Review - Bluebeard's Castle & The Miraculous Mandarin (Bartok), La Monnaie, Webcast

Ante Jerkunica (Bluebeard)
Nora Gubisch (Judith)
Vincent Clavaguera-Pratx (first prostitute)
Merche Romero (second prostitute)
Brigitta Skarpalezos (third prostitute)
Dan Mussett (the pimp)
Norbert De Loecker (an old man)
Amergo Delli Bove (a young man)
James Vu Anh Pham (a mandarin)

La Monnaie Symphony Orchestra and Chorus
Alain Altinoglu (conductor)
Christophe Coppens (director)

Like Lohengrin, the story of Bluebeard and Judith retells the discourse of the wife asking her husband the forbidden question that reveal a hidden past. It references the biblical tale of Eve consuming the forbidden fruit in parallel, yet the punishment in Bluebeard differs from Lohengrin. Whereas the prince in swan form resumes human as Lohengrin leaving Elsa,  Judith instead joins other wives of Bluebeard to be trapped in the dungeon forever. Judith's curiosity is also self motivated yet Elsa partly lures by Ortrud forcing Lohengrin to reveal his identity eventually. The end of Bluebeard is more tragic as darkness consumes the whole castle and marks Judith's mission to bring light inside a failure.

In this production by Christophe Coppens, Bluebeard is paired with the ballet The Miraculous Mandarin. A cross section of Bluebeard's castle is shown throughout. Judith's curiosity causes her to explore the rooms on upper level, but discovers each one stained with blood even however magical and wonderful the treasures are. Bluebeard, occupies the centre room, in his wheelchair at first attempts to persuade the curious wife not to explore further, though her refusal to listen changes his mind. Bluebeard eventually can stand and walk without the wheelchair, and leads Judith to the dungeon and locks her away.

Ante Jerkunica portrays Bluebeard as a lonely yet commanding figure. He does not give direct reception to his new wife, and allows her to explore the castle to find out who he really is. Jubith, plays by Nora Gubisch, is at first innocent and naive. The surrounding darkness and curiosity motivates her to find out her husband, yet does not know she will become his prey. By becoming the lady of the night, she occupies the final place of the wives that make up the day. It also marks the end of Bluebeard as perpetual darkness looms over the castle and no more search for companion. Vocally both singers were strong with the vocal body to match and also the colour to convey the emotions.

The Miraculous Mandarin instead uses as a source to suggest how other wives of Bluebeard come together. The castle transforms to a colourful and erotic brothel with drag prostitutes seducing their guests until they are thrown out by the pimp. Though the mandarin and the third prostitute are passionate about each other from the beginning. After the pimp murders the mandarin, the transfigured protagonist embarks on an emotional reunion with the prostitute. This differs from the original plot as a bizarre horror tale, but a genuine love tale instead. A dramatic end with the brothel consumes in flames, while Bluebeard reappears in distance gazing at the left behind prostitutes.

Despite a mostly straight forward narration, the set quality and contrast in strong colours creates a magical atmosphere throughout. The props bear the design style of Coppens and eye catching outfits that realise the fantasy wonderfully. The video projection of the Mandarin's spirit in 3D effect is especially impressive. Rest of the use of technology is also much applauded for the effective execution. Alain Altinoglu has also transformed the Monnaie orchestra by improving the togetherness and quality in tone colour. The playing is more musically driven with the shape and phrasing in place. It certainly gave more dramatic intensity and the momentum to the performance as a whole.