KLARA.BE 

The director Olivier Fredj delivers a concept that has had to work around the pandemic, but it is refined and full of life. The opera plays with the word ‘favorite’: 2 young girls (aged 11 and 13) come into the theatre and each girl watches her favorite opera as the only spectator. We share their expressions, fantasies, and emotions, and drawing books and video images are used. The girls tell us the story of each opera in a very disarming way.

 

OPERA ONLINE

Initially chosen to direct Bastarda, Olivier Fredj was given a new job and imagined adding a young girl (Nehir Nasret who speaks in English) who is present during the whole opera. It is through her that we discover the singers and the musicians, she is the one who replaces the narrators and shortens arias, explaining the story (and making comments too sometimes) and she even interacts with the characters in little videos that serve as transitions between the main scenes.

 

OLYRIX

The concert opera is more film-like and is a mixture, with the possibility of putting in new images that are closer to the interpreters, more narrative, and subject to several interpretations The opera begins with a running theme which is that of Nehir Nasret who plays the part of a key witness She is the only spectator in the whole production and tells the story of the stakes in each musical extract and skillfully represents the link to the television viewers The opera is reduced to the essential arias only somewhat different. The conductor succeeds in directing the vocal and instrumental soloists (answering one another in eloquent precision), not forgetting the chorus who are at a distance to limit contacts: a musical osmosis, in spite of all the distances and barriers between them and the audience.

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