Organization

Conductor

William Christie

Stage director

David McVicar

Set designer

Bunny Christie

Costume designer

Lighting designer

Paule Constable

Choreographer

Lynne Page

Singer

Bass-baritone

Gordon Bintner

Oronte

Soprano

Emmanuelle de Negri

Nérine

Elodie Fonnard

Cléone

Lisandro Abadie

Arcas

Julie Roset

Amour

Mariasole Mainini

L’Italienne

Ana Vieira Leite

1er fantôme

Juliette Perret

Choeur des Trois Captifs d'Amour

Julia Wischniewski

Maud Gnidzaz

Choeur à Trois Voix

Alice Gregorio

Bastien Rimondi

Opéra National de Paris

Others

Les Arts Florissants

Chorus master

Thibaut Lenaerts

Léa Desandre

Médée

Tenor

Reinoud Van Mechelen

Jason

Laurent Naouri

Créon

Créuse

1ère captive

Virginie Thomas

2ème fantôme

2ème captive

1er corinthien

Un Argien

La Jalousie

Clément Debieuvre

2ème corinthien

Matthieu Walendzik

La vengeance

Orchestra

Musiciens des Arts Florissants

Choeur des Arts Florissants

Un Argien captif

Un démon

Chœur à trois voix

francoščina

Médée -  (Medea)

Paris

France

Palais Garnier

Médée Charpentier, M.

Public

Private

Opera

Medea

angleščina

Approved

She is perhaps the most unfathomable character in mythology: Medea, the magician, betrayed by her husband Jason, takes revenge by offering his lover a poisoned dress and then killing her own children. Such a destiny, repeated many times in the arts, could only be embodied at the Opera. In 1693, Marc-Antoine Charpentier premiered at the Royal Academy of Music – ancestor of the Opéra national de Paris – his only lyrical tragedy, to a libretto by Thomas Corneille, in the presence of Louis XIV. Three centuries after its creation, this baroque score of great orchestral richness returns for the first time to the stage of the Opéra national de Paris, carried by the musical direction of William Christie. Renowned for its highly readable readings,

Médée Charpentier,M

Possibly mythology’s most unfathomable character: Medea, the sorceress, betrayed by her husband Jason, takes revenge by offering the latter’s lover a poisoned dress and then killing her own children. Such a destiny, so often portrayed in the arts, could not but be embodied at the Opera. In 1693, Marc-Antoine Charpentier premiered his only “tragédie lyrique”, based on a libretto by Thomas Corneille, at the Académie royale de Musique – forerunner of the Paris Opera – in the presence of Louis XIV. Three centuries after its creation, this baroque score of great orchestral wealth returns for the first time to the stage of the Paris Opera, under the baton of William Christie. Renowned for his exceptionally articulate interpretations, director David McVicar transposes the action to the Second World War, thus reinforcing the heroine’s tragic character.

English

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