Dardanus

Francesco Cavalli, a natural successor to Monteverdi, was the most famous and influential Italian opera composer during the mid-17th century. Cardinal Mazarin, chief minister to the king, commissioned Cavalli to create a Parisian spectacle to celebrate the wedding of the ‘Sun King’ Louis XIV and the Infanta of Spain. Ercole amante (‘Hercules in Love’) was the flattering subject chosen for this regal extravaganza combining larger-than-life characters with mythology, and genuine human emotions with natural and cosmic phenomena. The result is a sumptuous Baroque spectacle, conceived on a vast scale in this lavish production by directors Valerie Lesort and Christian Hecq.

For his first appearance in the pit in Paris with his Artaserse ensemble, Philippe Jaroussky has chosen a masterpiece that he knows well, having sung the role of Sesto on numerous occasions, notably in the highly acclaimed Salzburg production alongside Cecilia Bartoli. As for the staging, we will welcome for the first time on Avenue Montaigne a Venetian who is used to the greatest European stages and who has undertaken his first Handel, Alcina, in the summer of 2019 in Salzburg with Ruggiero... Philippe Jaroussky. Everyone agrees on his ability to imagine delicate and highly effective dramaturgical worlds (his Barber of Seville for the Paris Opera is an irresistible visual translation of Rossini's frenzied score). His debut in opera seria with Alcina also showed his intelligence in giving coherence and emotion to the demanding arias da capo. On stage, a team familiar with the Théàtre des Champs-Elysées and this repertoire, led by a very fine trio of French women.

Staatsoper Berlin’s new production of Rameau’s tragédie lyrique, directed by Alletta Collins; featuring costumes, sets and lighting designed by Ólafur Eliasson; and musical direction by Simon Rattle, who makes his debut with the Freiburg Baroque Orchestra.

Rameau, Beethoven, Gluck...: beneath the gilded ceilings of the Château de Fontainebleau, a varied musical program spanning the centuries and reflecting the influence of the women who left their mark on this exceptional place.

Gounod's Faust at the Bavarian State Opera: Jonathan Tetelman plays Faust, the scholar who makes a pact with Mephistopheles (Kyle Ketelsen) before seducing Marguerite (Olga Kulchynska). The unfortunate woman descends into madness but ultimately achieves redemption. Lotte de Beer directs this production, which marks Nathalie Stutzmann's debut in Munich as conductor.

Founded in 2012 by Laurence Equilbey, the Insula Orchestra performs on period instruments and experiments with new concert formats. In summer 2018, the French conductor and her ensemble will present a little-known work by Mozart at the Parisian cultural center La Seine Musicale: the incidental music to "Thamos, King in Egypt". In 1773, the author Tobias Philipp Freiherr von Gebler asked his fellow Freemason Wolfgang Amadeus Mozart to compose incidental music for his heroic drama "Thamos, King of Egypt". The boy wonder composed two choruses and five interludes for the play, which took up the Egyptian theme popular in the 18th century.

Composed for the Paris Opéra, the romantic but ultimately tragic narrative of Donizetti’s grand opera La Favorite is set amidst the Moorish invasions of Spain and the power struggles between religion and the state in the 14th century. The novice Fernand abandons his monastery having fallen in love with the noble Léonor, not knowing that she is the King’s mistress and favourite. Drawing on traditions established by Rossini and Meyerbeer, La Favorite is noted for Donizetti’s innovative use of the orchestra and for some of his most renowned and enthralling arias. This acclaimed production opened the 2022 Donizetti Opera Festival in Bergamo, and is performed with its original French libretto.

A staging of Charles Gounod's "Faust", staged by Tobias Kratzer.

The opera "Carmen" caused a scandal at its premiere at the Opéra Comique in Paris. Now the feisty Carmen returns to where it all began. Andreas Homoki sets his new production at the Opéra Comique in several eras. Mezzo-soprano Gaëlle Arquez shines in the leading role, with Louis Langrée as musical director. Georges Bizet's world-famous opera returns to the site of its world premiere in 1875. German director Andreas Homoki transposes the story of the beautiful Romani woman and the soldier Don José into three epochs corresponding to the opera: the year of its scandalous premiere; the time of the Resistance, which alludes to the secret love affair; and the present day with the #MeToo movement, which stands for the heroine's sexual emancipation. Recording from April 26, 2023 at the Opéra Comique, Paris

While best known today for having composed the ending to Puccini's unfinished Turandot, Franco Alfano wrote some dozen operas, including Cyrano de Bergerac (1936) with a libretto by Henri Cain based on Edmond Rostand's drama of the same name. It is a moving tale of romantic misunderstanding, swashbuckling bravado and heartbreaking loyalty, in which the eloquent Cyrano feels unable to express his love for Roxane because of his famously protuberant nose except on behalf of his handsome but inarticulate friend, Christian.

Love, power and ambition meet on the stage of the Teatre de Liceu in Barcelona with L'Incoronazione di Poppea by Monteverdi directed by Jordi Savall and directed by Calixto Bieito.

A decade before the French Revolution, in a country riven with bitter polemics, Gluck throws the history of opera into confusion by raising it to an unheard-of peak of tragic intensity. Experiencing his two Iphigenias in a single evening goes beyond the norms of operatic life: it is to enter the very heart of the curse on the family of King Atreus of Mycenae, to follow a logical destiny through a cycle of endless violence. How does the victim of Aulis become the murderess of Tauris? That is the burning question that Dmitri Tcherniakov must adress, plunging the spectator into the midst of a household haunted by the dead and setting in train an implacable process of dehumanization, with parallels to our world today. Conducting Le Concert d’Astrée, Emmanuelle Haïm drives this dual tragedy to the summit of its expressive power, leaving humanity to be translated through arias of the utmost poignancy.

Les Indes Galantes (The amorous indies), is an opera-ballet created by Jean Philippe Rameau in 1735. He was inspired for one of the dance by tribal Indian dances of Louisiana performed by Metchigaema chiefs, in Paris in 1723. Clément Cogitore adapts a short part of the ballet by mobilizing a group of Krump dancers, an art form born in Los Angeles black ghetto in the 1990s. Its birth occurred in the aftermath of the beating up of Rodney King and the riots, as well as police repression it triggered. Amidst this coercive atmosphere, young dancers started to embody the violent tensions of the physical, social and political body. Both the tribal dance performed in Paris in 1723, and the rebelious Krump dancers of the 1990s shape a reenactment of Rameau’s original libretto, staging young people dancing on the verge of a volcano.

In October 1733, the audience at the Académie Royale de Musique witnessed the birth of a revolutionary work: Hippolyte et Aricie. With its inventiveness and musical richness, Rameau’s opera marks a break in the history of French music. A similarly revolutionary duo – Jeanne Candel and Raphaël Pichon – get to grips with this work for the Opéra Comique.

Jean-Joseph Cassanéa de Mondonville was greatly admired in his day. His opera Titon et l’Aurore was one of his most popular works, being held up as a triumph over the rival Italian style during the Parisian Querelle des Bouffons in the 1750s. The narrative of this spectacular opéra-ballet follows the tumultuous and seemingly unbreakable liaison between the goddess L’Aurore and her lover the shepherd Titon. Jealous gods and goddesses try to interfere through murderous intent and dramatic abduction, but true love ultimately conquers all in stage director Basil Twist’s acclaimed feast for the senses.

When, in 1733, Voltaire, the most brilliant mind of his day, collaborates with Rameau, its greatest composer, in undertaking an ambitious reform of operatic practice, the result is the biblical opera Samson. But the libretto is condemned and the score lost – possibly reworked here and there in later compositions. Claus Guth and Raphaël Pichon, haunted by this interesting project that had turned into one of the most intriguing failures in operatic history, have tried, not to recreate the letter, but to revive the spirit: to marry a strong, noble libretto with the most eloquent music.

For the 13th edition of the Concert de Paris, at the foot of the Eiffel Tower, the Orchestre national de France, the Choeur and Maîtrise de Radio France, conducted by Cristian Măcelaru, along with leading international soloists, will perform a program with a Brazilian flavor, in celebration of the Brazil-France 2025 season.

Così fan tutte, or The School for Lovers, is the last joint opera buffa by Mozart and Da Ponte. The libretto and score were written in a month in December 1789, and the premiere took place at the end of January 1790, but the death of the Emperor interrupted the run after five performances. This Neapolitan-style comedy (the action is set in Naples!), but very much inspired by French comic opera, and in particular by Femmes Vengées composed by Philidor in 1775 to a libretto by Sedaine (which was performed in Vienna), where two women wanting to teach their husbands a lesson exchange their roles by cross-dressing… in order to seduce them and confuse them better! Twenty years later, Mozart and Da Ponte found exceptional inspiration for this comedy of manners in the spirit of Marivaux, where love, beauty and cruelty are subtly intertwined, until all hell breaks loose for some anthological moments!

In 1991, Laurence Equilbey's creation of Accentus revolutionized the world of vocal music. To celebrate its 30th anniversary, the choir, accompanied by a quartet of top-flight soloists, gave a grand concert at the Philharmonie de Paris in March 2023. Mendelssohn, whose choral works are among the jewels of vocal music, was honored.

French version of Cherubini's opera staged in Brussels by Krzysztof Warlikowski

A return to its roots for Castor et Pollux, Jean-Philippe Rameau’s lyric tragedy first performed in 1737 at the Académie royale and inspired by the mythological episode of the Gemini. Rarely performed in its original version – the score was reworked by Rameau himself in 1754 –, this daring work plays on contrasts and expressiveness, as in the famous “Tristes apprêts”. The aria is sung by Télaïre mourning the death of her fiancé Castor, killed in battle, before his twin brother Pollux descends into the Underworld to ask his father, Jupiter, to bring him back to life. While this opera celebrates brotherly love, its prologue poses an essential question for director Peter Sellars: how do you stop a war and its attendant hatred and resentment?

With her husband apparently drowned at sea, a scheming empress secures the throne for her son from another marriage. But the commander of the army has other ideas, and then the emperor returns, very much alive. Drottningholm Palace Theatre (Drottningholms slottsteater in Swedish), located at Drottningholm Palace in Stockholm, is one of the few 18th century theatres in Europe that is still used as a theatre with original stage machinery. The beautiful rococo backdrop is the starting point for this production of Agrippina. The Italian conductor and harpsichordist Francesco Corti, a regular collaborator of the orchestras Les Musiciens du Louvre and Il Pomo d'Oro, presides over Handel’s music which is bursting with originality and fun, as well as carefully considered moments of great beauty.

Considered by some to be the greatest opera ever written, Don Giovanni was the second product of an incredibly fruitful collaboration between two geniuses: the legendary W.A. Mozart and the talented Italian librettist Lorenzo da Ponte. Based on Molière's Don Juan, the two-act dramma giocoso premiered in October 1787 at Prague's state theater to rave reviews. The 2017 Festival d'Aix-en-Provence brought Mozart's fabulously devious work to the stage once more in a production by stage director Jean-François Sivadie. Starring Philippe Sly (Don Giovanni), Nahuel di Pierro (Leporello), and Eleonora Buratto (Donna Anna), the excellent performance featured the acclaimed maestro Jérémie Rhorer at the head of the period instrument ensemble Le Cercle de l'Harmonie.

With her village under siege, a daring widow implores the invading general for mercy. Catching the military man with his trousers down, she uses all her cunning and charisma to try and save her people. Courage triumphs in this allegorical oratorio. Though not intended for the theatre, the twists and turns of the plot lend itself perfectly for staged production. Distinguished Baroque and Vivaldi specialist Andrea Marcon conducts his own early music ensemble, La Cetra Barockorchester Basel.

Seebühne (or floating stage), with its 7,000 seat open-air amphitheatre, is the location for the French composers most successful opera. With a set designed by British artist Es Devlin, who has designed sets for stars such as Adele, U2, Take That and Kanye West, the stage sits on the water near the shores of the stunning Lake Constance in Austria. This romantic and dramatic setting regularly welcomes opera lovers from all over the world, where the productions are extravagantly original and innovative and frequently use the waters of the lake as an extension of the stage. 

Hervé Niquet presents in Paris his interpretation of Castor and Pollux, one of the most appreciated lyrical tragedies of the great baroque composer, in its version of 1754.

Rossinis penultimate opera, premiered in 1828 at the Opéra National de Paris, is a musical comedy about a love triangle set during the Crusades. At the Opéra Comique its plot is transported to the time of the works creation with Frances military expeditions to Algeria. It is staged by a first-rate creative team: Stage director Denis Podalydès and costume designer Christian Lacroix provide stunning visuals, whilst conductor Louis Langrée leads the Orchestre des Champs-Élysées, the Chur Les éléments and a stellar cast of soloists in this delightful fools game. Mezzo-soprano Gaëlle Arquez shines with her superlative technique (Le Monde) and Julie Fuchss Adèle performance elicits more than just admiration, namely enthusiasm in the etymological sense of the word: inspired by the divine (Le Monde). A masterpiece! (Télérama), Pure pleasure! (Les Échos). Le Comte Ory at the Opéra Comique is a true musical and theatrical celebration where everything sparkles! (Bachtrack)