an article by Damien Dutilleul titled Belle Hélène enjouée à Massy
This article is adapted from an article by Damien Dutilleul titled Belle Hélène enjouée à Massy, published on December 14, 2024, on the Olyrix website.
The Opera Éclaté troupe presented a well-polished production of La Belle Hélène in Massy, following performances in several other cities across France.
Many opera houses uphold the tradition of staging festive productions during the holiday season, and the Opéra de Massy is no exception. This year, Offenbach’s La Belle Hélène was showcased in a lighthearted and minimalist production directed by Olivier Desbordes. With its pared-down staging resembling a traveling theater, the production featured soloists also performing the choral parts, with varying degrees of cohesion.
Desbordes set the story within the British royal family, embracing Offenbach’s irreverence while adding modern satirical touches. These included jabs at contemporary figures and events—ranging from new Prime Ministers to #MeToo, the reopening of Notre Dame, and the Olympics—delivered with humor and without becoming heavy-handed. The playful staging broke the fourth wall, with characters addressing the audience and interacting with the conductor.
Cast Highlights
Ahlima Mhamdi shone in the title role, returning to the Massy stage after her recent appearance as Gertrude in Hamlet. She infused her spoken parts with the aristocratic flair of Roselyne Bachelot, blending elegance and exuberance. Her velvety timbre added lyricism to the ensemble.
As Pâris, Raphaël Jardin impressed with his clear and light tenor voice, characterized by a fruity tone and ease in the higher register. He delivered the text with clarity, though his performance as the High Priest of Venus was muffled by his costume’s beard.
Alfred Bironien brought comedic brilliance to the role of Ménélas, combining exaggerated physical humor with a resonant, well-articulated tenor voice.
Matthieu Toulouse excelled as Calchas, delivering a well-structured performance with his broad and deep voice. Mikhael Piccone, portraying Agamemnon, added warmth and richness with his smooth, mid-range baritone.
Analia Téléga showcased a bright timbre as Oreste but occasionally struggled to project over the orchestra. Despite this, her stage presence was dynamic. Fabio Sitzia, playing Achilles (complete with an orthopedic boot for his “heel”), sang with a slightly husky tone and crafted nuanced phrases.
Supporting roles included Alexis Brison (Ajax 1), whose matte tone was less lyrical, and Eduard Ferenczi Gurban (Ajax 2), who brought a powerful baritone. Aviva Manenti, Pauline Jolly, Flore Boixel, and Nathalie Schaaff provided solid ensemble work as Parthenis, Léæna, Bacchis, and the Princess of Piraeus, respectively.
Orchestra and Direction
Dominique Rouits, founder of the Opéra de Massy Orchestra, led with understated yet playful conducting that highlighted Offenbach’s musical wit. The percussion arrangements alternated between brilliance—such as a rhythmic parody of Boléro—and less inspired moments, like the overuse of the snare drum during Oreste’s first aria. Finale tempos were brisk enough to energize without compromising the singers.
The audience’s enthusiastic applause culminated in two encores performed by the entire cast. This production will continue its tour, with upcoming performances in Calais in March and Draguignan in May.
Images credits: Yann Cabello, Didier Contant.
