
While Parisian theatrical and musical life is dominated by its large theaters (Palais Garnier, Opéra Bastille, Comédie Française, Mogador, Odéon), so many smaller establishments deserve to be visited. One recent such “discovery” for me (I blush to admit) is the 19th-century jewel, the Théâtre de l’Athénée Louis Jouvet. Renamed after its most famous director, who remained in his post from 1934 to ’51 – there is a plaque inside the building, proudly announcing that Jouvet died in the theater itself – the place was renovated in 1996 to restore all the beautiful fittings, lights and seats in the auditorium and to update the scenic equipment.
The entire Italian-style theater holds only 550 spectators, giving the main auditorium an intimacy that other theaters lack. As always with such historical buildings, the seats are a tight squeeze for anyone taller than around 5’2”, but seated as I was in the corbeille (the first level above the orchestra), it was good to have a view up and down the theater, including the beautiful central chandelier adorning the ceiling.
Just as delightful as the building was the sparkling production I saw of Ô Mon Bel Inconnu!, a seldom-performed 1933 collaboration between the actor-dramatist-director Sacha Guitry and composer Reynaldo Hahn. Hahn’s experience as a serious classical composer and Guitry’s witty word-play and deep understanding of the theater combine well to offer an effervescent but substantial musical comedy about an exasperated milliner who decides to place a small ad in a magazine seeking a mistress, only to find that his wife, daughter and maid all answer the advert.
Directed by Émeline Bayart, who also played the maid Félicie with great comic timing, all the actor-singers were exceptional, particularly the central trio of Marc Labonnette as the milliner Prosper, Clémence Tilquin as his wife Antoinette, and Sheva Tehoval as their daughter Marie-Anne. Hahn managed to create some memorable music, especially the delicious trio sung by the three female characters (“Ô Mon Bel Inconnu!”), and the gorgeous overture, which is reprised in the chorus, “Partons.”
The Orchestre des Frivolités Parisiennes, conducted by Samuel Jean, played with verve throughout. This production has been touring Paris and the provinces for a couple of years now, so it is worth looking out for it, wherever in France you may be. A relatively recent recording is also available, with Samuel Jean conducting the Orchestre National Avignon-Provence, and starring the wonderful French soprano Véronique Gens.
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