Dominique Sanda
Official Website of french actress Dominique Sanda
Official Website of french actress Dominique Sanda
Opera in three acts based on the play of the same name by Maurice Maeterlinck, premiered on May 10, 1907 at the Opera-Comique. Stefano Poda: Staging, set, costumes and lighting. With: Sophie Koch: Ariane, Vincent Le Texier: Bluebeard, Janina Baechle: nurse, Eva Zaïcik: Sélysette, Marie-Laure Garnier: Agraine, Andreea Soare: Mélisande, Erminie Blondel: Bellangère, Dominique Sanda: Alladine, Orchestra of the Capitol Theatre, Capitol choir, director: Alfonso Caiani, Pascal Rophé: music director
Ariane and Bluebeard tells the story of Ariane, Bluebeard’s last wife. Intrigued by the disappearance of her husband’s former wives, Ariane discovers that he keeps them imprisoned in an underground chamber. She aqempts to free them, in vain.
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In addition to the Capitol choir voices, ever so carefully led by Alfonso Caiani, the protagonists behind locked doors turn out to be an effective octet. ¿An octet really? Yes, because although Alladine does not speak a single word, her silence interacts as a questioning in the shared lyricism, a muffled voice or a liberated voice of the future… who knows? In a secret scene, the beautiful presence of Dominique Sanda, who has had a busy performance schedule in the film industry throughout the period 1970-1995 (playing in many Italian movies) and is dearly remembered for her stage role as psychoanalyst Melanie Klein’s daughter, Melitta Schmideberg, opens the show without a note, without a sound. A kind of magic vestment links Ariane with Alladine, a garment that no other woman will ever use, with black over white or white over black design. (“Ariane y Barbazul, cuento musical de Paul Dukas”, BERTRAND BOLOGNESI http://www.anaclase.com – April 4, 2019).
“The distribution is worthy of such a dazzling display, even with poignant Dominique Sanda… at times, Visconti’s shadow hovers over the stage (“Ariane imperial” MARC LABORDE – http://www.utmisol.fr April 4, 2019).
Actress Dominique Sanda offers a poignant contribution in her silent role as Alladine. (“Ariane y Barbazul en el Capitolio, poesía en escena”, “Ariane et Barbe-Bleue au Capitole, poésie en scène”) – PAULA GAUBERT http://www.olyrix.com April 7, 2019).
Eva Zaïcik (Sélizeqe), Andreea Soare (Mélisande), Marie-Laure Garnier (Ygraine) and Erminie Blondel (Bellangère) make up a perfectly balanced harem, with the addition of no less than Dominique Sanda (yes, Bresson, Bertolucci and Visconti’s actress, it’s her) in the silent role of Alladine. (“En el Capitolio de Toulouse, una magistral Ariane y Barbazul de Dukas”, EMMANUEL DUPUY www.//diapason.mag.fr, April 7, 2019).
Actress Dominique Sanda, who has performed so masterfully in the big screen (A Gentle Woman [Une femme douce] by Robert Bresson, 1900 by Bertolucci), lends an uncommon density to Alladine, the master’s favorite, contributing an unexpected consistency to her fellow actresses’ hesitancies (“La luz irradiante de Ariane y Barbazul en el Capitolio”, Jean-Pierre Robert – https://www.on-mag.fr April 8, 2019).
It’s worth making a point of the use of double characters, starting with Ariane, with the superb (albeit silent) presence of legendary Dominique Sanda, Robert Bresson and Bernardo Bertolucci’s Egeria, who plays the muted and mysterious role of Alladine. Drawing closer the two characters, Poda turns this woman from the Far East into a shadow cast by Ariane and her destiny. The long, silent introductory scene shows her looking among a group of male extras for a Bluebeard she finds it hard to recognize. Such a combination of a silent role and the overpowering vocal presence of Ariane proves to be particularly outstanding. (“Gritos y Murmullos” [“Cris et Chuchotements”] DAVID VERDIER – http://wanderersite.com, April 24, 2019).
Photos : © Cosimo Mirco Magliocca
Dominique impersonates a Middle Ages anchoress, Julian of Norwich, the first woman who wrote a book in English about "the motherhood of God".
Her desire to "be in complete communion" with Buenos Aires, this "tough but fascinating" city, led Dominique Sanda to "do her job as an actress" there, on that occasion in Spanish, after performances in French and Italian.
Dominique recited The Lay of the Love and Death of Cornet Christopher Rilke by Rainer Maria Rilke, with music by Victor Ulmann.
Dominique plays the part of Queen Gertrude. Tour in Italy: at the Teatro Bonci in Cesena, Teatro Masini in Faenza, Teatro Metastasio in Prato, Teatro Storchi in Modena, Teatro Dell’Arte in Milano, Teatro della Regina in Cattolica, Teatro Verdi in Pisa, Teatro Politeama in Viareggio, Teatro Verdi in Carrara, Teatro del Giglio in Lucca, Teatro Carignano in Torino, Teatro sociale Villani in Biella, Teatro Manzoni in Pistoia, Teatro Nuovo in Bolzano, Teatro del Popolo in Colle Val D’Elsa and Teatro Moderno in Grosseto.
It is a great privilege for me, I cannot imagine a more exquisite pleasure: such a beautiful place as the Colon Theatre, and being connected to my country through Joan of Arc, the great liberator of France. The play has been written by Claudel and Honegger with all their heart, and with all my heart I shall play my role. I am living this as a godsend. (Dominique Sanda's interview by Isabel Estrada in LA NACIÓN newspaper, Sunday magazine, 5/19/2002)
Dominique plays the part of Ellida Wangel. Version by Susan Sontag, with Philippe Leroy-Beaulieu. Long tour in Italy. Dominique Sanda is The Lady from the Sea in person.
This idea belongs to me, the actress admits. I immediately felt a wild attraction toward this play where the heroine, Ellida, is femininity itself. I had always wanted to be directed by Robert Wilson. (Marion Thébaud, Le Figaro 3/15/1999).
Dominique Sanda is an extraordinary protagonist, alternating words, whispers, sea gull screams, for underlining the character's strangeness. (Maison des Arts of Créteil, March 1999)
The correspondence between two great ladies of the romantic nineteenth century, two writers whose fame has found its way through the twentieth century: George Sand (Dominique Sanda) and Marie d’Agoult (Brigitte Fossey). Two women who played an important role in the literary and musical life of their century, as they held a salon where they would welcome the elite of writers and musicians. They were both exceptionally intelligent writers, with a superlative taste for freedom. But this close intimacy would eventually bring out their fundamental differences. They would end up confronting and hating each other. They had each shared their life with a well-known composer (Marie d’Agoult with Liszt, George Sand with Chopin), and their epistolary exchange was always overshadowed by the presence of those two famous lovers.
The writer Viviane Forrester praised Dominique Sanda writing in the theatre hand programme:
“Her perception of what is not seen, is not “on stage”, is not told, all of which she catches, captures & offers in its very fleetingness."
Dominique Sanda as Lady Chiltern perfectly impersonates an irreproachable spouse, vestal of the family temple, but generously humanistic. (Le Provençal, Marseille 3/8/1997).
Choose a poem. Read it again slowly, carefully. Wait. Il gets into yourself, it settles in. It becomes your own truth. (Alain Bosquet: La fable et le fouet)
Texts by Pétrarque, Eichendorff, Lenau, Verlaine, Shelley, Proust; musique by Schubert, Schumann, Liszt, Nietzsche, Debussy, Hahn, Tosti, Ciléa. Directed by Michel de Maulne and Christian Crozet, pianist Ayala Cousteau, at the Théâtre Molière/ Maison de la Poésie.
Tour in France, Belgium and Switzerland.
Directed by Mario Monicelli, with Geppy Gleijeses, Laura Morante, Yvone Scio, Marilu Prati, Mariella Capotorto, Fabrizio Dardo, Oreste Valente, Cristina Ferrajoli, Luigi Merito, Darío Fantini. Played in Italian during an Italian tour.
In this confrontation, where professional competition is not absent, Dominique Sanda plays Melita with an asserted presence, although more brutal, hostile and curt. On the other hand, in this hardening, one can still feel her loneliness and a sort of nostalgia and pain. Once again, the result is dazzling. (Pierre Marcabru, Le Figaro, 3/28/1993)
