Born from the cold waters of a lake, the water sprite Rusalka aspires to become a woman out of love for the prince with whom she is smitten. The witch who agrees to help her warns that her transformation will come at a high price: not only will she have to sacrifice her voice, but failure will mean eternal damnation.A lyric tale inspired in part by Andersen's The Little Mermaid, Antonín Dvořák's penultimate opera, first performed in Prague in 1901, boasts spellbinding music, with orchestration as sparkling as the silver moon shimmering in the waters.Seamlessly slipping into this organic, poetic universe, Robert Carsen devises a staging of great visual inventiveness: using an interplay of symmetries and duplications, he evokes reflections in the water as much as the mirror of dreams, revealing the impasse of an unnatural transgression.

Rusalka: A supernatural aquatic creature The Water Goblin: Rusalka’s father The Prince: A human loved by Rusalka The Foreign Princess: Rusalka’s human rival Ježibaba: A witch Three nymphs: Rusalka’s sisters The Forester, The Kitchen Boy: Servants at the royal castle

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Rusalka (saison 18/19) avec Camilla Nylund (Rusalka)

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Rusalka

Rusalka - FR

Rusalka - EN

26-27

Born from the cold waters of a lake, the water sprite Rusalka aspires to become a woman out of love for the prince with whom she is smitten. The witch who agrees to help her warns that her transformation will come at a high price: not only will she h

Antonín Dvořák

If Handel were alive today, he would be termed resilient. In 1734‑1735, when the public had cooled towards him and his contract with the King’s Theatre drew to a close, the composer began to write Ariodante, an “opera seria” intended for the opening of the brand new Theatre Royal in Covent Garden. As if galvanised by adversity, he produced a radiant work, as virtuoso as the libretto, drawn from an episode of Arioste’s Orlando Furioso, is simple: Ginevra, a Scottish princess, is in love with Ariodante to whom she is betrothed, but a conspiracy led by the traitor Polinesso results in her being accused of infidelity.As well as giving us Handel’s most beautiful lament, this inspired score abounds throughout in virtuoso arias and breathes theatrical intelligence. Enough to inspire Robert Carsen who, in the wake of his legendary Paris Opera production of Alcina, composed the same year, signs a new production of Ariodante. The English Concert Chœurs de l’Opéra national de ParisCoproduction with the Metropolitan Opera, New-York With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts.© Opéra national de Paris - 2023 Picture: © plainpicture / Narratives / Brent Darby

The King of Scotland: Ginevra’s father Ginevra: Daughter of the King of Scotland, betrothed to Ariodante Ariodante: Feudal Prince, Ginevra’s fiancéLurcanio: Ariodante’s brother, in love with Dalinda Polinesso: Duke of Albany Dalinda: Ginevra’s lady-in-waiting, secretly in love with Polinesso Odoardo: King’s secretary

Ariodante 22-23 © Agathe Poupeney-OnP (4)

Ariodante_trailer

fr / en

Ariodante

If Handel were alive today, he would be termed resilient. In 1734‑1735, when the public had cooled towards him and his contract with the King’s Theatre drew to a close, the composer began to write Ariodante, an “opera seria” intended for the opening 

Georg Friedrich Handel

By the time he came to tackle the composition of Les Contes d’Hoffmann, Offenbach’s opus already included more than a hundred operas. Left unfinished when he died during rehearsals in October 1880, his last work combines fantasy, gravity and humour in an unexpectedly innovative synthesis of opera buffa, romantic opera and grand opera.This adaptation of three tales by E.T.A. Hoffmann, with a sprinkling of Goethe’s Faust, portrays the German poet as both narrator and hero recounting his love affairs with Olympia, Antonia and Giuletta.Robert Carsen’s spectacular production highlights the melancholy genius of a man marked by life, with a coherence and dramatic sense remarkable for a work that leaves numerous questions unanswered.Under the baton of Philippe Jordan, Stéphanie d’Oustrac, Ermonela Jaho, Kate Aldrich, Yann Beuron and Ramón Vargas, interpret the legendary airs of this work whose brilliant mystery will continue to dazzle opera houses for countless years to come. Orchestra and Choirs of the Opéra national de ParisA co-production of the Paris Opera - François Roussillon et Associés With the participation of France Télévisions, with the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and with the assistance of the Centre National du Cinéma et de l'image animée.Director: François Roussillon © 2016 - Opéra national de Paris – François Roussillon et AssociésPicture: © Julien Benhamou / OnP

<ul><li>Hoffmann: Poet and composer</li><li>The Muse, Nicklausse: Hoffmann’s muse who has taken human form</li><li>Counsellor Lindorf: Politician who lusts after the singer Stella</li><li>Olympia: Mechanical doll</li><li>Spalanzani: Eccentric inventor, Olympia’s “father”</li><li>Coppélius: Hawker who supplied the doll’s eyes</li><li>Cochenille: Spalanzani’s assistant</li><li>Antonia: Young singer engaged to Hoffmann</li><li>Crespel: Violinist, Antonia’s father</li><li>Doctor Miracle: Evil charlatan</li><li>Frantz: Crespel’s servant</li><li>Giulietta: Venetian courtesan</li><li>Dapertutto: Venetian magician</li><li>Schlémil: Former lover of Giulietta</li><li>Pitichinaccio: Giulietta’s servant</li><li>Nathanaël, Hermann: Friends of Hoffmann</li><li>Luther: Innkeeper</li></ul>

Contes d'Hoffmann - 3

Les Contes d'Hoffmann_trailer

Les Contes d'Hoffmann

By the time he came to tackle the composition of Les Contes d’Hoffmann, Offenbach’s opus already included more than a hundred operas. Left unfinished when he died during rehearsals in October 1880, his last work combines fantasy, gravity and humour i

 Jacques Offenbach

When, in 1830, Vincenzo Bellini took up the task of adapting Romeo and Juliet for La Fenice in Venice, he had only six weeks in which to compose an opera. Felice Romani, his librettist ever since his first successful opera, Il Pirata, chose to go back, beyond Shakespeare, to the Italian sources of the myth. The drama is now more sombre: the quarrel between the two families has become a veritable war. In the very title chosen by Bellini, the families’ names have eclipsed those of Romeo and Juliet, just as the conflict poisons their passion. The opera also resurrects a scene that Shakespeare omitted: when Juliet, whom Romeo believed to be dead, awakens in the tomb, the two lovers are permitted a brief exchange before succumbing to eternal sleep. The director Robert Carsen sets the lyrical expression of these inextricably entwined lives in an austere decor illuminated by ardent love. A love transcended by Bellini's tender, dreamlike score. The Paris Opera Orchestra and Chorus A coproduction Opéra national de Paris and François Roussillon et Associés, with the participation of France Télévisions With the support of the Fondation Orange, sponsor of the Paris Opera's audiovisual broadcasts, and of the Centre National du Cinéma et de l'image animée. © Opéra national de Paris - François Roussillon et Associés - 2022

Giulietta: Capellio’s daughter, in love with Romeo Romeo: Leader of the Montecchi, in love with Giulietta Capellio: Head of the Capuleti family and father of Giulietta Tebaldo: Capuleti follower and Romeo’s rival Lorenzo: Doctor and advisor to the Capuleti family

julie_fuchs Les Capulet et les Montaigu

I Capuleti e i Montecchi

When, in 1830, Vincenzo Bellini took up the task of adapting Romeo and Juliet for La Fenice in Venice, he had only six weeks in which to compose an opera. Felice Romani, his librettist ever since his first successful opera, Il Pirata, chose to go bac