PRESENTS
Les Troyens
Hector Berlioz
Grand-Opéra in five acts
Libretto by Hector Berlioz
New Production
In coproduction with Royal Opera House, London;
San Francisco Opera and Wiener Staatsoper
From 8 to 30 April 2014
Running Time: 5 hours 20 minutes intermissions included
Sung in French with electronic libretto in Italian, English, French
Notes on the performances
The grandiose idea of giving a musical form to the Aeneid led to Berlioz creating a powerful tragedy, which is unique in recreating with classical precision the shadows of the past as imagined by Virgil’s poem. It is the finest posthumous masterpiece in the history of opera: the French musician died without ever seeing it on stage. He had conceived, at the same time as Wagner conceived his “tetralogy”, a grand-opéra with a cast of twenty formed by two operas: a “dilogy” set in two different locations – La prise de Troie and Les Troyens à Cartage – in each of which we witness the destiny of two women who are defeated by their fate, the unheeded prophetess Cassandre and the abandoned queen Didon. For these two archetypal heroines it would have been impossible to find finer performers than Anna Caterina Antonacci and Daniela Barcellona. Alongside them will be young talent like Paolo Fanale, Maria Radner, Alexandre Duhamel, Fabio Capitanucci. The role of Aenea is played by virtuoso Gregory Kunde. The monumental drama will feature the opera debut on the La Scala podium of Antonio Pappano, who is seen as one of the finest contemporary performers. This foreboding and bellicose work of classical antiquity is brought to life and given a form – from the wooden horse, to royal hunts– by specialist Scottish director David McVicar, whose career spans more than thirty operas. The grandiose idea of giving a musical form to the Aeneid led to Berlioz creating a powerful tragedy, which is unique in recreating with classical precision the shadows of the past as imagined by Virgil’s poem. It is the finest posthumous masterpiece in the history of opera: the French musician died without ever seeing it on stage. He had conceived, at the same time as Wagner conceived his “tetralogy”, a grand-opéra with a cast of twenty formed by two operas: a “dilogy” set in two different locations – La prise de Troie and Les Troyens à Cartage – in each of which we witness the destiny of two women who are defeated by their fate, the unheeded prophetess Cassandre and the abandoned queen Didon. For these two archetypal heroines it would have been impossible to find finer performers than Anna Caterina Antonacci and Daniela Barcellona. Alongside them will be young talent like Paolo Fanale, Maria Radner, Alexandre Duhamel, Fabio Capitanucci. The role of Aenea is played by virtuoso Gregory Kunde. The monumental drama will feature the opera debut on the La Scala podium of Antonio Pappano, who is seen as one of the finest contemporary performers. This foreboding and bellicose work of classical antiquity is brought to life and given a form – from the wooden horse, to royal hunts– by specialist Scottish director David McVicar, whose career spans more than thirty operas. The grandiose idea of giving a musical form to the Aeneid led to Berlioz creating a powerful tragedy, which is unique in recreating with classical precision the shadows of the past as imagined by Virgil’s poem. It is the finest posthumous masterpiece in the history of opera: the French musician died without ever seeing it on stage. He had conceived, at the same time as Wagner conceived his “tetralogy”, a grand-opéra with a cast of twenty formed by two operas: a “dilogy” set in two different locations – La prise de Troie and Les Troyens à Cartage – in each of which we witness the destiny of two women who are defeated by their fate, the unheeded prophetess Cassandre and the abandoned queen Didon. For these two archetypal heroines it would have been impossible to find finer performers than Anna Caterina Antonacci and Daniela Barcellona. Alongside them will be young talent like Paolo Fanale, Maria Radner, Alexandre Duhamel, Fabio Capitanucci. The role of Aenea is played by virtuoso Gregory Kunde. The monumental drama will feature the opera debut on the La Scala podium of Antonio Pappano, who is seen as one of the finest contemporary performers. This foreboding and bellicose work of classical antiquity is brought to life and given a form – from the wooden horse, to royal hunts– by specialist Scottish director David McVicar, whose career spans more than thirty operas.
Direction
- Conductor
- Antonio Pappano
- Staging
- David McVicar
- Sets
- Es Devlin
- Costumes
- Moritz Junge
- Lights
- Wolfgang Göbbel
- Choreography
- Lynne Page
CAST
- Enée
- Gregory Kunde
- Chorèbe
- Fabio Capitanucci
- Panthée
- Alexandre Duhamel
- Narbal
- Giacomo Prestia
- Iopas
- Shalva Mukeria
- Ascagne
- Paola Gardina
- Cassandre
- Anna Caterina Antonacci
- Didon
- Daniela Barcellona
- Anna
- Maria Radner
- Hylas
- Paolo Fanale
- Priam
- Mario Luperi
- Un chef Grec
- Ernesto Panariello
- L’ombre d’Hector
- Deyan Vatchkov
- Hèlénus
- Oreste Cosimo
- 1er soldat Troyen
- Guillermo Esteban Bussolini
- 2eme soldat Troyen
- Alberto Rota
- Un soldat
- Luciano Andreoli
- Le Dieu Mercure
- Emidio Guidotti
- Hécuba
- Elena Zilio
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Synopsis
The Sack of TroyAct IThe Greeks have raised their siege of Troy,and the Trojans, after so many years of war,at last come out of their walls in exultance.Believing it to be an offering to Pallas, theydecide to bring into the city the great woodenhorse which the Greeks have abandoned.All the people think they are safe, and pay noheed to the prophecies of Cassandra, who insteadsees the departure of the Greeks onlyas a trick which will bring about the ruin anddeath of all the Trojans.
Fate will have it that Troy shall perish.Whilethe population celebrates their regained freedomwith games in honour of the gods,strange events occur. Aeneas reports thatLaocoön struck the wooden horse with aspear and was immediately devoured by twohideous snakes. Fearing sacrilege, Priam ordersthat the horse be drawn at once into thecity. In vain Cassandra insists on her propheciesand tries to convince the blinded crowdof the ruin that awaits them.Act IIShortly afterwards, during the night, theghost of Hector appears before Aeneas andannounces that Troy is about to be taken bythe Greeks. His destiny is to go to Italy tofound a new city and to die there in glory.Asthe Greeks take possession of the city’s wallsand palaces, spreading fire and death,Aeneasfights the last battle and opens a breach forhimself with his trusty companions, takingwith him Priam’s treasure. Cassandra and theTrojan women kill themselves rather than fallinto the hands of the conquerors.The Trojans at CarthageAct IIIThe scene is in Carthage, the new city ruledby Dido. The people are celebrating theirnewfound prosperity and wealth. The queen,during a ceremony, receives the homage ofher hardworking people. The arrival offoreigners from the sea is announced and Didowelcomes them cordially. They are theTrojans, led by Aeneas, whose presence upsetsthe queen. At that very moment newscomes that Iarbas, king of the Numidians, ismaking ready to conquer Carthage by force.Aeneas offers to fight beside the Carthaginiansagainst the barbarian king.Act IVAeneas has won the war against the Numidiansand he and his men have lingered in thepleasant land of Carthage. In a forest close tothe cit y walls, the royal couple have gonehunting. The spirits and creatures of the forestare disturbed by the intrusion of the huntingparty as they ride through the trees. Astorm gathers and violently breaks. Dido andAeneas are separated from the others andtake shelter from the storm. Finally, they acknowledgetheir love and their union is consummated.The passion of the lovers is reflectedin the wildness of the storm. The spiritsdance in ecstasy, but the cries that resoundthrough the forest are of Aeneas’ inevitabledestiny: ‘Italy!’.The hero and the queen have fallen in loveand their love is looked upon kindly by Dido’ssister, Anna, but worries the faithfulNarbal. Great festivities. Hunting and dancingare organized. Aeneas, forgetting the ordersof the gods who wish his destiny to befulfilled in Italy, abandons himself to passion.Dido forgets her faithfulness to her dead husband.But Mercury intervenes with a warningcry: Italy!Act VAeneas cannot escape his fate. He is persecutedby apparitions of the dead and mustmake up his mind to depart. Despite his lovefor Dido, he must give orders for the fleet tosail. The separation between the two lovers isat once dramatic and tender. Dido returns indespair to her chambers, torn between hateand love. She asks her sister to imploreAeneas to stay, but is informed that the Trojanfleet has already set sail. The queen has asacrifice prepared for the gods of Hades, andon the pyre she kills herself with a sword. Shehas a vision of future revenge on Rome bythe hand of Hannibal, but then the prophecyturns into the total triumph of Rome. TheCarthaginians curse the Romans’ future,while the complete triumph of the RomanEmpire is announced. The will of the gods iscarried out and Dido’s sacrifice remains fruitless.