Don Giovanni is a promiscuous nobleman, an anti-hero in the endless pursuit of pleasure.
He flouts all of society’s rules and betrays without remorse. He outrages those around him leaving despair and ruin in his wake. Eventually he pays the ultimate price for his sins and confronts his damnation with fearless defiance to the very end. Mozart’s sublime music and dramatic truth tell a vivid tale of seduction, desire, power and freedom in this wonderful production.
CAST AND CREATIVE
Composer – Wolfgang Amadeus Mozart
Libretto – Lorenzo Da Ponte
Conductor – Brad Cohen
Rehearsal Director – Cath Dadd
Set and Costume Designer – Carl Friedrich Oberle
Lighting Designer – Nigel Levings
Don Giovanni – Teddy Tahu Rhodes
Leporello – James Clayton
Don Ottavio – Jonathan Abernethy
Il Commendatore – Jud Arthur
Donna Anna – Anita Watson
Donna Elvira – Emma Pearson
Masetto – Wade Kernot
Zerlina – Rebecca Bunn
FEATURING
West Australian Opera Chorus
West Australian Symphony Orchestra
Don Giovanni is a promiscuous nobleman, an anti-hero in the endless pursuit of pleasure.
He flouts all of society’s rules and betrays without remorse. He outrages those around him leaving despair and ruin in his wake. Eventually he pays the ultimate price for his sins and confronts his damnation with fearless defiance to the very end. Mozart’s sublime music and dramatic truth tell a vivid tale of seduction, desire, power and freedom in this wonderful production.
CAST AND CREATIVE
Composer – Wolfgang Amadeus Mozart
Libretto – Lorenzo Da Ponte
Conductor – Brad Cohen
Rehearsal Director – Cath Dadd
Set and Costume Designer – Carl Friedrich Oberle
Lighting Designer – Nigel Levings
Don Giovanni – Teddy Tahu Rhodes
Leporello – James Clayton
Don Ottavio – Jonathan Abernethy
Il Commendatore – Jud Arthur
Donna Anna – Anita Watson
Donna Elvira – Emma Pearson
Masetto – Wade Kernot
Zerlina – Rebecca Bunn
FEATURING
West Australian Opera Chorus
West Australian Symphony Orchestra
Don Giovanni is a promiscuous nobleman, an anti-hero in the endless pursuit of pleasure.
He flouts all of society’s rules and betrays without remorse. He outrages those around him leaving despair and ruin in his wake. Eventually he pays the ultimate price for his sins and confronts his damnation with fearless defiance to the very end. Mozart’s sublime music and dramatic truth tell a vivid tale of seduction, desire, power and freedom in this wonderful production.
CAST AND CREATIVE
Composer – Wolfgang Amadeus Mozart
Libretto – Lorenzo Da Ponte
Conductor – Brad Cohen
Rehearsal Director – Cath Dadd
Set and Costume Designer – Carl Friedrich Oberle
Lighting Designer – Nigel Levings
Don Giovanni – Teddy Tahu Rhodes
Leporello – James Clayton
Don Ottavio – Jonathan Abernethy
Il Commendatore – Jud Arthur
Donna Anna – Anita Watson
Donna Elvira – Emma Pearson
Masetto – Wade Kernot
Zerlina – Rebecca Bunn
FEATURING
West Australian Opera Chorus
West Australian Symphony Orchestra
Don Giovanni is a promiscuous nobleman, an anti-hero in the endless pursuit of pleasure.
He flouts all of society’s rules and betrays without remorse. He outrages those around him leaving despair and ruin in his wake. Eventually he pays the ultimate price for his sins and confronts his damnation with fearless defiance to the very end. Mozart’s sublime music and dramatic truth tell a vivid tale of seduction, desire, power and freedom in this wonderful production.
CAST AND CREATIVE
Composer – Wolfgang Amadeus Mozart
Libretto – Lorenzo Da Ponte
Conductor – Brad Cohen
Rehearsal Director – Cath Dadd
Set and Costume Designer – Carl Friedrich Oberle
Lighting Designer – Nigel Levings
Don Giovanni – Teddy Tahu Rhodes
Leporello – James Clayton
Don Ottavio – Jonathan Abernethy
Il Commendatore – Jud Arthur
Donna Anna – Anita Watson
Donna Elvira – Emma Pearson
Masetto – Wade Kernot
Zerlina – Rebecca Bunn
FEATURING
West Australian Opera Chorus
West Australian Symphony Orchestra
DISTRIBUTION
Jérémie Rhorer Director
Katie Mitchell Directed
Martin Crimp Dramaturgy
Joseph W. Alford Head of Movements
Chloe Lamford Sets
Sarah Blenkinsop Costumes
James Farncombe Lights
Camilla Nylund Ariane
Roberto Sacca Bacchus
Kate Lindsey Composer
Olga Pudova Zerbinette
Huw Montague-Rendall Arlequin
Jonathan Abernethy Brighella
Emilio Pons Scarabouche
David Shipley Truffaldin
Beate Mordal Naiad
Lucie Roche Dryade
Elena Galitskaya Echo
Jean-Sebastien Bou A music teacher
M arcel Beekman A master of ballet
Petter Moen An officer
Jean-Christophe Lanièce A wigmaker
Maik Solbach A butler
Guilhem Worms A lackey
Paris Chamber Orchestra
Wednesday, March 13, 2019 at 18:30
Meeting with the artistic team
Duration of the book 2h50 approximately
Opera sung in German, surtitled in French and in English
From the first steps of the prologue, one is struck by the vertiginous invention of the composer, never belied by the way until the end of the book. Probably the origin of this success, the libretto by Hoffmansthal, who uses with subtlety the artifice of theater in the theater. Strauss and his librettist are indeed confronting the “spoken” and the “sung” under the pretext of the organization of a representation of a small opera (the very one who bears the name of Ariadne in Naxos)and entertainment in the Commedia dell’arte style. The two convoked troops then compete in aesthetic debates and amorous protests that will constantly spice up the preparations and the representation. But all this is also an opportunity to bring to the top the idea of ??vocal virtuosity (we will only mention the famous Zerbinetta tune … 11 minutes of pure lyrical invention), all served by the orchestral sumptuousness of a Strauss at the peak of his means of composition. Delight of the senses assured.
For this “mise en abîme” to which Strauss and Hofmannsthal agree, we find Jérémie Rhorer, this time on the pulpit of the Orchester de chambre de Paris (called “Mozart” formation) found in this chamber opera in Paris. the undeniable classical perfume all its obvious vocation) and a distribution which should make a marvel, notably the immense straussienne that is the Finnish soprano Camilla Nylund, the tenor Roberto Saccà, also a regular of the universe of the Viennese master, the Delicious Olga Pudova and Kate Lindsey and the perfect music master Jean-Sébastien Bou. Several recent collaborations with the Festival of Aix-en-Provence have allowed to appreciate all the richness of the dramaturgical work and direction of actor of the British Katie Mitchell. This new production of Arianewill be presented in July 2018 as part of the Festival d’Aix. Parisians will enjoy the following spring.
New production of the Aix-en-Provence Festival
In coproduction with the Théâtre des Champs-Elysées / Theaters of the City of Luxembourg / National Opera of Finland
PASSION ACCORDING TO SAINT JOHN
1h50 without intermission
Concert in German surtitled in french
PROGRAM
JOHANN SEBASTIAN BACH
Johannes Passion
Of the four passions by Bach written between 1724 and 1747 Vespers of Good Friday, only survived in their entirety the St. Matthew Passion and St. John Passion . Insula orchestra and Laurence Equilbey seize the latter and present it in an exceptional version, including two choirs on the set: accentus sings the action and the young chorus of Paris comments. The different levels of temporality and space are thus underlined, multiplying the musical power of this masterpiece.
THE DISTRIBUTION
Fabio Trümpy, Evangelist
Thomas Dolié, Jesus
Victor Sicard, Pilate
Nuria Rial, soprano
Kristina Hammarström, viola
Jonathan Abernethy, tenor
André Morsch, bass
accentus
the young choir of Paris
Insula orchestra
Laurence Equilbey, conductor
Marie-Christine Soma, light creations
PASSION ACCORDING TO SAINT JOHN
1h50 without intermission
Concert in German surtitled in french
PROGRAM
JOHANN SEBASTIAN BACH
Johannes Passion
Of the four passions by Bach written between 1724 and 1747 Vespers of Good Friday, only survived in their entirety the St. Matthew Passion and St. John Passion . Insula orchestra and Laurence Equilbey seize the latter and present it in an exceptional version, including two choirs on the set: accentus sings the action and the young chorus of Paris comments. The different levels of temporality and space are thus underlined, multiplying the musical power of this masterpiece.
THE DISTRIBUTION
Fabio Trümpy, Evangelist
Thomas Dolié, Jesus
Victor Sicard, Pilate
Nuria Rial, soprano
Kristina Hammarström, viola
Jonathan Abernethy, tenor
André Morsch, bass
accentus
the young choir of Paris
Insula orchestra
Laurence Equilbey, conductor
Marie-Christine Soma, light creations
Wolfgang Amadeus Mozart
Meistermusik (with men’s choir)
Requiem
Two funeral but luminous musical works: Mozart’s Requiem and its Masonic counterpart, the Meistermusik.
No, Salieri did not order a requiem to Mozart! If this legend, beautifully used by Milos Forman in Amadeus , is invented, it contains a parcel of truth: the real sponsor was Franz von WalseggStuppach, a count who wanted to pretend to be a genius composer. But the greatest truth is that this mass of the dead, composed in 1791 by Mozart, is a summit of classical music that touches the sublime. Far from legends, this concert with the accentus choir focuses on showing the true face of Mozart, who is also that of his Masonic membership. As evidenced by this secular work where, as in his sacred music, one of the most touching characteristics of the composer is his humanity.
Wolfgang Amadeus Mozart
Meistermusik (with men’s choir)
Requiem
Two funeral but luminous musical works: Mozart’s Requiem and its Masonic counterpart, the Meistermusik.
No, Salieri did not order a requiem to Mozart! If this legend, beautifully used by Milos Forman in Amadeus , is invented, it contains a parcel of truth: the real sponsor was Franz von WalseggStuppach, a count who wanted to pretend to be a genius composer. But the greatest truth is that this mass of the dead, composed in 1791 by Mozart, is a summit of classical music that touches the sublime. Far from legends, this concert with the accentus choir focuses on showing the true face of Mozart, who is also that of his Masonic membership. As evidenced by this secular work where, as in his sacred music, one of the most touching characteristics of the composer is his humanity.
FESTIVAL MOZART MAXIMUM
REQUIEM / YOANN BOURGEOIS
1:10 without intermission
PROGRAM
WOLFGANG AMADEUS MOZART
Requiem (original fragments)
Do you think you know Mozart’s Requiem by heart? Error ! Forget the versions completed by his student Süssmayr or others, place the unfinished work as written by Mozart before dying prematurely. The reading of the Requiem fragments by the circus artist Yoann Bourgeois explores the silences of the unfinished score. On the set, eight acrobatic dancers echo the void left by the death of Mozart, between suspension and disappearance.
Co-CCN2 Center Grenoble National Choreographic Insula orchestra
‘s On The Seine Music on sale from 1 st June 2018 as part of the subscription, and as of 1 st October 2018 without subscription.
THE DISTRIBUTION
Hélène Carpentier / Natalie Perez *, soprano
Giuseppina Bridelli / Eva Zaïcik *, viola
Jonathan Abernethy, tenor
Christian Immler, bass
accentus
Insula orchestra
Laurence Equilbey, conductor
Yoann Bourgeois, staging
* alternately
FESTIVAL MOZART MAXIMUM
REQUIEM / YOANN BOURGEOIS
1:10 without intermission
PROGRAM
WOLFGANG AMADEUS MOZART
Requiem (original fragments)
Do you think you know Mozart’s Requiem by heart? Error ! Forget the versions completed by his student Süssmayr or others, place the unfinished work as written by Mozart before dying prematurely. The reading of the Requiem fragments by the circus artist Yoann Bourgeois explores the silences of the unfinished score. On the set, eight acrobatic dancers echo the void left by the death of Mozart, between suspension and disappearance.
Co-CCN2 Center Grenoble National Choreographic Insula orchestra
‘s On The Seine Music on sale from 1 st June 2018 as part of the subscription, and as of 1 st October 2018 without subscription.
THE DISTRIBUTION
Hélène Carpentier / Natalie Perez *, soprano
Giuseppina Bridelli / Eva Zaïcik *, viola
Jonathan Abernethy, tenor
Christian Immler, bass
accentus
Insula orchestra
Laurence Equilbey, conductor
Yoann Bourgeois, staging
* alternately
FESTIVAL MOZART MAXIMUM
REQUIEM / YOANN BOURGEOIS
1:10 without intermission
PROGRAM
WOLFGANG AMADEUS MOZART
Requiem (original fragments)
Do you think you know Mozart’s Requiem by heart? Error ! Forget the versions completed by his student Süssmayr or others, place the unfinished work as written by Mozart before dying prematurely. The reading of the Requiem fragments by the circus artist Yoann Bourgeois explores the silences of the unfinished score. On the set, eight acrobatic dancers echo the void left by the death of Mozart, between suspension and disappearance.
Co-CCN2 Center Grenoble National Choreographic Insula orchestra
‘s On The Seine Music on sale from 1 st June 2018 as part of the subscription, and as of 1 st October 2018 without subscription.
THE DISTRIBUTION
Hélène Carpentier / Natalie Perez *, soprano
Giuseppina Bridelli / Eva Zaïcik *, viola
Jonathan Abernethy, tenor
Christian Immler, bass
accentus
Insula orchestra
Laurence Equilbey, conductor
Yoann Bourgeois, staging
* alternately
FESTIVAL MOZART MAXIMUM
REQUIEM / YOANN BOURGEOIS
1:10 without intermission
PROGRAM
WOLFGANG AMADEUS MOZART
Requiem (original fragments)
Do you think you know Mozart’s Requiem by heart? Error ! Forget the versions completed by his student Süssmayr or others, place the unfinished work as written by Mozart before dying prematurely. The reading of the Requiem fragments by the circus artist Yoann Bourgeois explores the silences of the unfinished score. On the set, eight acrobatic dancers echo the void left by the death of Mozart, between suspension and disappearance.
Co-CCN2 Center Grenoble National Choreographic Insula orchestra
‘s On The Seine Music on sale from 1 st June 2018 as part of the subscription, and as of 1 st October 2018 without subscription.
THE DISTRIBUTION
Hélène Carpentier / Natalie Perez *, soprano
Giuseppina Bridelli / Eva Zaïcik *, viola
Jonathan Abernethy, tenor
Christian Immler, bass
accentus
Insula orchestra
Laurence Equilbey, conductor
Yoann Bourgeois, staging
* alternately
