Act 1

Act 2

Act 3

Livret Turandot

Libretto

In Peking, a princess renowned for her beauty submits her suitors to three riddles. The prince who manages to solve them will win her hand and the throne. Alas, so far, all have failed and suffered the implacable punishment: death. Will young Calaf succeed?Inspired by Carlo Gozzi's fable, itself drawing on several sources including the Thousand and One Nights, Puccini's last opera revives the oriental atmosphere already present in Madama Butterfly.But in 1924, the year in which the composer died leaving his score unfinished, his writing had grown in modernity, without losing any of its melodic inspiration, as illustrated by the famous aria "Nessun dorma".The references to Asia could not fail to appeal to Robert Wilson, whose aesthetic draws on Japanese Noh theatre. His sparse staging, interspersed with touches of commedia dell'arte, offers striking and hypnotic images.

<ul><li>Turandot: Princess of China</li><li>Altoum: Emperor of China, her father</li><li>Timur: Exiled king of Tartary</li><li>Calaf: The “unknown prince”, his son</li><li>Liù: Slave girl, Timur’s guide</li><li>Ping: Grand Chancellor of China</li><li>Pang: Grand Master of provisions</li><li>Pong: Grand Master of the Imperial kitchens</li></ul>

Turandot - 4

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Turandot

Turandot (français)

Turandot (English)

Bastille salle

Turandot by Giacomo Puccini, from 6 to 29 November 2023 at the Opera Bastille

In Peking, a princess renowned for her beauty submits her suitors to three riddles. The prince who manages to solve them will win her hand and the throne. Alas, so far, all have failed and suffered the implacable punishment: death. Will young Calaf s

Giacomo Puccini

Giacomo Puccini was born in 1858 in Lucca, Italy, to a family of organists (his father was a notorious theoretician and music teacher). A performance of Verdi's Aida, which he saw in Pisa in 1876, convinced him that his vocation was to become a composer. He studied at the Milan Conservatory with, among others, Amilcare Ponchielli. On Ponchielli's advice, he took part in a composition competition launched by the Sonzogno publishing house in 1883 for a one-act opera. Although he did not win the prize his piece, Le Villi, was staged in 1884 in Milan with some success. The music publisher Ricordi then commissioned him a second opera, Edgar. His third opera, Manon Lescaut, brought him lasting fame and marked the beginning of a fruitful collaboration with the librettists Luigi Illica and Giuseppe Giacosa. Together, they wrote Puccini's three greatest masterpieces: La Bohème (1896), Tosca (1900) and Madama Butterfly (1904). In 1910, the premiere of La Fanciulla del West took place at the Metropolitan Opera in New York. Puccini then composed a lighter piece, La Rondine, performed without much success at the Monte-Carlo Opera. After that, Puccini slowed down his compositional work. A car accident left him lame for the rest of his life and it was not until 1918 that The Triptych (Il Tabarro, Suor Angelica and Gianni Schicchi) premiered at the Metropolitan Opera. He died in Brussels in 1924 of throat cancer. His last opera, Turandot, remained unfinished. The last two scenes were completed by Franco Alfano. However, when Toscanini premiered Turandot at La Scala in Milan on 25 April 1926, he hold his baton to mark the point Puccini had reached before dying and turned to the audience: “Here the master laid down his pen. He stopped there when he died”. Puccini also wrote a number of religious works (Salve regina, Messa di Gloria).

A Canadian national born in the United States, Sondra Radvanovsky won the Metropolitan Opera National Council Auditions in 1995. A member of the Lindemann Young Artist Development Program, she performed the role of Antonia in The Tales of Hoffmann on the stage of the New York Metropolitan Opera. Soon thereafter, her career took on an international dimension. She is regarded as one of the greatest Verdi performers of today. In addition to Leonora in Il Trovatore (her signature role), she has sung the roles of Aida, Elvira in Ernani, Luisa Miller, Elena in Les Vêpres siciliennes, Lina in Stiffelio, Elisabetta in Don Carlo, and Amelia in Un ballo in maschera at some of the world’s great opera houses (London’s Covent Garden, Milan’s La Scala, the Vienna Staatsoper, the Lyric Opera in Chicago, the San Francisco Opera). Some of the other roles that have marked her career include the title roles in Rusalka, Lucrezia Borgia, Manon Lescaut and Tosca, as well as Roxanne in Alfano’s Cyrano de Bergerac, and Donizetti’s “three queens”: Anna Bolena, Maria Stuarda and Elisabetta in Roberto Devereux. She performed the role of Norma for the first time during the 2011 / 2012 season at the Teatro Campoamor in Oviedo and then at the New York Metropolitan Opera, the San Francisco Opera, the Gran Teatre del Liceu in Barcelona, the Bayerische Staatsoper in Munich, the Canadian Opera Company in Toronto, and the Lyric Opera in Chicago. She recently took on the role of Amelia in Simon Boccanegra at the Monte Carlo Opera and the Théâtre des Champs-Élysées. She has also appeared at the Paris Opera in Faust (Marguerite), Les Vêpres siciliennes, Il Trovatore, Don Carlo and Aida. She recorded her first album of Verdi arias with the label Delos and then a selection of opera scenes by the same composer with Dmitri Hvorostovsky. A regular guest performer at the Metropolitan Opera, she has participated in the “Met Live in HD” streaming broadcasts of Il Trovatore, Bal masqué and Roberto Devereux. She is also featured on the DVD of Cyrano de Bergerac alongside Placido Domingo, which was recorded live at the Valencia Palau de les Arts.Projects: Paolina (Poliuto) and Maddalena (Andrea Chénier) at the Gran Teatre del Liceu in Barcelona, the title role of Anna Bolena in Toronto, and Leonora (Il Trovatore) at the Paris Opera.

Radvanovsky.Sondra.14(c) Michael Cooper

Brian Jagde was born in New York and is a graduate of the San Francisco’s Adler Fellowship and Merola programs. In 2012, he received Second prize together with the Birgit Nilsson Prize at Plácido Domingo’s Operalia Competition. He performed the roles of Don José (Carmen) in San Francisco, at the Deutsche Oper in Berlin and the Limoges Opera, Mario Cavaradossi (Tosca) in Santa Fe and Berlin, Rodolfo (La Bohème) in Mexico, and Count Elemer (Arabella) at the Metropolitan Opera in New York. In 2015, he made debut appearances at London’s Royal Opera House (Pinkerton in Madame Butterfly) and the Lyric Opera in Chicago (Mario Cavaradossi).In the following seasons, he tackled numerous roles including Maurizio (Adriana Lecouvreur) at London's Royal Opera House, Radames (Aida) in San Francisco and Seattle, Pinkerton at the Teatro Massimo in Palermo, the Washington Opera and the Hamburg Staatsoper and at Chicago's Lyric Opera, Don José at the Teatro San Carlo in Naples, the Bayerische Staatsoper in Munich, the Bolshoi Theater in Moscow, the Verona Arena and the Royal Opera House in London, the Prince in Rusalka at the Houston Grand Opera, Macduff (Macbeth) at the Teatro Real in Madrid, Bacchus (Ariane à Naxos) at the Palm Beach Opera, Calaf (Turandot) in San Francisco and at the Teatro Massimo in Palermo, Der Fremde in Korngold's Das Wunder der Heliane at the Deutsche Oper in Berlin, Turiddu (Cavalleria rusticana) at the Dutch National Opera and the Michigan Opera, Enzo Grimaldi (La Gioconda) at the Gran Teatre del Liceu in Barcelona, Mario Cavaradossi at the Vienna State Opera and the Opera Philadelphia. He made his Paris Opera debut as Don Alvaro (La Forza del destino) in 2019. During the 2021/2022 season, he appeared as Des Grieux (Manon Lescaut) at the Vienna and Hamburg State Operas, Calaf at the Bayerische Staatsoper in Munich, Maurizio at the Vienna State Opera, Don José at the Verona Arena, Mario Cavaradossi and Pinkerton at the Metropolitan Opera in New York and the Deutsche Oper in Berlin.

Jagde.Brian

Born in Albania, Ermonela Jaho studied singing at the Tirana Conservatoire and at the National Academy of St Cecilia, Rome. She lives in New York. Her repertoire ranges from the Baroque to the Verismo era and the Bel Canto. She performs on the leading international stages and is renown for her performances of Violetta Valery (La Traviata), Madama Butterfly, Suor Angelica (Il Trittico) and Adriana Lecouvreur.For the 2023/24 season, she appears in La Rondine at the Zurich Opera, The Human Voice at the Teatro Real Madrid, Suor Angelica at the Bayerische Staatsoper in Munich, and in concerts for operatic galas in Athens, Barcelona, Valencia, Nice, Oviedo, London and the Wigmore Hall with Opera Rara.In 2023, she was nominated “Artist of the Year” at the International Classical Music Awards (ICMA), and her recording of Turandot, released by Warner Classics / Erato, has been selected for the Best Opera Recording by the Gramophone magazine. She also won the 2021 ICMA vocal music prize with her album “Anima Rara”. As an ambassador of Opera Rara, she is committed to rediscovering forgotten operas of the 19th and 20th centuries.At the Paris Opera: La Traviata (Violetta Valery), 2014, 2018; Madama Butterfly (Cio-Cio San), 2015; The Tales of Hoffmann (Antonia), 2016; Les Huguenots (Valentine), 2018 ; Faust (Marguerite), 2021

Jaho

Carlo Bosi is regularly invited on the Italian (La Scala Milan, Maggio Musicale Fiorentino, Teatro Comunale Bologna, Festival Rossini Pesaro, Arena di Verona, Teatro Regio Turin, Teatro Carlo Felice Genoa…) and international operatic stages (Monte-Carlo, Geneva, Santander, Tel-Aviv Opera houses, Maestranzai in Seville, Dutch National Opera…). His repertoire includes roles such as Normanno (Lucia di Lammermoor), the Messenger (Aida), Flavio (Norma), Dr Cajus (Falstaff), Mastro Trabucco (La Forza del destino), Cassio (Otello), Monostatos (The Magic Flute), Guillot de Morfontaine (Manon), Pang (Turandot), Parpignol (La Bohème), Goro (Madama Butterfly), Spoletta (Tosca), Danieli (The Sicilian Vespers), Tinca and Gherardo (The Triptych), Edmondo (Manon Lescaut), Le Remendado (Carmen), the Royal Herald (Don Carlo), the four evil tenors in The Tales of Hoffmann, Poisson (Adriana Lecouvreur). He also sang l’Incroyable (Andrea Chénier) at Teatro Real in Madrid, the Paris Opera and the Royal Opera House Covent Garden, Flavio (Norma) at La Monnaie in Brussels, Mastro Trabucco and Spoletta at the Maggio Musicale Fiorentino, Rodolphe (William Tell) at the London Proms, Don Basilio (Le Nozze di Figaro) and the Herald at La Scala in Milan, Dr Cajus at the Royal Opera House, La Scala and the Dutch National Opera, Pang at the Teatro Comunale in Florence, Rustighello (Lucrèce Borgia) at La Monnaie, Monsieur Triquet (Eugene Onegin) at the Teatro Regio in Turin, Basilio, Goro, Spoletta and Poisson at the Paris Opera. Recently, he has sung Le Remendado in Palermo, Altoum (Turandot) at Metropolitan Opera in New York and the Paris Opera, Normanno in Naples, the Abbé de Chazeuil (Adriana Lecouvreur) at La Scala and Goro at the Royal Opera House. During summer 2022 he performed at the Arena di Verona Festival in the roles of Remendado, the Messenger, Abdallo (Nabucco), Gastone (La Traviata) and Altoum.

Bosi.Carlo

In 2002, Florent Mbia entered the voice class of Françoise Petro at the National Musical School in Montreuil. He was awarded First Prize with top honours from the jury in June 2008 and graduated in Chambre Music. He followed many training courses and masterclasses presented by artists José Cura and Thomas Moser. In 2008, he was a finalist in the Strasbourg International Singing Competition and won the E. J. Marshall Prize (Best Baritone) at the Paris International Singing Competition (UFAM), with the "Honneur'' grade. In 2009, he won the First Prize at the European Lyric Forum in Arles, the First Prize at the International Singing Competition in Clermont-Ferrand and joined the Paris Opera Chorus. He then became a resident artist at the Centre lyrique Clermont-Auvergne during the 2010/11 season. There, he sang Norton (La cambiale di matrimonio) and the bass role of Rossini’s Little solemn Mass. His repertoire includes the Second Apprentice (Wozzeck), Montano (Otello), Orpheus (Orphée et Eurydice), the Teacher (Der Jasager by Kurt Weill /The No-Sayer, a creation by Jean Roudon), Papageno (The Magic Flute), Big Bill Bug (L’Enfant aux cheveux bleus, a creation by Michel Zbar), the Notary (Don Pasquale), Don Giovanni and Don Alfonso in Mozart se déguise staged by Stephen Taylor. At the Paris Opera, he performed the Count de Ceprano and a Court Usher (Rigoletto), a Jailer (Tosca), Dvornik (Lady Macbeth of Mtsensk), a customs Sergeant (La Bohème). In 2021, he sang Laurence (Le Magnifique) in Reims. As soloist, he performed various concerts, oratorios and masses such as Duruflé and Fauré’s Requiem, the 4th movement of Beethoven’s Symphony n°9, Haendel’s Messiah, Carmina Burina, with conductors such as José Cura, Olivier Holt, Dominique Sourisse, Claude Schnitzler and Michel Pelletier.

Rigoletto - 5

Artist in residence at the Paris Opera Académie from 2017 to 2019Polish tenor Maciej Kwaśnikowski began his musical training with countertenor Robert Nakoneczny in 2014. In 2015 he entered the Warsaw Opera Academy, where he worked with Izabella Kłosińska, Eytan Pessen and Matthias Rexroth. In 2017, in addition to his musical studies, he obtained a degree as an engineering physicist from the Poznan University of Technology. That same year, he sang the role of Florville in Rossini’s Il Signor Bruschino with the Orchestre national d’Île de France and he joined the Paris Opera Academy, took part in the Young Singers Project of the Salzburger Festspiele and the Aix-en-Provence Festival Academy. At the Paris Opera Academy, he sang the roles of Alfred Strauss’s Die Fledermaus, and the Young Man in Boesmans’s Reigen. He won the Cercle Carpeaux 2018 and the AROP 2019 Lyrical Awards. He performed the soloist part of Bach, Handel and Mozart’s oratorios, and more particularly Schubert’s Mass in B minor with the Wiener Philharmoniker at the Salzburg Festival (2018) and the Symphonieorchester des Bayerischen Rundfunks in Munich (2019), both times with conductor Riccardo Muti. In 2019 he joined the Lindemann Program at the Metropolitan Opera in New York, where his debut and projects had to be cancelled due to the COVID-19 pandemic, until season 2021. Season 2021-22 saw a major debut at the Bastille Opera stage as Borsa in Rigoletto, performed with Ludovic Tézier and Nadine Sierra. He then sang one of the horsemen in Wagner’s Parsifal and, in-between, he made his debut as Ferrando in Così fan tutte at the Dijon Opera. During smumer 2022, he will return at the Salzburg Festival to perform Schubert’s Mass in B minor with the Camerata Salzburg, conducted by Franz Welser-Möst. This season, he portrayed the Third Jew in Salome at the Paris Opera. Maciej Kwaśnikowski has been studying with tenor Neil Shicoff since 2016.

A graduate of the Victorian College of the Arts and Herald-Sun Aria finalist, Nicholas Jones has performed various roles for Opera Australia, including Remendado in Carmen, Marasquin in Two Weddings, One Bride, Schmidt in Werther, and several roles in Shostokovich’s The Nose. He also sang Tamino and Almaviva in the touring productions of The Magic Flute and The Barber of Seville.In 2016, he created the role of Fish Lamb in Cloudstreet presented by State Opera South Australia. He sang the Male Chorus in Victorian Opera’s The Rape of Lucretia, Britten’s Canticles and Stefan Cassomenos’ Art of Thought for Melbourne Recital Centre, Britten’s Serenade for Tenor, Horn &amp; Strings at Australian National Academy of Music and Hadyn’s The Creation for Sydney Philharmonia. He was also an original cast member of Deborah Cheetham’s opera Pecan Summer. Most recently, he sang Michael Driscoll in Whiteley and Tony in West Side Story for Opera Australia, and Tom in Christina’s World for State Opera South Australia. In 2022, he sang Tsarevich Gvidon (The Golden Cockerel) and Harry (Voss) in Adelaide, Handel’s Messiah in Sydney, Melbourne and Adelaide, Jaquino (Fidelio) with the Sydney Symphony and returned to Opera Australia as Count Almaviva. He recently won the Green Room Award for his portrayal of David in Die Meistersinger von Nürnberg for Opera Australia, and was nominated for a Helpmann Award for this same role.His 2023 highlights include Mozart’s Mass in C minor with Sydney Symphony and the role of Ralph Rackstraw in HMS Pinafore for the first edition of the State Opera South Australia’s Gilbert &amp; Sullivan Festival. Nicholas Jones is the recipient of the Dame Heather Begg Memorial Award.He joins the new Paris Opera troupe for the 2023-24 season.

Paris Opera debut

Jones.Nicholas (c) Patrick Togher Artists’ Management

Guilhem Worms began his musical training learning to play the violin, and then he studied singing at the École Supérieure de Musique in Dijon. He also earned a diploma at the Paris Conservatory. In 2015, he won the Talents Lyriques, Voix Sacrées singing contest in Reims.&nbsp;Soon thereafter, he made his role debut as Basilio (Il Barbiere di Siviglia), at the Théâtre des Champs-Élysées. He sang Gottfried (Offenbach’s Les Fées du Rhin) at the Tours Opera, Lord Rochefort (Anna Bolena) at the Opéra national in Bordeaux, a Lackey (Ariadne auf Naxos) at the Théâtre des Champs-Elysées, the First Priest and the Second Armoured Man (The Magic Flute) at the Marseille Opera, and Leporello (Don Giovanni) at the Saint-Étienne Opera. He also appeared in a revival of The Barber of Seville at the Tours Opera.&nbsp;Recent seasons saw him as Sprecher (The Magic Flute) at the Baroque Opera International Festival in Beaune, Zuniga (Carmen)&nbsp;at the Opéra national du Rhin, Melisso (Alcina)&nbsp;at the Opéra de Lausanne, Thrond (Hulda)&nbsp;at the Théâtre des Champs-Élysées and the Opéra Royal de Wallonie, Palemon (Thaïs) at the Théâtre des Champs-Élysées…&nbsp;He has recently performed the roles of the Marchese d'Obigny (La Traviata) at the Théâtre du Capitole in Toulouse, Sarastro (The Magic Flute) at the Opéra royal in Versailles, Colline (La Bohème) at the Théâtre du Capitole in Toulouse and the Théâtre des Champs-Élysées, and Mathisen (Le Prophète) at the Aix-en-Provence Festival. This season sees him in the role of Sarastro and Der Sprecher in Lausanne, and Colline in Saint-Étienne.He was nominated at the 2019 Victoires de la musique classique in the Revelation opera singer category. He is also dedicated to giving singing and human beat box classes to people suffering from mental disorders in France and India. He holds a degree in ethnomusicology from the University of Paris 8 and has published the book Musique sans frontière.At the Paris Opera: Yvonne, princesse de Bourgogne (Innocent), 2020; Tosca (Cesare Angelotti), 2021; Faust (Wagner), 2022;&nbsp;Carmen (Zuniga), 2022

Worms.Guilhem (c) Julien Benhamou

Fernando Velasquez was born in Chili and studied singing at the National Conservatory of the University of Chili in Santiago. He has been a member of the Paris Opera Chorus since 1997. He has performed as a soloist in many of the Paris Opera’s productions, including Turandot (The Prince of Persia), Katiá Kabanová (Chodec), Il Trovatore (a Messenger), Manon, La Bohème, and Louise. He returns regularly to Chili to give concerts at classical festivals. He is also a member of the Chilean quartet “Poesia”, which explores and revisits Latin-American, Spanish and Italian melodies based on the great Iberian-American poets.

VELASQUEZ Fernando

Izabella Wnorowska-Pluchart

Born in Genoa, Italy, Marco Armiliato made his debut in 1995 at the Teatro La Fenice in Venice conducting The Barber of Seville and then at the Wiener Staatsoper with Andrea Chénier.Since 1998, he has conducted over 500 performances at the Metropolitan in New York (Andrea Chénier, Anna Bolena, Il Trovatore, La Bohème, Stiffelio, Madama Butterfly, Tosca, Sly, Aida, Ernani, Turandot, Rigoletto, Cyrano de Bergerac, Francesca da Rimini, La Fille du régiment, La Rondine, La Somnambule and Lucia di Lammermoor) and 300 performances at the Wiener Staatsoper, where he was nominated Ehrenmitglied (Honorary member) in 2019. In 2022, he was named Music director of the Arena di Verona.Past productions include Tosca, Rigoletto, La Traviata, Turandot and La Bohème at the Bayerische Staatsoper Munich, La Traviata, Andrea Chénier and Tosca at Wien Staatsoper, La fanciulla del West and La Traviata at Zurich Opernhaus, La Rondine and Tosca at Royal Opera House Covent Garden, Fedora and Andrea Chénier at Teatro alla Scala in Milan. His long collaboration with the Salzburg Festival led him to conduct works such as Manon Lescaut, Lucrezia Borgia, Tosca, Adriana Lecouvreur and I Capuleti e i Montecchi.His many recordings include collaborations with Anna Netrebko, Jonas Kaufmann, Rolando Villazón and Marina Rebeka. His album Verismo Arias with Renée Fleming won a Grammy Award in 2010 and Romantic Arias with Jonas Kaufmann won the 2009 Diapason d’Or.Upcoming seasons will see him conducting La Rondine and Verdi’s Requiem in Zurich, La Bohème, Don Pasquale and Simon Boccanegra at Wien Staatsoper, Macbeth at Teatro di San Carlo in Naples, Aida at the Bayerische Staatsoper in Munich, Rigoletto and Aida at the Arena di Verona, La Bohème and Turandot at the Metropolitan Opera in New York. At the Paris Opera: Otello, 2011 ; La Fille du régiment, 2012 ; The Barber of Seville, 2012.

A graduate of the Taiwan Teacher Training College (Music Department), Ching-Lien Wu continued her studies at the Conservatoire National Supérieur de Musique in Lyon, where she was awarded the First Prize in Choral Conducting in 1987. She attended courses and workshops in orchestral conducting with JeanSébastien Béreau, Helmut Rilling, Michael Gielen and Pierre Boulez. 
In 1989, she was appointed Chorus Master at the Nantes Opera and in 1990, Assistant Chorus Master at the Théâtre du Capitole in Toulouse. From 1991 to 2001, Ching-Lien Wu served as Chorus Master at the Opéra National du Rhin in Strasbourg. The work she accomplished there was acclaimed by French and international critics. During this period, she was guest Chorus Master at the operas of Montpellier, Rouen and Shanghai as well as at Radio France for various operatic works and oratorios. In 1996, she was assistant to Norbert Balatsch at the Bayreuth Festival.
From 2001 to 2014, Ching-Lien Wu was Chorus Master of the Grand Théâtre de Genève. In September 2014, she was appointed Chorus Master of the Dutch National Opera in Amsterdam. In 2016, the German magazine Opernwelt awarded the Dutch National Opera Chorus under the direction of Ching-Lien Wu the best Chorus of the Year label. She has also conducted numerous concerts with her own choir «Le Motet de Genève» with the Suisse Romande Orchestra, the Geneva Chamber Orchestra and the Orchestratus Genevensis. She was at the helm
of this vocal ensemble from 2002 to 2012.
Since 1996, she has been invited to give master classes in choral conducting at the CNSM in Lyon. In her native country, she has been responsible for musical studies for several opera productions, including The Barber of Seville, an opera she also staged in Taipei. Ching-Lien Wu was appointed Chorus Master of the Paris Opera in February 2021 and took up her post on 26 April of the same year.

Robert Wilson, born in Waco, Texas was recognized in the 1960s as one of the leading figures of Manhattan’s avant-garde. In collaboration with the collective he founded, the Byrd Hoffman School of Byrds, he developed ground-breaking works such as Deafman Glance (1970), The Life and Times of Joseph Stalin (1973), and A Letter for Queen Victoria (1974-1975). In 1976, his Einstein on the Beach, set to a score by Philip Glass, would turn conventional perceptions of opera upside down. Robert Wilson produces both original and traditional repertoire works all over the world. His stage productions incorporate a wide variety of artistic media (including dance, movement, lights, sculpture, music, and texts). He has collaborated with numerous high-profile writers and musicians including Heiner Müller, Tom Waits, Susan Sontag, Laurie Anderson, William Burroughs, Lou Reed and Jessye Norman. He has also left his mark on repertoire classics such as Samuel Beckett’s Krapp’s Last Tape (Spoleto, 2009; Holland Festival, 2015), Madame Butterfly (Paris Opera, 1993), Pelléas et Mélisande (Salzburg Festival, 1997), Brecht and Weill’s Threepenny Opera (Berliner Ensemble, 2007; Théâtre de la Ville, 2009), Jean de la Fontaine’s Fables (Comédie-Française 2004), Homer’s Odyssey (Athens, 2009), Goethe’s Faust (Berliner Ensemble, 2015), La Traviata (Landestheater Linz, 2015), and L’Incoronazione di Poppea (Milan’s La Scala, 2015). More recently, he directed Il Trovatore at the Teatro Regio in Parma, Turandot at the Teatro Real in Madrid, and Otello at the Baden-Baden Festival. The work of Robert Wilson is also firmly anchored in the fine arts. His sketches, paintings and sculptures have been exhibited all over the world. He is the founder and the artistic director of the Watermill Center, a multidisciplinary experimental art laboratory dedicated to collective creation which brings together New York’s leading professionals and young artists. His work has been honoured with an array of prestigious awards including a Pulitzer Prize, a Premio Ubu, an Olivier Award, and a Golden Lion from the Venice Biennale. He was elected to the American Academy of Arts and Letters, as well as the German Academy of the Arts. France bestowed him with the title of Commander of the Order of Arts and Letters (2003) and Officer of the Legion of Honour (2014). He was also awarded the Officer’s Cross of the Order of Merit by the Government of the Federal Republic of Germany.

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Turandot by Giacomo Puccini, from 6 to 29 November 2023 at the Opera Bastille

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Turandot by Giacomo Puccini, from 6 to 29 November 2023 at the Opera Bastille