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

<ul><li>The King of Scotland: Ginevra’s father</li><li>Ginevra: Daughter of the King of Scotland, betrothed to Ariodante</li><li>Ariodante: Feudal Prince, Ginevra’s fiancé</li><li>Lurcanio: Ariodante’s brother, in love with Dalinda</li><li>Polinesso: Duke of Albany</li><li>Dalinda: Ginevra’s lady-in-waiting, secretly in love with Polinesso</li><li>Odoardo: King’s secretary</li></ul>

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

Ariodante

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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

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