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La Double Coquette in newspapers
The New York Times - James R. Oestreich

"La Double Coquette [...] is a radical reconception of Antoine Dauvergne's 1753 opéra lyrique La Coquette Trompée (The Coquette Deceived), by the contemporary composer Gérard Pesson. [...] The well-traveled production, directed by Fanny de Chaillé, features a fine cast - Isabelle Poulenard as Florise, Maïlys de Villoutreys as Clarice, and Robert Getchell as Damon - and some clever costuming (by Annette Messager and Sonia de Sousa) [...] Anchored by the instrumental ensemble Amarillis, led by Violaine Cochard and Héloïse Gaillard, Coquette proved a delightful confection."


Charleston City Paper - Connelly Hardaway

"[…] On to the performance. The voices of Clarice (Maïlys de Villoutreys), the gal you see in press photos wearing that insanely georgeous and bizarre feather/snake/human organ-like attire, and of Florise (Isabelle Poulenard), are incredible. [...]
The performers sang in French, noting each word or emotion with hand gestures and facial expressions.[...]
My favorite aspect of the performance was it's message - a fun and freaky homage to love (and also lust) of all kinds. There may even be a feminist message somewhere in there, but I don't think I could put it into a sensible English sentence.
I won't tell you how the performance ends, but it strays from the original "happy ending" of Charles-Simon Favart's libretto. The costumes are fun, the voices are impeccable, and the music does just what I had hoped it would (and what composer Gérard Pesson aimed to do) - it seamlessly combines elements of the 18th and 21st century.
[...]Go for Florise's hilarious cross-dressing attire - she wears a man's suit and holds a faux mustache in front of her face, and voila! - and stay for Clarice's feather skirt. There's something truly titillating about a talented opera singer gyrating over another, shaking her tail feathers as she hits high notes. A true coquette I suppose."


The Post and Courier - Jonathan A. Neufeld

"Gérard Pesson’s and Pierre Alferi’s “La Double Coquette” is a playful, parodic, fun and funny exploration of fidelity — fidelity between lovers, fidelity to an operatic score and libretto, and fidelity to operatic style. [...]
On the one hand, this is a radical departure from Dauvergne’s original opera. Pesson’s music and Fanny de Chaillé’s direction of the action comment on and poke fun at Baroque operatic style. [...]
On the other hand, even amidst all of the changes, there remains a fidelity to the humor, overt sexuality and the winking ironic cleverness of Baroque French comic opera. And this, it seems to me, is an almost astonishing achievement of not only the composer and librettist, but of the entire group of artists involved in the production.
Amarillis specializes in historically informed performances of Baroque music and their performance of Dauvergne’s score was light and lively. Even more impressive, though, was the way they shifted between the Baroque techniques and style demanded by Dauvergne’s score and the wide array of sounds and expression demanded by Pesson’s additions.
Pesson unified these disparate styles more smoothly than I would have thought possible. Try, for a moment, to imagine a musical transition between a Baroque comic opera, bossa nova (with a short rap thrown in for good measure), the Habanera aria from Bizet’s “Carmen,” and back to Baroque opera. Now imagine that all of this is both dramatically interesting and funny. I don’t blame you if you can’t imagine it — I couldn’t either until I heard it Saturday night.
While there is no set to speak of, Annette Messager’s costumes give the audience more than enough to look at. In fact, the costumes are responsible for a significant part of the unity and humor of the work. [...]
Isabelle Poulenard’s Florise is by turns tender and brash. The warm expression of her voice was apparent in her seduction of Clarice where what begins as a bold-voiced deception is transformed into gentle and quietly focused sincerity. De Villoutreys’ soprano sounded effortless, matching in turn the lightness and strutting machismo of her character. It’s a pity that Robert Getchell’s bright and accurate tenor, and his physical humor, only had a role in the final third of the opera. The ensemble work of the three singers together was a musical highlight.
Clever, self-aware, funny and very well performed, “La Double Coquette” is a delight."


Winston-Salem Journal - Lynn Felder

" [...] Played on period instruments by Amarillis, a baroque ensemble, and directed by Fanny de Chaillé with costumes by Annette Messager, Coquette is full of visual and musical treats and surprises. Listen to the modern tunes woven into the baroque score.
[...] Getchell, who has a gorgeous tenor voice with impressive range, sings Damon in white clown makeup and a green parody of a business suit. In his masculine caricature, Getchell is good foil for the women.
Poulenard is also fine and funny as the smaller "man", Dariman who woos the beautiful Clarice with youthful enthusiasm and extravagance.
De Villoutreys pulls off her bizarre costume with remarkable conviction. Clarice is frivolous, vain and completely enticing.
The musicians, wearing black clothing and half-masks, are onstage throughout and sometimes assist or attend to th singers.
The music and singing are wonderful. Coquette - with its cross-dressing and perfidy - felt like a giggle in the middle of a serious conversation - and a welcome one, to be sure."

 
Pizzicato (Luxembourg) - Remy Franck

"The Paris performances have been enthusiastically applauded by the audience who, a few days after the terror attacks, went without fear to Northern Paris to experience the truly exceptional revision of Antoine Dauvergne’s 1753 opéra comique with additions by French composer Gérard Pesson and a playful new libretto by Pierre Alferi. This combination of old and new is so well done that one sometimes hardly hears the transitions, so big they might be. In fact, this revision is working far better that Pei’s pyramids at the Louvre.

The delicious comedy was brought to life by the terrific Amarillis Ensemble and three singers who deserve highest praise. Sopranos Isabelle Poulenard and Maïlys de Villoutreys as well as tenor Robert Getchell were vocally flawless and their playing was awesome."

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Le Monde - Marie-Aude Roux

« Les onze musiciens conjointement dirigés par la hautboïste Héloïse Gaillard et la claveciniste Violaine Cochard ont accompagné avec verve, entrain et finesse un trio vocal sans faiblesse. »

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