Strikes in Paris have led to the cancellation of some performances in the run of Prince Igor at Opéra Bastille. Parisian opera-goers are devastated — after all, for many, it is a missed opportunity to boo Barrie Kosky. Expectations were high for Opéra de Paris’ first production of Borodin’s grandiose, unfinished opera (with the ideal Slavic cast and no shortage of Russian basses), marking the Australian director’s company debut. Eliminating the entire third act, with the exception of Prince Igor’s monologue, Kosky placed the focus squarely on power and its abuse, themes that resonate uncomfortably in today’s political landscape. And while the musicians received enthusiastic ovations at curtain call, Kosky and his creative team have been equally enthusiastically booed.

Dimitry Ivashchenko and Ildar Abdrazakov in Prince Igor. Photo © Agathe Poupeney

The chorus impresses from the opening fanfare of  ‘slava’ – ‘glory’ – as a rugged Ildar Abdrazakov, in the title role, announces Russia’s military campaign against the Polovtsians, atop his throne in a resplendent gilded nave crowned with neon cross. Rather than staging the eclipse that augurs doom as part of the lighting design (Franck Evin), it seems to pass viscerally through the sovereign’s body...