Information

Tragédie-opéra in three acts (1767 / 1776, Pariser Fassung)

Composer Christoph Willibald Gluck · Libretto by Marius-François-Louis Gand Lebland, Bailli Du Roullet after Ranieri de’ Calzabigi
In French with German and English surtitles | New Production

Munich Opera Festival
Thursday, 18. July 2019
07:00 pm – 10:00 pm
Nationaltheater

Duration est. 3 hours · 1. + 2. Akt (est. 07:00 pm - 08:45 pm ) · Interval (est. 08:45 pm - 09:20 pm ) · 3. Akt (est. 09:20 pm - 10:00 pm )

Introductory Event: 06:00 PM

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Prices L , € 163 /142 /- /- /- /- /- /11

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Premiere at 26. May 2019

#BSOalceste

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Dates & Tickets

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Cast

Musikalische Leitung
Antonello Manacorda
Regie, Choreographie
Sidi Larbi Cherkaoui
Regie Mitarbeit
Marcos Darbyshire
Choreographische Assistenz
Václav Kuneš
Bühne
Henrik Ahr
Kostüme
Jan-Jan Van Essche
Licht
Michael Bauer
Chor
Sören Eckhoff
Dramaturgie
Benedikt Stampfli

Admète
Charles Castronovo
Alceste
Dorothea Röschmann
Ein Oberpriester des Apollon
Michael Nagy
Évandre
Manuel Günther
Ein Waffenherold
Sean Michael Plumb
Hercule
Michael Nagy
Coryphée(s)
Noa Beinart, Anna El-Khashem, Frederic Jost, Caspar Singh
Apollon
Sean Michael Plumb
Das Orakel
Callum Thorpe
Ein Gott der Unterwelt
Callum Thorpe
Tänzerinnen
Nicola Leahey, Josepha „Princess“ Madoki, Acacia Schachte, Qing Wang, Ema Yuasa
Tänzer
Shawn Fitzgerald Ahern, Kazutomi “Tsuki” Kozuki, Morgan Lugo, Robert "Robbie" Moore, Mohamed Toukabri, Jonas Vandekerckhove, Pol Van den Broek, Patrick Williams "Twoface" Seebacher
Ballett
Tänzer der Compagnie Eastman, Antwerpen
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper

Cast for all dates

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Media

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The title character in Christoph Willibald Gluck's opera Alceste demonstrates an almost superhuman willpower. To save her husband's life, Alceste sacrifices her own. The compositional reforms in his dramatic works show how much he was ahead of his contemporaries in both the themes he addressed in his operas and in his musical arrangements. The recitatives of the singers are no longer accompanied by the harpsichord alone – strings also come along now. A new connection between music and text has never been created so colourfully and with such instrumental diversity. The piece was first performed in Vienna's Burgtheater, and sung in Italian. When he revised it in 1776 for Paris he not only changed the language, he also rearranged numerous scenes and focused on the story of the ruling couple. Sidi Larbi Cherkaoui, who staged Rameau's Les Indes galantes at the Munich Opera Festival 2016, focuses in his interpretation on the connection between dance and song: "When I see opera singers singing, I feel that they are dancing."

 

First Act
The people are grieving for their beloved ruler King Admète, who is lying on his deathbed. A King of Arms declares that human knowledge and skill can no longer save him. Évandre, a confidant of the King, announces the arrival of the Queen Alceste and her children. She recalls the ruler’s good deeds for his people and his family. Now, she fears for the future of her children and the whole land, and begs the Gods for assistance. She shall plea for their grace and mercy with a sacrifice. As a divine presence passes through him, the High Priest of Apollon summons the Gods to give the grieving people their ruler back. The Oracle speaks: Admète shall die that very day unless someone declare themselves prepared to die in place of the King. Silence reigns. As the High Priest asks who might be prepared to sacrifice themselves, the crowd flees in terror. Alceste stands back and makes the decision to die for her husband. This service, which nobody is prepared to provide out of friendship and gratitude, can only be performed by love. The Priest announces that Alceste is already expected in the Underworld. For a moment, she laments the fate of her children. Emboldened by her own love, she then appeals to the Gods to fulfil their prophecy, and dedicates herself to Death.

Second Act
The people rejoice. Like a miracle, Admète has cheated death. His gathered subjects praise their ruler and the Gods for their benevolence. The King appears and receives the homage of the mass. Drunken with joy, he is unable to comprehend the situation. Évandre discloses the Oracle’s statement to him and describes how an unknown hero has sacrificed himself for him. Admète shivers at the cruelty of the Gods, but the joy of his people overwhelms him. He and Alceste meet again, surrounded by rejoicing and happiness, but Alceste cannot conceal her sorrow from her husband. As he pressures her to speak, she slowly reveals what nobody knows: the hero who gave his life to save the King, is actually she. The shocked people cry at the King’s latest distress. Admète accuses Alceste of betraying her love for him. He would have preferred to die instead of Alceste rather than to live without her. In defiance of her husband, she reinforces her decision: she is ready to die in order to save Admète’s life.

Third Act
As Évandre weeps at the hopeless situation, Hercule arrives after his long wanderings to dine with his friend Admète. Évandre tells Hercule of the Royal Couple’s impending doom: Alceste shall die and Admète not survive her death. The demigod declares himself prepared to rescue both. In the meantime, Alceste and Admète have already reached the entrance to the Underworld. Both of them insist on dying for the other. Alceste reminds the King of his responsibilities towards his people and his children. Admète assures her that his pain would be too much for him to bear if he were to blame for her death. Eventually, the Gods of the Underworld speak: one of the two must die, and Alceste must decide which. She immediately declares herself ready to die. Meanwhile, Hercule appears, drives away the Gods and brings Alceste back to life. Apollon himself then appears and praises Hercules’ valour: the Royal Couple shall live. The re-united family pay homage to Apollon and the people rejoice.

Florian Holzapfel (translated by James McCallum)

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Biographies

Antonello Manacorda ist seit 2010 Chefdirigent der Kammerakademie Potsdam und war von 2011 bis 2018 in gleicher Position beim Het Gelders Orkest in Arnhem engagiert. Er dirigierte u. a. das hr-Sinfonieorchester, das BBC Philharmonic Orchestra, das Sydney Symphony Orchestra, das Orchestra della Svizzera Italiana, die Hamburger Symphoniker, die Staatskapelle Weimar, das Orchestre National du Capitole de Toulouse und das Gothenburg Symphony Orchestra. Zudem war er zu Gast bei den Festivals in Aldeburgh und Glyndebourne. Von 2003 bis 2006 war er künstlerischer Leiter der Kammermusik bei der Académie Européenne de Musique du Festival d’Aix en Provence. Gastengagements führten ihn u. a. an die Oper Frankfurt, das Théâtre La Monnaie, das Royal Opera House in Covent Garden, die Wiener Staatsoper und die Komische Oper Berlin. Er war langjähriger Konzertmeister und Gründungsmitglied des Mahler Chamber Orchestras.

 

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