Benjamin El Arbi, co-founder of the company of the Frivolities of Paris, the concedes: “there is not so long ago, when you were talking about the company of operetta, it was thought to still show of the Sunday paper, crépon and necklaces and noodles.” The time seems long gone. It is in any case suggest two productions holding the top of the poster since the end of last week in the capital. On one side, The Testament of aunt Caroline. Unique attempt in this kind of very serious composer Albert Roussel, known more for his symphonic work and its grand opera-ballet Padmâvatî. A jewel for a long time ignored by the 1930s, exhumed by the Frivolities of Paris, who comes back to life on the stage of the Théâtre de l’athénée. On the other, Mam’zelle little hypocrite. Tube of one of the greatest masters of the genre, at the end of the Nineteenth century, Louis-Auguste-Florimond Gnaw, aka Hervé. The great rival parisian Offenbach. Created two years ago at the Toulon Opera, this show enjoyable, distribution, happily unbridled, …

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