Organization

Singer

Soprano

Sophie Bevan

Contralto

Christine Rice

Alto

Tenor

Allan Clayton

Bass

Christopher Purves

Stage director

Deborah Warner

Conductor

Stefano Montanari

Lighting designer

Jean Kalman

Set designer

Tom Pye

Video designer

Lysander Ashton

Choreographer

Kim Brandstrup

Opéra de Lyon

Others

Chœur d'habitants de la ville et de la Métropole de Lyon

La Maîtrise de l’Opéra de Lyon

Orchestra

Orchestra and Masters of the Opéra de Lyon

Lyon Opera Orchestra

Lyon Opera Choirs

English

Le Messie

Lyon

France

Opéra Nouvel de Lyon

Paris

Synopsis 
Inspired by biblical texts adapted into English by librettist Charles Jennens, The Messiah celebrates the life of Christ in three parts following the major stages of his destiny: the announcement made to the Virgin Mary by the Archangel Gabriel and the birth of Jesus: the martyr leading up to the crucifixion; and finally the resurrection of Christ for the salvation of humanity. 

The Messiah on stage 
Composed in three weeks and premiered in Dublin in 1742, The Messiah marks an important step for Handel, bring to an end a long series of intensively researched operas in Italian. By turning to an oratorio in English, the German composer, living in exile in England, rediscovered his creative energy, which had become somewhat dulled. He also expressed a certain number of dualities and influences (Venice and London, the sacred and the theatrical, the classical and the baroque) which make up the richness of his work. Handel by no means wrote The Messiah for the stage. However, in 2012 director Deborah Warner came up with a moving concept for staging the composer’s most famous oratorio, performed at the Lyon Opera House and revived this season. Its uncluttered set, dictated by the oratorio form, and its galvanizing contemporary interpretation in particular makes the fate of Christ resonate with our own concerns.

Le Messie: Messiah Händel

Public

Messiah HWV 56

French

Approved

Le Messie - Extrait du spectacle

Composed in three weeks and created in Dublin in 1742, The Messiah marks an essential stage for Händel: with it he puts an end to a long series of operas in Italian after an intense period of research. It was by turning to oratorio in English that the German composer exiled in England regained a somewhat blunted creative vitality. In this way too he expresses a certain number of dualities and influences (Venice and London, the sacred and dramaturgy, the classical and the baroque) which make the richness of his work. Händel had by no means conceived The Messiahfor the scene. It is however a moving scenic device that the British Deborah Warner imagined in 2012 for the most famous oratorio of the composer then presented at the Opéra de Lyon and resumed this season. Its stripped-down setting, dictated by the oratorio form, its galvanizing contemporary re-reading in particular make the destiny of Christ resonate with our own concerns.

Composé en trois semaines et créé à Dublin en 1742, Le Messie marque une étape essentielle pour Händel : avec elle il met fin à une longue série d'opéras en italien après une intense période de recherche. C'est en se tournant vers l'oratorio en anglais que le compositeur allemand exilé en Angleterre retrouve une vitalité créatrice quelque peu émoussée. Par là aussi il exprime un certain nombre de dualités et d'influences (Venise et Londres, le sacré et la dramaturgie, le classique et le baroque) qui font la richesse de son œuvre. Händel n'avait nullement conçu Le Messie pour la scène. C'est pourtant un dispositif scénique bouleversant que la britannique Deborah Warner imaginait en 2012 pour l'oratorio le plus connu du compositeur alors présenté à l'Opéra de Lyon et repris cette saison. Son cadre dépouillé, dicté par la forme oratorio, sa relecture contemporaine galvanisante font notamment résonner le destin du Christ avec nos propres préoccupations.

français

Performance credits (Cast & Crew )

Cast

Crew

Ensemble