Aix-en-Provence (AFP)

Created over 230 years ago, Mozart's "Les noces de Figaro" never ceases to be re-read with today's eyes, with more topical questions than ever, from harassment to sorority .

It is with a new production of this famous opera (1786) based on "Le Mariage de Figaro" by Beaumarchais that the Festival of lyric art of Aix-en-Provence will inaugurate its 73rd edition on Wednesday, one year after a cancellation due. to the pandemic.

The staging was entrusted to the Dutch Lotte de Beer, who says she was inspired by a dinner where she saw each guest discuss the #MeToo movement in a boosted atmosphere and "from her own bubble".

She then decides to design each scene of the opera according to the point of view of the different characters, a sort of crossover between male and female gazes.

Without being a feminist before the hour, the comedy puts women at the center of the action: Susanna, the cameraman of the countess Almaviva, is promised to the valet Figaro but is harassed by the count ... who is however jealous of the susceptible men to seduce his wife, like the page Cherubino.

Solidarity despite their difference in social class, Susanna and the countess invent ploys to unmask the count.

"What interests me is the relevance of the treatment of the character according to our time. This opera is obviously a piece of cake when it comes to #MeToo," said soprano Julie Fuchs, who plays Susanna and was interviewed by AFP before the start of rehearsals.

"What we live infuses in us (...) We need artistic works that speak about that, because we have to raise the debate a little", which the soprano considers "necessary and sometimes abused".

For her, the character of Susanna is the model of the woman who "does not give way".

"She's the one who's up to it all, casually. In addition, her relationship with the countess, this sorority, this mutual aid, it's super modern," she adds.

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- Balance of power -

If the plot can be interpreted as a revenge of female characters against male power, it is also modern thanks to Cherubino, a male character but traditionally interpreted by a mezzo-soprano.

"Cherubino, it's adolescence, the discovery of love, desire, it's current, it's human and we all go through that, man or woman", says the Franco-Italian Lea Desandre, who performs the role for the first time.

"It is the most universal character of the work because it is a man sung by a woman; it brings this duality, we can all identify with it", indicates the 28-year-old mezzo.

In the world of opera, artists seem more and more sensitive to questions of abuse of power and power relations, especially with directors, who are very influential.

"There are of course directors who abuse their power; I have always been faced with extremely respectful and intelligent directors", indicates Julie Fuchs.

She recounts how once, while she was preparing, pregnant, Monteverdi's "The Coronation of Poppea", the director Calixto Bieito asked her if she would agree to show her belly at the end of the opera.

“Her wonderful idea was that Nero was afraid of Poppea, because she has offspring in her womb. I said yes of course,” she said.

Another example, when she interpreted the role of Pamina in "The Magic Flute of Mozart" at the Paris Opera.

"There is a scene of rape and the singer asked me + do you mind if I open your legs at this time? +. It's important to put words on it".

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The same goes for Lea Desandre, to whom a director once asked to kiss a singer.

"I found that it was something strong; they had to explain to me why; I'm not going to do it just to please the director; that's our leeway".

© 2021 AFP