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Press - Journey to the moon
GILLES CHARLASSIER
The scenography condenses all the creativity of Olivier Fredj’s opera – the phantasmagoria of the costumes makes one think of Bosch every now and again, an ideal patronage for the spirit of the opera, revisited in a more contemporary way.
To appreciate the young stage director Olivier Fredj’s impressive work and enjoy Pierre Dumoussaud’s conducting.
One is infinitely grateful to the director Olivier Fredj for putting his faith in the intelligence of the audience (…) The original libretto makes us laugh, surprises us and raises questions, in short, it works perfectly well on its own! In fact, the performance is very clever(…)In his own way, the director revives the spirit of the original opera, creating fun and surprises, including in the choreography. Olivier Fredj does not disown fantasy as a genre: in fact, very efficiently, he alternates affection and laughter (even hysterical laughter) with a real moment of poetry during the beautiful love duet between Caprice and Fantasia.
LE FIGARO
Christian Merlin
Olivier Fredj’s direction is attractive from a plastic point of view.
Laurent Bury
Olivier Fredj has made efficient and intelligent choices. As he could not impress a modern audience who is used to special effects in films, the director decided to highlight the craftsman’s side which existed in the Septième Art at the beginning.
Le voyage dans la luné prend son envol à Montpellier, Opéra Online
Elodie Martinez
We especially enjoyed Olivier Fredj's directing(..) No heavy hints and all the fantasy the opera calls for. Many details catch the eye, like the charlatans’ apple reminding one of Apple, the judge’s hammer that he uses as if it were a blind man’s cane. Humor is not the only tool Olivier Fredj uses, he also uses beauty.
Le voyage dans la lune trouve la parade, Le Midi Libre
MICHÈLE FIZAINE
Visually, the projection of paintings is absolute magic. The industrial world, with its machines and equipment, is as forceful a setting as the natural and imaginary landscapes. The universe which is black and white but colorized and all the different greys reminds one of Méliès and photography.
OPERA MAGAZINE
It was risky but was rewarded by the almost debutant’s audacity, not just because of the psychoanalytic angle developed in the staging notes, making one fear a rather dry application of the second Freudian topic to the triad formed by the Superego -his wife-, the Ego and the witches – the CA – but thanks to the lighthearted spirit that creeps into one of the darkest works in the repertoire.
Seen through the projections of Jean Lecointre’s numerical collages, Macbeth becomes a surreal nightmare. Going from the kitchens to the spouses’ bedroom via the entrance hall, the mob filling the ‘art déco’ style hotel where the action takes place, conjures up, in turn or even simultaneously, The Rocky Horror Picture Show, the Soeurs de la Perpétuelle Indulgence, Jean-Paul Goude’s creatures or even Hecate, half Cruella and half cabaret dancer, who gives life to a ballet, choreographed in Laura Scozzi style.
It is sometimes irritating but mostly clever and even really funny. One can see the pertinence of the idea when suddenly, from this excess of ideas and references, laid out, somewhat skillfully in a dense and crazy disorder, emerges a pregnant contrast, in an approach of the Macbeth couple based on the refusal of any physical contact and the frustration that comes from this thwarted desire, but most of all, from the absence of any descendants and therefore legitimacy.
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Stage Director