Le Medecin malgre lui / Odyssey Opera

To commemorate the bicentennial of Charles Gounod's birth, Boston-based Odyssey Opera is performing two rarely heard operas by the masterful French composer. In September, the company offered a successful, concert revival of "Le Medecin malgre lui," a biblical drama of the French Romantic genre which proved to be both edifying and entertaining. Shifting gears, while displaying Gounod's remarkable versatility, Odyssey turns to the 1858 "Le Medecin malgre lui," a farcical comedy, based on a Moliere play written 200 years earlier.

After an extended overture in a pseudo-Baroque style, the lilting score flowed delightfully forward, incorporating a number of "antique" touches, and doing justice to Moliere's witty comedy. Containing a series of charming serenades, tuneful arias and choruses, and intricate ensembles, the work is an "opera comique" of the highest caliber.

Therefore, it is difficult to ascertain why it is not performed more frequently. As is the case with many works in the French language, it is very difficult to assemble a cast today who can handle the copious dialogue. Fortunately, Odyssey Opera took a stab at it, presenting the Boston premiere of the work, and scoring yet another triumph.

The issue of spoken dialogue was resolved by the company's employing a version with sung recitatives. In Gounod's original production, the dialogue had been extracted directly from Moliere's play. For a 1923 revival of "Le Medecin..." mounted by Serge Diaghilev, the impresario engaged Erik Satie to compose accompanied recitatives. Satie did an admirable job. Outside of an occasional harmony germane to the 20th century, his music nicely complemented that of Gounod. Therefore Odyssey Opera's performance was through-composed, without any spoken intervals, and ran 90 minutes, without an intermission. And, in what has become a standard with this company, the work was extremely well sung in a production that was altogether tasteful.

Conceived as a "chamber opera," "Le Medecin..." played nicely on the stage of the Huntington Avenue Theatre. The simple set converted cleverly into the many settings in which the opera took place. The costumes were true to the period, and beautifully conceived. The stage direction was ideal, accentuating all the comic moments, and maintaining visual interest, while remaining faithful to the period, and respectful to the composer--- a rare treat in the opera world today.

With respect to the singing. The cast was well-chosen, and sang with verve and stylistic assurance. The leading role of Sganarelle, a part often performed by Moliere himself, was brilliantly realized by the illustrious baritone Stephen Salters. He mastered all the intricate stage directions, and gave the impression he had been singing the role for decades. His French diction was excellent, and his hearty baritone was in fine form, sounding particularly impressive in its upper register. He was surrounded by a youthful band of performers who sang their roles and polished off the comedic choreography to perfection. As is his custom, Gil Rose led a spirited and idiomatic interpretation.

There is only one more performance of this little Gounod gem, a Sunday matinee on November 11. It is a rare opportunity to hear this engaging rarity, before yet another century passes. Odyssey Opera will then reconvene in February 2019 for the first of three stage works based on the legend of Helen of Troy. Operas by Richard Strauss, Offenbach and Gluck will be featured, and all of them Boston premieres!

The remaining performance of "Le Medecin malgre lui" takes place on Sunday, November 11, 2pm, at the Huntington Avenue Theatre, 264 Huntington Avenue, Boston, MA. For more information, visit the Odyssey Opera website.