La Trilogie De Figaro

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La Trilogie De Figaro La Trilogie de Figaro Il Barbiere di Siviglia Le Nozze di Figaro Figaro Gets a Divorce DOSSIER DE PRESSE DU 12 AU 26 SEPTEMBRE 2017 SAISON1718 La Trilogie de SOMMAIRE Figaro DOSSIER DE PRESSE INTRODUCTION 2 IL BARBIERE DI SIVIGLIA 6 SERVICE DE PRESSE LE NOZZE DI FIGARO 14 FIGARO GETS A DIVORCE 24 Grand Théâtre de Genève Olivier Gurtner (Responsable) Le Grand Théâtre de Genève 34 T + 41 22 322 50 26 The Grand Théâtre de Genève 35 Isabelle Jornod Billetterie, box office 36 T + 41 22 322 50 55 [email protected] France Opus 64 Valérie Samuel, Pablo S. Ruiz 52, rue de l'Arbre-Sec F-75001 Paris T + 33 1 40 26 77 94 | [email protected] Allemagne et Autriche RW Media Relations Ruth Wischmann Artilleriestr. 16, 80636 München T + 49 (0) 89 3000 47 59 [email protected] Retrouvez-nous sur FACEBOOK.COM/GENEVEOPERA YOUTUBE.COM/GRANDTHEATREGENEVE TWITTER.COM/GENEVEOPERA INSTAGRAM.COM/GENEVEOPERA Découvrez les spectacles et les coulisses du Grand Théâtre de Genève sur Visuels presse disponibles sur www.geneveopera.ch/presse Utilisateur : presse Mot de passe : opera Grand Théâtre de Genève Case postale 5126 CH-1211 Genève 11 Billetterie T + 41 22 322 50 50 [email protected] Opéra des Nations 40, avenue de France 1202 Genève Rue du Général-Dufour 9, rue du Général Dufour 1204 Genève LA TRILOGIE DE FIGARO • DOSSIER DE PRESSE • GRAND THÉÂTRE DE GENÈVE 1 PRÉSENTATION Un être charismatique, un habile entremetteur, un valet à la recherche de l’ascension sociale, un homme au parler franc… Figaro ! Le personnage créé par Pierre-Augustin Caron de Beaumarchais est mis à l’honneur pour cette rentrée du Grand Théâtre de Genève, dans une trilogie innovante et originale. Une nouvelle production, en collaboration avec le Welsh National Opera, présente Il Barbiere di Siviglia de Rossini et Le Nozze di Figaro de Mozart, directement inspirés des écrits de Beaumarchais. Le cycle se termine par Figaro Gets a Divorce d’Elena Langer, qui tire ses origines dans La Mère coupable du même auteur, mais aussi de Figaro lässt sich scheiden d’Ödön von Horváth. L’auteur français a suivi un parcours improbable, un peu à l’image de son héros, tour à tour horloger, banquier, éditeur, mercenaire, prisonnier… ! Esprit novateur et doué en affaire, on doit à Beaumarchais une évolution majeure dans le droit d’auteur. À son époque, seule l’écriture d’une pièce était payée à l’auteur, pas la représentation. Les comédiens gagnaient beaucoup, pas les plumes. Il inversera la vapeur en faveur des auteurs, en faisant changer le droit. À Genève, la trilogie de Figaro est une nouvelle production créée en co-production avec le Welsh National Opera, jouée en 2016 à Cardiff. Chaque épisode passe par un metteur en scène différent : Sam Brown (Il Barbiere di Siviglia), Tobias Richter (Le Nozze di Figaro) et David Pountney (Figaro Gets a Divorce). La continuité scénique est assurée par Ralph Koltaï (décors), Sue Blane (costumes) et Linus Felbom (lumières). « Bien entendu, les trois opéras se suffisent à eux-même, mais le public qui a l’opportunité de faire l’expérience des trois, saura, je l’espère, apprécier ce voyage opératique enrichissant. » David Pountney INTRODUCTION A charismatic being, a skilled go-between, an upwardly mobile valet, a plain-speaking man... Figaro! The character created by Pierre-Augustin Caron de Beaumarchais is celebrated in this return to the Grand Théâtre de Genève in an unprecedented trilogy. A new production, in collaboration with the Welsh National Opera, presents The Barber of Seville by Rossini and The Marriage of Figaro by Mozart, both directly inspired by Beaumarchais' writing. The cycle ends with Figaro Gets a Divorce by Elena Langer, which draws on The Guilty Mother by the same author, as well as Figaro lässt sich scheiden – Figaro Gets a Divorce, by Ödön von Horváth. The French author followed an improbable path, rather like his hero: he was in turn a watchmaker, banker, editor, mercenary and prisoner…! To this innovative spirit and skilled businessman we owe a major development in royalty payments. In his era, the writer only received payment for writing a play, not for its staging. The actors earned a great deal, but not the wordsmiths. He reversed the trend in favour of the authors, by having the system of rights amended. In Geneva, the Figaro trilogy is a new production created in co-production with the Welsh National Opera, performed in Cardiff in 2016. Each episode has a different director: Sam Brown (The Barber of Seville), Tobias Richter (The Marriage of Figaro) and David Pountney (Figaro Gets a Divorce). The stage continuity is ensured by Ralph Koltaï (sets), Sue Blane (costumes) and Linus Felbom (lights). Of course all three operas should stand on their own, but the audience that is able to experience all three will, I hope, enjoy a truly rewarding operatic journey. " David Pountney 2 GRAND THÉÂTRE DE GENÈVE • DOSSIER DE PRESSE • LA TRILOGIE DE FIGARO À L’OPÉRA DES NATIONS Nouvelle production en LA TRILOGIE coproduction avec le Welsh National Opera DE FIGARO Scénographie Ralph Koltaï Costumes Sue Blane Lumières Linus Fellbom du 12 au 26 septembre 2017 LA TRILOGIE DE FIGARO • DOSSIER DE PRESSE • GRAND THÉÂTRE DE GENÈVE 3 BIOGRAPHIES Ralph Koltaï Sue Blane Scénographie Costumes Ralph Koltai est né à Berlin de Après son diplôme à la Central parents hongrois, il s’établit School of Art and Design de en Angleterre en 1939. Il Londres en 1972, elle travaille étudie le graphisme à l’Epsom pendant deux ans au Citizens’ School of Art de 1942 à 1944, Theatre. Elle crée les costumes puis à la Central School of du Rocky Horror Show (scène et Art and Design de Londres de film). Au cinéma, elle collabore 1948 à 1951. Il est à la tête avec Peter Greenaway pour The de la Theatre Design Central Draughtsman’s Contract et avec School de 1965 à 1973. Depuis, il crée plus de 200 décors Julien Temple pour Absolute Beginners. Elle signe les décors et dans les domaines de l’opéra, du théâtre, du ballet et de la costumes du Barbiere di Siviglia au Scottish Opera, La Gazza comédie musicale. Il commence une carrière de décorateur ladra et The Duenna à l’Opera North, Christmas Eve à l’English indépendant dès 1950, principalement pour l’opéra ; parmi plus National Opera, A Midsummer Night’s Dream à la Royal de 100 productions, citons Grandeur et décadence de la ville de Shakespeare Company, repris à Stockholm et à Tokyo, Cabaret Mahagonny au Sadler’s Wells Opera, avec Lotte Lenya, et un au Donmar Warehouse, The Relapse au Royal National Theatre, cycle du Ring (1970-1981) à l’English National Opera, dirigé Alice in Wonderland et Casse-Noisette à l’English National par Reginald Goodall. Il est aussi fréquemment invité au Royal Ballet et Sylvia au Birmingham Ballet. Elle crée les costumes Opera House, Scottish Opera, Welsh National Opera et English de Guys and Dolls au Royal National Theatre, Porgy and Bess Opera Company, ainsi qu’au Cullberg Ballet. Il est « décorateur et Carmen à Glyndebourne, La Fanciulla del West à La Scala, associé » à la Royal Shakespeare Company de 1963 à 1966, puis The Mikado, L’Amour des trois oranges à l’English National à nouveau dès 1976. Il est aussi invité à présenter son travail Opera, The Canterville Ghost à l’English National Ballet, lors d’expositions internationales. Parmi ses créations récentes Lohengrin à Bayreuth, Into the Woods à l’Old Vic, The Planets figurent : Don Giovanni au Mariinski, Simon Boccanegra aux au Royal Ballet, Le Bossu de Notre-Dame de Disney à Berlin, opéras de Prague et Bratislava, la Trilogie de Figaro au Welsh Le Bal des Vampires de Polanski à Vienne, Berlin et Paris (qui National Opera, Figaro Gets a Divorce à Poznań. Parmi une lui vaut un « Molière »), Kiss Me, Kate au Volksoper de Vienne, multitude d’honneurs et prix, il est nommé Commander of the The Judas Kiss au Hampstead Theatre, West End, et Brooklyn British Empire en 1983, il est Fellow de l’Academy of Performing Academy of Music, Aladin au Birmingham Royal Ballet, The Arts à Hong Kong, St Martin College of Art and Design de King and I au Châtelet et au Chicago Lyric Opera, la Trilogie Londres et Rose Bruford College Kent, Liverpool Institute of Figaro au Welsh National Opera et Figaro Gets a Divorce au Performing Arts et Royal Society of Art. Teatr Wielki à Poznań. Récemment, elle conçoit les costumes de Carmen à Göteborg, ainsi que les décors et costumes d’Alice in Au Grand Théâtre de Genève: L’Italiana in Algeri (83-84), Wonderland au Pittsburgh Ballet Theatre. Elle est membre de Tannhäuser (85-86). la Royal Designer for Industry et l’Order of the British Empire en 2007. Débuts au Grand Théâtre de Genève. 4 GRAND THÉÂTRE DE GENÈVE • DOSSIER DE PRESSE • LA TRILOGIE DE FIGARO BIOGRAPHIES Linus Fellbom Lumières Linus Fellbom fait ses débuts professionnels en 1995 ; depuis, il a mis en lumières plus de 200 productions, dans sa Suède natale et à travers le monde. En 2005, il fait ses débuts en tant que metteur en scène ; il est engagé pour Der Freischütz © Mats-Bäcker et Les Contes d’Hoffmann au Folkoperan de Stockholm, Richard III, Creditors et The God Helmet au Riksteatern et Hänsel und Gretel au Malmö Opera. Il organise aussi les festivités de la réception du prix Nobel 2016 à Stockholm. Parmi ses récentes créations en tant que décorateur figurent : La Bohème et Rigoletto au Norrlandsoperan, L’Orfeo au Vermland Opera et Red in 3 pour le Stuttgart Ballett.
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