Acting
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.
Young Renata hears voices. Since her childhood, she has been visited by a fiery angel with sublime radiance. Mad about him, gone in search of him since he abandoned her, she meets on her way the knight Ruprecht who, out of love for her, will try to tear her away from this carnal possession. From tavern to convent, between scenes of spiritualism or exorcism, collective hysteria or burlesque humor, nothing is lacking at L'Ange de feu.
This Salzburg Festival production of Le nozze di Figaro (2020) offers a radical reinterpretation of Mozart's opera, directed by Martin Kušej, who continues his exploration of Mozart’s works following Don Giovanni (2002) and La clemenza di Tito (2003). The turbulent comedy, laden with erotic entanglements, exposes themes of patriarchal dependency, sexual exploitation, betrayal, and emotional emptiness. French conductor Raphaël Pichon, renowned for historically informed performances, conducts his first opera at Salzburg after his debut at the festival in 2018.
France 1429. Giovanna appears as a prophetic figure while the French are in the throes of the 100 Years War against the English. After a dream, Carlo is inspired to seek a sanctuary near Rouen where he meets Giovanna, who predicts the end of France’s suffering. Her father, Giacomo, believing she is possessed, attempts to turn her over to the English. After her capture, Giacomo realises his mistake and frees her. Giovanna leads the French to victory but pays the ultimate price.
Of Shostakovich’s initial undertaking – a trilogy on the tragic destinies of Russian women through the ages – only one opera was ever written: the hard-hitting Lady Macbeth of Mtsensk. Although one of the mainsprings of the work, the Shakespearean parallel is here bitterly ironic: unlike Lady Macbeth, Katerina Ismaïlova who, in the remote reaches of rural 19th century Russia, falls in love with one of her husband’s employees and is finally forced to commit suicide, is less a manipulator than a victim of a violent and patriarchal society. Krzysztof Warlikowski liberates all the subversive power of this scorching and scandalous work, which marked the early years of the Opéra Bastille.
