Marie Lys sings Lully and Handel

Michael Keelan: This is KBACH’s First Take, and I'm Michael Keelan. I'm talking with Marie Lys, the soprano who sings the title role in Proserpine, the opera of Jean-Baptiste Lully, on a new recording. There are many composers associated with King Louis XIV, perhaps none more so than Lully. This opera was paid for by the king in 1680, and you've recorded many Baroque operas, including others by Lully. What's required to be a singer who is an expert in Lully?

Marie Lys: Oh, first of all, I would never define myself as an expert in Lully! But, yes, I did have a few very nice experiences, always with Christophe Rousset, in Lully recordings. And he is certainly an expert in this kind of music, and I learned everything from him, actually. What is required, I think, is a big flexibility in the voice, but also in your mind, to be able to adapt to the very specific style that is required from Lully, and also from Christophe Rousset, because he has his very clear idea about how to perform it.

Michael Keelan: Did it help to perform this opera in multiple settings before making the recording? Because I noticed that it listed a number of different locations where you performed it.

Marie Lys: Indeed, we performed it, I think we had two concerts before the recording and two concerts after the recording. It's always useful, I think, to have a live performance before recording something, because you have a much better idea of how it's received, of the atmosphere—you have a good idea of the impressions. Sometimes you record before doing the concert tour, and then during the tour you notice that you could have done something differently, and it's a pity.

Michael Keelan: Did you get to perform it staged, or always in concert?

Marie Lys: No, it was always concert performances.

Michael Keelan: Did you discover anything that you wanted to change about your performance over the course of those, so that when it came to the recording it was something different?

Marie Lys: I don't think so. Christophe Rousset has very, very precise ideas about what he wants, so he's very... he insists very much on his ideas in the rehearsals, which is very nice. So after the rehearsal process, we are always very ready with what the intentions are with the characters and what the text is saying. So, yeah, I don't think the concerts in this case changed my perception of the character.

Michael Keelan: Proserpine is a mythological character who gets abducted by Pluto into the underworld, and the opera is named after her, but in fact she doesn't sing any more than any other character, really. It's kind of an ensemble cast. Is that easier or harder, or just different?

Marie Lys: It's just different. I think Proserpine's mother is the one who has the most to sing, actually, and she was sung by Véronique Gens. And, yeah, it's a bit strange that the title is not... the title role is not the role that sings the most, but it's the character that is at the center of all the action. It's all about her, even though she's not singing.

Michael Keelan: You also have a solo album coming up, and that's Handel. Would you like to say anything about the contents of that?

Marie Lys: Yes, sure, I'd love to! So it's four cantatas by Handel. They all talk about love. One of the cantatas is actually the only French cantata that Handel wrote, and it's very much in a French court style. So I actually used what I learned about Lully for that... for the style of that cantata, because it sounds very French. So I could not sing it in the style I usually sing Handel in, which was very interesting. And, yeah, it's very wonderful music. I look forward to having it out there.

Michael Keelan: Yes, honestly, I didn't know that Handel had written anything in French until I saw that album. Can you specify what it was that you had changed about your style for that?

Marie Lys: Yes, the ornaments are not... are not the same. The way of doing the appoggiaturas... the trills even are a bit different. It's... and even the way of singing—I could not say exactly what it is about it, but singing in French is always very different than singing in Italian. Yeah, I think when you listen to this French cantata, you would never guess that it's by Handel, actually.

Michael Keelan: Right, and I would encourage listeners both to hear that album and also to take a look at the cover, which has a very interesting fashion choice on it.

Marie Lys: Yes, absolutely! We had fun with the photographer.

Michael Keelan: You seem to be a big friend of animals, whether the snakes or a doggy. Did I hear a nice dog in the background there?

Marie Lys: Oh yes, I'm sorry about that! I locked him out of the room so he would not... because he tends to play with his toys just next to me when I'm on the phone, so... Now he's barking a bit.

Michael Keelan: Yeah, I saw he makes an appearance in your photos too, right?

Marie Lys: Absolutely, yes. Yes, and I'm a big lover of the forest, especially tropical forests. So this atmosphere, very green and with the snake, is very... I think it really defines me very well.

Michael Keelan: You're also giving what I understand are your first performances of Verdi's Rigoletto in Switzerland soon, is that right?

Marie Lys: Absolutely, we are rehearsing right... I mean, between two rehearsals right now, and it's my first time singing Gilda, so Rigoletto's daughter. A completely opposite style from Lully! And, oh, I'm so in love with this music. It's wonderful.

Michael Keelan: Is that the home audience for you in Switzerland?

Marie Lys: Absolutely, my parents are coming to see me five times, I think! And, yeah, basically all my friends and family will be in the room, so it's very nice, and it's also a bit more stressful than if it's only strangers.

Michael Keelan: I've been talking with Marie-Lys, who sings the title role on the new recording of Lully's opera Proserpine, and her new Handel cantatas come out in just a few days, too. Thanks so much for talking with us on First Take today.

Marie Lys: Thank you very much.