If you wondered what the programme for the Royal Moroccan Opera’s opening gala was, you were left wanting. No programme, just a list of artists and a promise:
opera and surprises
There were surprises throughout this unique performance that I had the pleasure to attend.
Have you ever seen an opera singer in a djellaba? Accompanied not only by the piano, but by the darbouka?
The traditionalists, those who book their tickets to Bayreuth ten years in advance, would probably have fainted with horror, but I really enjoyed it! And so did the audience.
“Moroccan opera”? Promise fulfilled
The first “Moroccanisation” was actually quite soft. The recital began with ‘Mon coeur s’ouvre à ta voix’, ‘le’ grand aria from Samson et Dalila. Ahlima Mhamdi entered in a caftan, which could almost be a historical costume of the time. And then in recitals, you sing in evening clothes… so it doesn’t really surprise me.
Seeing David Serero come on stage in a djellaba is a bit more surprising. What is really surprising is to see a darbouka player sitting next to Rodolphe Lospied, the pianist, to accompany our singer on an aria from Carmen… and that the darbouka is perfectly integrated into the music, as if Bizet had integrated it into his score from the start.
More than surprising… thrilling!
“Popular opera”? Promise fulfilled
There were not only music lovers in the audience who knew their operas by heart.
Before each piece, David Serero briefly explains the story, even underlines the meaning of the music (for example with the mocking intention of the aria “Non più andrai“), and then he gives the audience the chance to listen to the music. before miming it, instead of standing straight in front of his microphone.
When he plays Don Giovanni, his ugly mimicry behind Zerlina’s back when he sings “La Ci Darem La Mano“, his little satanic smile when he finally leaves with her (even though she is married to someone else), is perfect for underlining the story and showing Dom Juan’s character in a few moments.
The whole performance is peppered with moments of complicity with the audience, as when he makes them participate in the famous “Toreador beware”:
As David Serero said, he knows how to make people love opera, and he proved it last night, in front of a full house.
“Quality opera”? Promise fulfilled
If you don’t notice it with the poor quality of the videos taken “on the fly” with my smartphone, what is essential is the quality.
The four soloists are remarkable singers. If I have a small preference for the low voices like those of David Serero, I shuddered with happiness with the powerful and warm voice of Victor Dahhani (to which his few videos on Youtube do not do justice, I think). For personal taste, I was less taken with the Dalila extract, while admiring the skill and quality of Ahlima Mhamdi‘s voice. And she and Audelia Zagury sang and played Carmen and Zerlina perfectly.
A pleasure shared with great generosity
When David Serero is on stage, it is clear that he is having fun, that he is enjoying himself enormously and that he is sharing this pleasure.
With the audience, first of all, which is part of the quality of his show.
And with the artists. He invited two choirs of amateur artists on stage, the one from the Théâtre des Arts Vivants, joined later by the one from the Music Conservatory of Casablanca. Of course, they are not beginners, even if the eight-year-old girl does not have ten years of music behind her. I’m sure she’ll remember it for a long time!
Anyway, I’m looking forward to the next performance!
What’s next?
David Serero announced several things last night:
- the opening of an opera class at the Casablanca Conservatory
- the opening of a class for vocal conductors at the same Conservatory, a very special job for the pianist who accompanies the singers
- the creation of his opera in Darija on La Marche Verte
- the performance of Carmen and Othello in Moroccan version
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