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Eugene Onegin www.telmondis.fr NEWSLETTER > 2015/16 Opera Dance Documentary Concert Circus Cabaret & magic Theater SUMMARY OPERA DANCE CONCERT > MARIINSKY THEATRE, ST. PETERSBURG > HAMBURG BALLET > MÜNCHNER PHILHARMONIKER The Queen of Spades 2 Tatjana 12 Concerts at Münchner Eugene Onegin 3 Philharmoniker 18 > MARIINSKY THEATRE > OPÉRA NATIONAL DE PARIS The Sleeping Beauty 14 > EIFFEL TOWER Le Roi Arthus 4 Concert of Paris 2015 18 Bluebeard’s Castle / > OPÉRA NATIONAL DE LYON La Voix Humaine 5 Atvakhabar Rhapsodies 15 > OPÉRA NATIONAL DE PARIS La Damnation de Faust 6 Ludwig Van Beethoven Cycle 19 > LES BALLETS DE MONTE-CARLO > TATAR STATE OPERA, KAZAN Casse-Noisette Compagnie 16 WORK IN PROGRESS Jalil 7 OPERA > OPÉRA NATIONAL DE PARIS > Benjamin, dernière nuit 20 > TEATRO LA FENICE L’Histoire de Manon 17 > Die Entführung aus dem Serail 20 Juditha triumphans 8 > Il Trovatore 20 > OPÉRA NATIONAL DE BORDEAUX DOCUMENTARY Dardanus 9 > Roland Petit, the entertainer Éloge des folies de Roland Petit 21 > OPÉRA ROYAL DE WALLONIE > The Phantoms of the Opera 21 Lucia di Lammermoor 10 Les Joyeuses commères CIRCUS de Windsor 11 > 40 th International Circus Festival of Monte-Carlo 21 CONCERT > Concerts at Münchner Philharmoniker 22 > Recitals at Opéra national de Paris 22 > Piano concert at Opéra national de Paris 23 > Gala Concert, June 21 Opéra Bastille 23 > Opera 2/3 MARIINSKY THEATRE, ST. PETERSBURG The Queen of Spades Telmondis 2015 Mariinsky Theatre, St. Petersburg Opera in three acts the secret out of the old woman, who by Pyotr Ilyich Tchaikovsky | dies of fright, Herman loses sight Libretto by Modest Tchaikovsky, of his love for Liza, who commits after the novel by Alexander Pushkin suicide. He becomes engrossed in gambling, convinced he has learned New production the three winning cards from the Opening of the XXIII Stars Countess' ghost. But he ends up of the White Nights Music going mad and killing himself in turn. Festival at the Mariinsky II Musical direction: Valery Gergiev The story takes place in Saint Stage Director: Alexei Stepanyuk | Petersburg at the end of the 18th Sets: Alexander Orlov | century. Herman loves Liza, a young Costumes: Irina Cherednikova | woman above his situation who is engaged to Prince Yeletsky. Her Starring grandmother is an old and mysterious Maxim Aksenov | Roma Burdenko | Countess. In her youth she lived in Vladislav Sulimsky | Alexander France where she learned the secret Trofimov | Yuri Vlasov | Chorus and of three winning cards, which she Orchestra of the Mariinsky Theatre | used to accumulate a considerable fortune. When Herman gets wind Production of this legend, his determination A coproduction by Mariinsky Theatre, to discover the Countess' secret Telmondis, Mezzo, M_Media | becomes muddled with his love for Directed by Louise Narboni | Liza, who he joins in her room that Running time: 1x180’ | very evening. Little by little, the secret becomes an obsession and Herman seems willing to do anything to learn the winning formula. Unable to pry ©Photo: V.Baranovsky ©Photo: Eugene Onegin Telmondis 2015 Mariinsky Theatre, St. Petersburg Opera in three acts Prince Gremin. Onegin confesses by Pyotr Ilyich Tchaikovsky | his love to |Tatyana and his regrets Libretto by Pyotr Tchaikovsky about the past, but she rejects him and Konstantin Shilovsky after and remains faithful to her husband. the poetic novel of the same Onegin is left alone with his despair. name by Alexander Pushkin Premiered in February 2014 Musical Direction: Valery Gergiev at the Mariinsky Theatre Stage Direction: Alexei Stepanyuk | Sets: Alexander Orlov | The story takes place at a country Costumes: Irina Cherednikova | estate near St Petersburg at the Choreography: Ilya Ustyantsev | end of the 18th century. Madame Larina has two daughters, Olga and Starring Tatyana. The first is light-hearted Svetlana Volkova | Yekaterina and in love with a young poet, Goncharova | Yekaterina Sergeyeva | Lensky. The second is dreamy and Elena Vitman | Andrei Bondarenko | melancholic. Lensky introduces Yevgeny Akhmedov | Chorus and his friend, Onegin, to Tatyana who Orchestra of the Mariinsky Theatre | immediately falls for the blasé young man. However, rejects her Production love. Apparently insensitive, Onegin A coproduction by Mariinsky Theatre, goes as far as flirting with Olga at a Telmondis, Mezzo, France Télévisions | country ball. This only makes Tatyana Directed by Vincent Massip | more miserable and Lensky, mad Running time: 1x160’ | with jealousy, challenges Onegin to a duel in which he dies. Several years pass. Eugene Onegin finally understands his feelings for Tatyana, but it is too late - she is married to ©Photo: N. Razina > Opera 4/5 OPÉRA NATIONAL DE PARIS Le Roi Arthus CLC productions 2015 Opéra national de Paris New production | fatal love of Lancelot and Guinevere, to the Lyric drama in three acts by Ernest Chausson | despair and grandeur of Arthus, the dreamlike colours of a medieval world inherited from Le roi Arthus comes to the Paris Opera at last! the Romantics and revisited by Symbolism. This rarely performed masterpiece by Chausson was written for the Opera Garnier and here Alongside Sophie Koch and Roberto it is, well over a century after its composition Alagna, Thomas Hampson returns to the and posthumous premiere at the Théâtre de Paris Opera as the majestic King Arthus La Monnaie in Brussels. A pupil of Massenet and Philip Jordan conducts this grandiose and disciple of César Franck, Chausson worked fresco for its entry into the repertoire. tirelessly for seven years from 1888 to 1894 on this his only opera. Like all composers Musical Direction: Philippe Jordan of his generation, he viewed Wagner with Stage direction: Graham Vick | both fascination and disgust. He repeatedly Sets and costumes: Paul Brown | maintained that, “We need to be dewagnerised” but nevertheless composed a work that was Starring typically post-Wagnerian, an opera suffused with Sophie Koch | Thomas Hampson | Roberto the very soul of the melancholic and luxuriant Alagna | Alexandre Duhamel | Stanislas de composer of Poème de l’amour et de la mer. Barbeyrac | François Lis | Peter Sidhom | Cyrille Dubois | Tiago Matos | Ugo Rabec | Chausson was well aware of this paradox: Paris Opera Orchestra and Chorus | “Above all else, there’s that ghastly Wagner who blocks my route at every turn. I feel like an ant Production that comes up against a huge, slippery boulder A coproduction by Opéra national de Paris, in its path. It has to make a thousand detours CLC productions, France Télévisions | before it finds a way round it. That’s what I’m Directed by François-René Martin | up against. I’m searching [for a path]. I haven’t Running time: 1x200’ | lost patience yet and am not without hope.” Chausson did find his way, giving to the ©Photo: Andrea Messana - ONP©Photo: Andrea Bluebeard’s Castle / La Voix Humaine Telmondis 2015 Opéra national de Paris New production as well as Schönberg’s Moses und Aron. Bluebeard's Castle Nevertheless, the echo of Debussy’s Opera in one act by Béla Bartók | Pelléas & Mélisande and his spoken- Libretto by Béla Balazs | language-like prosody can be heard in the utterly different musical idioms of La Voix humaine Bartók and Poulenc – the former composer Opera in one act by Francis Poulenc | propelled by the founding impetus of still Libretto by Jean Cocteau | infant Hungarian opera and the latter who, describing his monodrama as a lyric Two dialogues which in reality are simply tragedy, traces its ancestry back to Lully. monologues. Because Judith, the sombre Working together for the first time, Esa- shadow-like fourth wife who appears Pekka Salonen and Krzysztof Warlikowski “out of the heart of a star-studded lift “the veil of our eyelashes” to pierce the night”, cannot be anything other than shadows in which the seventh door closes the wounded voice of Bluebeard’s on a room overflowing with tears of blood. subconscious, shut away in the windowless castle which is indissociable from his Musical direction: Esa-Pekka Salonen own psyche. And because She – but who Staging by Krzysztof Warlikowski | is She and to whom is She speaking? – responds to the silence of the man who, Starring at the other end of a broken telephone Paris Opera Orchestra | line, is perhaps not even there. Bluebeard's Castle: Johannes Martin Almost five decades separate the Kränzle and Ekaterina Gubanova | conception of Bluebeard’s Castle and La Voix humaine: Barbara Hannigan | that of La Voix Humaine – even though Jean Cocteau’s stage play – used without Production adaptation in the libretto – in fact dates A coproduction by Opéra national from 1930. In between lies half a century de Paris, Telmondis, Mezzo | of profound soul-searching that saw the Directed by Stéphane Metge | creation of Berg’s Wozzeck and then Lulu Running time: 1x135’ ©Photo: - OnP > Opera 6/7 OPÉRA NATIONAL DE PARIS / TATAR STATE OPERA, KAZAN La Damnation de Faust Telmondis 2015 Opéra national de Paris New production | invokes “immense, impenetrable and proud Opera in four acts by Hector Berlioz | nature” is entirely his own, its extraordinary Libretto by Hector Berlioz and breadth transcending traditional forms to Almire Gandonnière | become a symphonic and operatic dream. “This marvellous book fascinated me Bringing out the dramatic force of this from the very beginning. I could not put it légende dramatique is a constant challenge down. I read it incessantly, during meals, that stage director Alvis Hermanis has in the theatre, in the street, everywhere.” willingly accepted. Philippe Jordan conducts the first installment of a Berlioz cycle which And so it was, following the composer’s is to continue over several seasons. It discovery of Faust Part One in 1828 that also marks the return of Jonas Kaufmann Goethe joined Virgil and Shakespeare to and Bryn Terfel to the Paris Opera. form Berlioz's trinity. Without taking the time to catch his breath, he set the verse passages of Gérard de Nerval’s translation Musical direction: Philippe Jordan to music and published them under the Staging: Alvis Hermanis | title Huit scènes de Faust.
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