La belle Hélène

La Belle Helene is one of Offenbach's very finest works, and this Zurich production is delightful in every way imaginable. Helene's costumes are unflattering, but the sets are more than decent, some may consider them uninspired but I found them delightfully strange. The staging is sparkling and never lags in energy. The musical values are even better, with stylish and beautifully balanced orchestral playing and Nikolaus Harnencourt's conducting is musical and authoritative and doesn't plod as badly as it can do. All the performances are just wonderful. Deon Van Der Welt, a great talent who died in very tragic circumstances when he had so much more to give, is a very well-sung Paris with a gift for comedy. Vesselina Kasarova's Helene is alluring to watch, with purring low notes and soaring high notes. Liliana Nikiteanu is very moving as Oreste, I do like the rich quality of her voice. The Chalcas of Carlos Chausson is a riot, he is wickedly funny(qualities he also brought to his Bartolo and Alfonso) and he sings with a warm, sonorous tone. In conclusion, entertaining and delightful. 10/10 Bethany Cox

This is an even better version of Offenbach's opéra-bouffe than the fine 2000 version which I reviewed earlier. Also with an international cast, it stars Vesselina Kasarova, the Bulgarian soprano as Helen of Sparta (later Troy), Deon van der Walt a South African tenor as Paris, Carlos Chausson, a Spanish bass-baritone as Calchas and Volker Vogel the German tenor as Menelaus.

All of these singers are excellent both vocally and as farceurs and I was saddened to read that Deon van der Walt was murdered in 2005, apparently by his own father in a dispute over the running of his wine farm.

The ubiquitous Nikolaus Harnoncourt is the conductor who also takes part in the action on occasion, even kicking up his heels during the final curtain calls. As one of the leaders of the modern (1950s) original instruments revival, this is rather startling behavior to say the least! Missing from this version is the "frame" of the Lott version where Helen and Menelaus are an ordinary bored couple with Felicity dreaming her way into the part of Helen. Here the costumes are much more sedate and in the style of the original Greek legend; in short, no bathing suits.

If you want to see the 2000 version, it might be a good idea to start with this one if you have sufficient fondness for Offenbach to see both versions.