Classical Review: Le Malade Imaginaire

Marc-Antoine Charpentier’s opera Le Malade Imaginaire was rescued from oblivion in an abridged, semi-staged version by the Jerusalem Baroque Orchestra.

By URY EPPSTEIN
March 31, 2012 21:37
1 minute read.
SASSON GABAI in ‘The Imaginary Valid.’

SASSON GABAI in ‘The Imaginary Valid.’. (photo credit: Einav Shemer)

 
X

Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

Marc-Antoine Charpentier’s opera Le Malade Imaginaire, less well-known than Moliere’s comedy, was rescued from oblivion in an abridged, semi-staged version by the Jerusalem Baroque Orchestra, conducted by David Shemer.

Moliere may consider himself fortunate for having Charpentier as the composer who set his text to music, because he shared with him a similar kind of delicate humor. Charpentier, whose sacred music sounds uncompromisingly solemn, can serve as a model of humor in music when leaving the church and writing secular works.

Be the first to know - Join our Facebook page.


Effectively conceived echo responses, unexpected melodic dialogues between orchestra and singers and unorthodox sound effects such as of handbells in the orchestra are only some of the humorous touches in this so-called “Comedie-Ballet.”

Actor Sasson Gabai’s clownish antics were mildly amusing, though more Israel-style blunt than French-style subtle. Anat Edri, Carmit Nathan and Ofra Hurvitz-Znati displayed lovely soprano voices, though rather too thin for the dimensions of the Henry Crown Hall.

The “Ballet” was suggested rather than actually danced, but in all fairness that’s to be expected from singers who went through the motions just as elegantly as their song teachers may, or perhaps may not, have taught them.

The orchestra sounded reasonable and well-rehearsed.

All in all, the high-expectations-arousing advertisements had promised rather more than was in fact delivered.

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys

By JTA