Simplicity of expression is Dupuis’ gift, the baritone choosing to impart meaning through subtle verbal inflection and tonal shading. He brought great tenderness to Duparc’s Chanson triste, making it a short but intense emotional journey, while the same composer’s Le manoir de Rosamonde, a sinister evocation of thwarted love, was conveyed with ample vocal glamour. “Though Dupuis’ handsome lyric baritone has grown of late, he’s still able to scale it back to provide the intimacy required of French song. I suspect he may have benefited from a close study of Marcel Dalio’s great performance as a count of more recent mint in La Règle du jeu, one who did not, like Almaviva, grow up in an ancestral castle and palace."Īustralian Recital Tour - Sydney concert - August 2019
It may be that he feels in love with her in a Cherubino-ish way as well, but the production makes it clear that his eye and hands are accustomed to wandering. (Herr Meister adopted an almost mystical breadth of tempo for this part.) Before, he is largely under the control of his desire for Susanna and an atavistic compulsion to satisfy his craving and his will. Younger than usual, closer to forty than fifty, which makes sense, his more lyric baritone, still resonant in the lower range and large in general, made for a fairly complex figure, one who is really able to see the value of his relationship with his wife in the end and to ask her forgiveness sincerely. "Etienne Dupuis‘ Count was another treasure of the evening. The Metropolitan Opera - Le nozze di Figaro - February 2020
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