This page is also available in / Cette page est également disponible en:
Français (French)
-
Château de Versailles Spectacles4
Mozart: L’enlèvement du sérail
Florie Valiquette (Constance), Matthias Vidal (Belmont), Gwendoline Blondeel (Blondine), Enguerrand de Hys (Pédrille), Nicolas Brooymans (Osmin).
Chœur et Orchestre de l’Opéra Royal; Gaétan Jarry, conductor
Château de Versailles Spectacles, 2025
Montreal audiences are well acquainted with soprano Florie Valiquette. A 2010 graduate of the University of Montreal, she played the role of Maria in The Sound of Music in more than a hundred performances, then joined Opéra de Montréal’s Atelier Lyrique from 2013 to 2015. Having proven herself in several roles with the company, she moved to Europe, where she has enjoyed a successful career performing rare works.
This is the case with this French version of Die Entführung aus dem Serail, which introduces Pierre Moline’s French libretto, written for performances in Paris in 1798. So we listen instead to L’enlèvement du sérail, in which Valiquette shines in the role of Constance (Konstanze in the original libretto).
Valiquette comes through with flying colours
In a role usually sung by more imposing voices, the Quebecois singer convinces with her commitment, fervour and precision in the vocalise-filled arias of this very demanding score. She bravely tackles the famous aria Marten aller Arten (which begins with the words “J’ai su te déplaire”) and comes through with flying colours. She is a little short on low notes in the terrifying descents required by the tessitura, but many of her predecessors have experienced the same difficulties.
Care was taken to cast another soprano with a lighter, flute-like voice in the role of Blondine, which contrasts well with that of her counterpart. This difference is less obvious in the case of Belmont (Belmonte), sung by Mathias Vidal, whose voice is a little too similar to that of Enguerrand de Hys, who plays Pédrille (Pedrillo). Furthermore, the role of Belmont includes three major arias fraught with pitfalls, comparable to those of Constance. Vidal tackles them with courage and sincerity, but lacks a little breadth and nobility.
The entire production is notable for its lightness, including the cheerfully wicked Osmin played by bass Nicolas Brooymans, and above all the orchestra, which performs some very pleasant chamber music. The French libretto is not without charm, even if it softens some of the delightful consonant clashes that are characteristic of the German language.
In short, this recording allows us to rediscover a masterpiece in a new light, and also to follow the evolution of our compatriot’s voice toward more lyrical roles. Indeed, Florie Valiquette, who played Micaëla in Carmen in January of this year, will take on the role of Musetta in La bohème in December—this time in the original language!
Translation: Lilian I. Liganor
This page is also available in / Cette page est également disponible en:
Français (French)
