Sweden Offenbach, Fantasio: Soloists of Läckö Opera, Läckö Chamber Orchestra / Simon Kim Phipps (conductor). Läckö Castle courtyard, 19.7.2025. (NS)
Jacques Offenbach began to rehearse his opéra comique Fantasio in 1870 but the Franco-Prussian War and the Paris Commune delayed the premiere until 1872, when Fantasio re-opened the Opéra Comique together with the first French-language production of Mozart’s Marriage of Figaro. Läckö Opera’s production is inspired by this background and brings out the unexpectedly serious questions woven into the story: what price is worth paying for peace, what value are the dreams of individuals against the needs of the community, and what is the braver way to respond to a humiliation – violence or magnanimity?
Director Melker Sörensen and costume designer Anna Ardelius set the story in a ‘Shakespearean future’ in the aftermath of a terrible war, where the announced marriage of Princess Elsbeth to the Prince of Mantua is to confirm the fragile peace. Ms Ardelius’ costumes and Therésia Frisk’s makeup (not forgetting a luxuriant blond wig for the Prince) were spot on, bringing out the cheerful anarchy of Fantasio’s student friends and the foppish demeanour of the Prince wonderfully. As usual at Läckö, the set was simple but imaginative and Christian Dahlqvist’s lighting skilfully adapted to the glow of the Swedish summer night.
Läckö perform the Paris version, which means that the title role is sung by a mezzo-soprano. Tor Lind’s sparkling and witty Swedish translation is a great asset, and Henrik Torolphi’s arrangement changes the voices of two of the students from tenors to a soprano and a mezzo, broadening the musical range of their ensemble. Although originally written for a larger chorus and orchestra, in his arrangement and the lovely acoustic of the castle courtyard Fantasio sounds luminous and soars like the singing of the swallows that wing over the castle. Simon Kim Phipps’ conducting had a freshness and light touch and a lovely sense of line that let Offenbach’s melodies flow. The students combined with Läckö’s small but high-quality ensemble to impress in the big choruses with a full sound.
The students were themselves an excellent ensemble, believable as young optimists. Joa Helgesson was particularly impressive as Sparck, with his charismatic stage presence and his sonorous baritone. His friendship with Fantasio was nicely drawn. Viktor Johansson (Marinoni) had an attractive tenor and was superb at satirising his character, with his brown-nosing and tourist phrasebook. He was also an excellent foil to the Prince, who was brilliantly portrayed by Sebastian Durán as a vain fop on the outside but giving a glimpse of a human insecurity and a need to be liked. Their duets when they swapped clothes so that Marinoni could impersonate the Prince were terrifically funny, as were the Prince’s frequent tantrums.
Samuel Jarrick’s King was pompous but also caring, with a rich bass that worked well in the ensembles. Susanna Sundberg gave her role as Elsbeth’s page Flamel an austere dignity that went well with her darkly-coloured mezzo. Clarice Granado was a revelation as Elsbeth, impressing immediately with her flowing coloratura in her first aria but also delightful in comic ensembles. Her acting beautifully showed the growth of her love for Fantasio and the deepening of their relationship; their duets were both lovely and moving.
Annie Fredriksson is a returning cast member at Läckö, most recently a superb Cherubino (click here) in The Marriage of Figaro. She was spellbinding as Fantasio from her first entrance, an expressive and melancholic song to the Moon. Ms Fredriksson’s warm and expressive mezzo beautifully expressed Fantasio’s longing for a different, better world but was also agile and ironic when playing the fool, particularly in the wonderful scene where Fantasio introduces himself to Elsbeth as the new court jester. Towards the end of the opera the transition from riotous slapstick when Fantasio torpedoes the Prince’s marriage to the sombre atmosphere of prison was very moving.
Ms Fredriksson perfectly captured the interesting mixture of idealism, melancholy and level-headedness in Fantasio’s character. Through the role of the Fool Fantasio can and does challenge both received wisdom and the baying of the crowd, and in Offenbach’s story succeeds in bringing peace and reconciliation was well as winning his fairytale Princess. This story and it’s setting to lovely music and sparkling humour deserves to be seen and heard on more stages.
Niklas Smith
Playing until 2 August. On 22, 23, 25 and 26 July Jonathan Jennesjö will conduct. For tickets and more information click here.
Production:
Director and Choreographer – Melker Sörensen
Costume and Set design – Anna Ardelius
Makeup and Wig design – Therésia Frisk
Lighting design – Christian Dahlqvist
Musical arrangement – Henrik Torolphi
Swedish translation – Tor Lind
Cast:
Fantasio – Annie Fredriksson
Elsbeth – Clarice Granado
The King – Samuel Jarrick
Flamel – Susanna Sundberg
The Prince – Sebastian Durán
Marinoni – Viktor Johansson
Sparck – Joa Helgesson
Facio – Annika Sandberg
Max – Linnea Andreassen
Hartman – Magnus Lindegård
Spoken roles and ensemble – Agnes Duvander, Julia Nylander, Arvid Emilsson and Johan Gummesson