Rare revival of Salieri's Tarare
The Royal Opera of Versailles has staged a rare revival of Antonio Salieri's Tarare, an opera based on a libretto by Beaumarchais, first performed in Paris in 1787. This production marks one of only a few times the opera has been presented since its premiere, which was initially successful but has remained largely forgotten in the centuries since.Salieri's French operas
Tarare is one of three operas Salieri composed for the French stage, alongside Les Danaïdes and Les Horaces. Despite its early success, the opera has only been revived twice in the past century, in Schwetzingen in 1988 and Strasbourg in 1991. A recording by Christophe Rousset has helped keep the work alive, and the Royal Opera of Versailles now presents a version that brings together key performers and stage elements.Staging and design choices
Stage director Jean-Romain Vesperini reimagines the opera's prologue as an experiment in which forces of fire and nature assign social ranks, observing how characters interact with them. The set design by Bruno de Lavenère includes a mirrored floor that changes with each scene, while lighting by Christophe Chaupin enhances the visual atmosphere. Costumes by Alain Blanchot evoke the opulence of a dreamlike music hall, and projections by Étienne Guiol extend into the audience, creating a "vivarium" where singers are closely observed.Setting and themes
The production aims to create an Eastern-inspired setting that spans from ancient Persia to the 1930s, reflecting the core question in Beaumarchais' libretto: whether birth or merit should determine social status. Vesperini draws from the libretto itself, avoiding external interpretations and allowing the original dramaturgy to guide the production. This approach provides clarity for audiences unfamiliar with the work, while maintaining a balance between tragic and comedic elements.Soloist performances
The soloists deliver performances characterized by precise diction, emotional engagement, and refined ornamentation. Reinoud Van Mechelen, in the title role, offers a luminous voice and impeccable French style, particularly in "Astasie est une déesse" and "Qui veut la gloire." Éléonore Pancrazi portrays Astasie with naturalness, especially in "Ô mort! termine mes douleurs." Jean-François Lapointe's Atar begins as a tyrant, with sharp delivery in "Vertu farouche et fière" and "Fantôme vain! Idole populaire." Alexandre Adra's Arthénée has smooth phrasing, though his voice strains in the upper register.Supporting roles and ensembles
Gwendoline Blondeel shines in dual roles as Nature and Spinette, while Enguerrand de Hys's Calpigi is well-matched to his voice, clear and supple in "Je suis natif de Ferrare" and more incisive in "Va! L'abus du pouvoir suprême." Jean-Gabriel Saint-Martin's Urson is composed and effective, and Alexandre Baldo's Altamort leads the secondary roles with strength.Orchestral and choral contributions
The performance demands passion, with alternating accompanied recitatives and short musical passages. Théotime Langlois de Swarte, who includes two orchestral excerpts from Axur, re d'Ormuz, the Italian version of Tarare, conducts with confidence and theatrical sensitivity. The Royal Opera Orchestra delivers lively and varied playing, with Gabrielle Rubio's flute part standing out. The Royal Opera Choir is cohesive and energetic in ensemble sections.
