Information

Opéra-ballet in four acts and a prologue

Composer Jean-Philippe Rameau · Libretto by Louis de Fuzelier
In French with German surtitles | New Production

Munich Opera Festival
Tuesday, 26. July 2016
06:00 pm – 09:15 pm
Prinzregententheater

Duration est. 3 hours 15 minutes · 1 Interval between 1.-3. Bild and 4.+5. Bild (est. 07:30 pm - 08:00 pm )

Introductory Event: 05:00 PM

Prices PB

Premiere at 24. July 2016

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Cast

Musikalische Leitung
Ivor Bolton
Inszenierung und Choreographie
Sidi Larbi Cherkaoui
Bühne
Anna Viebrock
Kostüme
Greta Goiris
Licht
Michael Bauer
Dramaturgie
Antonio Cuenca, Miron Hakenbeck
Chor
Detlef Bratschke

Hébé
Lisette Oropesa
Bellone
Goran Jurić
L'Amour
Ana Quintans
Osman
Tareq Nazmi
Emilie
Elsa Benoit
Valère
Cyril Auvity
Huascar
François Lis
Phani
Anna Prohaska
Don Carlos
Mathias Vidal
Tacmas
Cyril Auvity
Ali
Tareq Nazmi
Zaire
Ana Quintans
Fatime
Anna Prohaska
Damon
Mathias Vidal
Don Alvaro
François Lis
Zima
Lisette Oropesa
Adario
John Moore
Tänzerinnen
Jennifer White, Niku Navala Chaudhari, Acacia Schachte, Ema Yuasa, Nicola Leahey
Tänzer
Elias Lazaridis, Kazutomi “Tsuki” Kozuki, Shintaro Oue, Patrick Williams "Twoface" Seebacher, Denis Kooné, James Vu Anh Pham, Jason Kittelberger

Tänzer der Compagnie Eastman, Antwerpen

Balthasar-Neumann-Chor, Freiburg

Münchner Festspielorchester

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Very much in keeping with the spirit of his age, Jean-Philippe Rameau measures the European culture of being lucky or unlucky in love against the image of the noble savage and takes the audience on a journey to four exotic realms. Given that, in the mythical land of Arcadia, people are walking away from Love and choosing to follow the god of war, Amor encourages Love to seek new followers on other continents. Regardless of whether the portrayals of distant lands are accurate representations of reality as conveyed by geographers, or simply a propagation of colonial clichés, Europeans are reflected just as much in the sultan who declines to take advantage of the highly desirable prisoner; in the self-destructively jealous Inka priest; in the love games of Persian princes; and in the prairie Indians who love faithfully and peacefully, as Rameau's furiously portrayed storms and volcanic eruptions stand for their emotional turbulence. 

Recollecting the origins of French music theatre within a culture of dance, Rameau plays with a genre which was enjoying a high degree of popularity among his contemporaries, but which today classifies as terra incognita, ripe for rediscovery: the Opéra-ballet. Using a balanced mix of music, drama and dance, and with multiple long-distance location changes, the focus alternates between four couples and their handling of fidelity, trust and jealousy - variations on the increasingly pertinent question: How do we love right?

 

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Prologue
Hébé gathers the youth together in order to pass on her know ledge about love and human nature. She is interrupted by Bellona, who wins over countless young people with her ideals of war. While the latter head into battle, Hébé remains behind, bewildered. Then Love comes to her rescue. Encouraged, Hébé goes out in search for ways to realise her ideas and virtues.

First Act – The generous Turk
Emilie is, for Osman, an object of worship. He urges her relentlessly to submit to his amorous advances. She however remains true to her beloved Valère, whom she lost when they were separated from each other by a catastrophe. Emilie fears Valère may no longer be alive. Her fear overwhelms her, and is echoed suddenly by a breaking storm. After the storm has abated, Emilie discovers Valère among a group of new arrivals. Her joy at seeing him again is interrupted by Osman, who, contrary to all expectation, allows Emilie to leave with Valère and wishes the couple a happy future.

Second Act – The Incas of Peru
The Priest Huascar loves Phani, a believer in his congregation. But she has chosen a stranger called Carlos, who loves her too and encourages her to give up her faith. Huascar tries to break up this love and to win Phani for himself by pretending to be the mouthpiece of God's will and awakening Phani's guilt. In order to increase his influence over her, he goes as far as to stage supernatural phenomena in the religious ceremony. Carlos discovers the means by which these wonders are evoked and reveals the deceitful schemes to Phani. Phani and Carlos flee. Left behind alone, Huascar begs to be struck down by God's wrath.

Third Act  The flowers, a Persian festival

Tacmas and Fatime disguise themselves for love: dressed up as the opposite sex, each of them hopes to draw closer to their beloved ones: Tacmas loves Zaïre, the slave of his friend Ali. Ali in turn desires Fatime, who is owned by Tacmas. After many entanglements due to mistaken identities, two couples celebrate their love and the start of their new lives together.

Fourth Act – The Savages
The military commander, Adario, has succeeded in ensuring peace for his nation. Despite this success, he is deeply worried that his adored Zima could be in love with someone else. He hides so that he can eavesdrop on two strangers who are also wooing Zima: Damon and Alvar. Damon is as frivolous and free as Alvar is loyal and jealous. However, Zima prefers Adario, since he combines the qualities of the both without showing any weaknesses. After he reveals himself, Adario and Zima affirm their love. With this assurance, they celebrate their bond as well as the newly won peace.

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Biographies

Ivor Bolton studierte an der Cambridge University, am Royal College of Music und am National Opera Studio in London. Anschließend war er Musikdirektor der English Touring Opera, der Glyndebourne Touring Opera und Chefdirigent des Scottish Chamber Orchestra. Gastdirigate führten ihn u. a. nach Wien, Zürich, Frankfurt, Paris, London, New York, Amsterdam, Dresden, Leipzig, San Francisco, Buenos Aires und Barcelona sowie zu den Festspielen in Glyndebourne, Aix-en-Provence und seit 2000 jährlich nach Salzburg. 2004 wurde er Chefdirigent des Mozarteum-Orchesters Salzburg. Seit dessen Gründung im Jahr 2012 ist er musikalischer Leiter des Dresdner Festspielorchesters, seit 2015 außerdem Musikdirektor am Teatro Real in Madrid. (Stand: 2017)

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