LES TROYENS

Grand opéra in five acts (1863/1879)

Composer Hector Berlioz. Libretto by Hector Berlioz based on Vergil’s original.
In französischer Sprache · Mit Übertiteln in deutscher und englischer Sprache.

Premiere at 09. May 2022

Saturday, 21. May 2022, 05:00 pm o'clock, Nationaltheater.

Subscription

Prices L , € 163 / 142 / 117 / 91 / 64 / 39 / 15 / 11

Tickets for this event will be sold from Thursday, 21. April 2022 , 10 a.m.

tickets

Musikalische Leitung	Daniele Rustioni
Inszenierung	Christophe Honoré
Bühne	Katrin Lea Tag
Kostüme	Olivier Bériot
Licht	Dominique Bruguière
Dramaturgie	Katja Leclerc

Cassandre	Marie-Nicole Lemieux
L'ombre de Cassandre	Marie-Nicole Lemieux
Hécube, Königin von Troja	Emily Sierra
Ascagne, Sohn des Énée	Eve-Maud Hubeaux
Dido, Königin von Karthago	Anita Rachvelishvili
Anna, Schwester der Dido	Lindsay Ammann
Soldat	Daniel Noyola
Chorèbe	Stéphane Degout
L'ombre de Chorèbe	Stéphane Degout
Priam	Martin Snell
L'ombre de Priam	Martin Snell
Helenus, Sohn des Priamus	Armando Elizondo
Enée	Gregory Kunde
Panthée	Milan Siljanov
L'ombre d'Hector	Roman Chabaranok
Un chef grec	Daniel Noyola
Narbal	Bálint Szabó
Iopas	Martin Mitterrutzner
Mercure	Andrew Hamilton
Polyxène	Jessica Niles
Hylas	Jonas Hacker
1ier Sentinelle	Theodore Platt
2ième Sentinelle	Andrew Gilstrap

Bayerisches Staatsorchester

Chorus of the Bayerische Staatsoper

All peace is followed by war, behind all happiness awaits disaster. Tragedy also shares this universal view, and in his grand opera “Les Troyens”, Hector Berlioz presents it in the face of two women: Cassandra and Dido lose their personal happiness, as it has no place in the struggle between the peoples and heroes, and ultimately lose their life. In the first part of “The Trojans” the seeress Cassandra proclaims the fall of Troy. Being the only one to do so, none believe her. With her entire people, she falls victim to the Greeks’ stratagem. In the second part, Berlioz puts Dido, Queen of Carthage, at the centre of the piece. Her love for the Trojan hero Aeneas turns to hate when he leaves her to found a new Troy.

Berlioz wrote the libretto loosely based on Vergil’s Aeneid. He went his own way with the music, which was never performed in its entirety while the composer lived, to produce grand opéra, spectacular choirs and ballets, along with new form experiments. Les Troyens remains a challenge for musical theatre to this day, and is indeed one of the monumental conceptual pieces of the previous century.