Alagna characterizes himself as ‘hyperactive, hyperacoustic, hypersensitive, and hyper-foolish,’ he admits to a weakness for French screen clowns such as Louis de Funès, Fernandel, and Bourvil, as well as contemporary comedians such as Élie Seimoun and Gad Elmaleh, who draw comedy from their North African Jewish upbringings. In the mausoleum-like atmosphere of the world’s opera houses, this kind of anarchic comic spirit is a rarity.”