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| February 01, 2003 | Mudge, Stephen | COPYRIGHT 2003 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

The Chatelet opened its opera season with a double bill of Schoenberg's Erwartung and Poulenc's La Voix Humaine as an unabashed showpiece for Jessye Norman. This was an event of considerable media appeal, But after last season's disappointing Robert Wilson/Norman production of Schubert's Winterreise, expectations among even the soprano's most dedicated fans were not high. Tickets for the three performances were at a premium, and the final matinee (Oct. 13) played to a full house. On this occasion, Norman succeeded, with the help of Andre Heller's sober, effective productions and of David Robertson's musical rigor, leading the excellent Orchestre National de Lyon.

This was Heller's first opera staging. He met Norman while making a film (Night of the Prima Donnas); at that time, she proposed the idea of the collaboration. For Erwartung, he made the inspired choice of Mimmo Paladino as set designer. Primitive religious symbols and figures in earth tones created an atmosphere of suitably Freudian angst, helped by the director's precise, episodic lighting. The beturbaned Norman was a mass of nervous, stylized hand movements, giving the impression of a clairvoyant in a particularly troubled trance. In the Schoenberg, the Wagnerian thrust and power of her ...

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