroque production, The Bourgeois Gentilhomme in 2004.
Originally staged during the Catholic Counter Reform, the opera’s plot is based on the story of Saint Alexis, son of a fifth century senator who chose to renounce the pleasures of this world for those of the next, leaving behind a family overwhelmed by sorrow.
The sets are themed on Rome’s classical facades. The colourful costumes run the gamut from noble Roman patrician, to beggar.
Add to this a re-creation of a Roman carnival, perfectly suited to a near inferno of flickering candlelight glowing from the back of the stage, as well as the floor and the ceiling.
Christie’s eloquent musical direction of harpsichord and organs, matched with a strong choir and poignant cappellas, is familiar territory for him. He conducted the same opera 25 years ago, and recorded it in 1995 with Erato/Warner.
The recording also conforms to the original in that it was done without women, who were not allowed on stage in Rome in 1632.
This is why the production has an exceptional nine counter-tenors, including Max Emanuel Cencic and Xavier Sabata. Philippe Jaroussky sings the title role. The role of the Devil, with a demanding range over two and a half octaves, is sung by Luigi de Donato.
Thursday’s performance beginning 1800 GMT is to be transmitted live via the web at normandie.france3.fr.