PRESS RELEASE DANCE CONCERT SEASON AMPHITHEATRE 17—18 Opéra de Lyon Season 17—18 2 Auvergne Rhône-AlpescouncilandLyonMetropole. Ministry of CultureandCommunication,theCityLyon, The OpéraNationaldeLyonisapprovedbythe

it isatale And thenisheardnomore: his houruponthestage player a walking shadow,poor brief candle! to dustydeath.Out,out, lighted fools all ouryesterdayshave of recordedtime, to day in thispettypacefromday and to-morrow, To-morrow, andto-morrow, William Signifying nothing. full ofsoundandfury, Shakespeare / / That strutsandfrets To thelastsyllable / , Macbeth Told byanidiot, / / , ActV,scene5 The way Life's but / / Creeps And / / ever. This “opera ofoperas” tellsthe Giovanni in Rossini’s prince charmingcanthenbefound this timeahappyendingand too, anddomesticoppression, but first timeinLyon, orFrance. Injustice forthe is beingperformedthisseason oppression, Zemlinsky’s tale, denouncing injusticeandsocial Wagnerian basso profondo, andaHitler bya include aStalin, sung byaRussian subversive score”. Itscharacters 37 totalitarianism, with its “dark, furious, tousabout is anoperathatspeaks inspiration fromHeiner Müller: it the musicandlibretto, takesits from Alexander Raskatov, forboth whicha creation wecommissioned and capacitytocorrupt. baseness, itscontradictions, abuses about power, withitsgrandeurs and a homagetothecomposer, areflexion makeupourannualfestival, as Macbeth or Spain’s Golden Age, with in late Antiquity, theMiddle Ages, empire isbeingmadeorunmade– grasped atthemomentwhen an moving, epicortragicexistences, was Verdi who depicted themintheir it comestokingsandwarlords, it intensely opera. overwhelming When cycle ofmelodiesandaconcentrated, OneWho Disappeared of thatJanáček1917 composedhis small orchestra. And itwas alsoin Faustian taleforthreevoicesand du Soldat Switzerland, composedhis thatStravinsky,1917 thenexiledin a workofwar, andpeace. It was in a workthatdeploresandconsoles, version ofBritten’s withastaged are openingtheseason and theRussian Revolution… War, withthearrival oftheUSA, the turningpointofFirst World beginning ofthe20thcentury for somehistorians, markedthereal season. which, after1917 A century opera they areframingour2017/2018 oppressors: fromyesterday, ortoday, stories ofvictims, storiesof Stories ofwars, storiesof kings, Of warsandkings , and atlast, , onatextbyRamuz– Heldentenor War ! As apolitical GerMANIA Chalk Circle , botha .three These Histoire . Don Attila,

– – for we as Diary , ,

world, andloveasanendless, head- tale ofawickedlord, aloneagainstthe concerts bytheChildren’s Choirand the year, therewillbethetraditional bows andinstruments. At theendof baroque ensemble, withdedicated also seetheOpera’s Orchestra asa tocome. ofseasons pre-echo It will and Germanmusic, inapreludeand conductor, withFrench, Russian Daniele Rustioni asoursymphonic ofconcertswillsee The season Concerts also photographer. as achoreographer, stagedirector, but able toseeagainordiscoverhiswork as anassociatedartist: wewillthusbe season, Jiří Kylián willbejoiningus William Forsythe’s Brown’s L’Arlésienne and piecesasdiverse as is bringingtogetherchoreographers director formanyyears, thisseason conceived byYorgos Loukos, its of theOpéradeLyon’s DNA. As technique areallpartoftheBallet ofclassical scripting andamastery openness todifferentchoreographic The eclecticismoftherepertory, an Dance Perez. Koenigs and be seeingLothar Alejo its practice. Furthermore, weshall of thebaroquerepertory, andalso his explorationwiththeOrchestra MontanariwillbepursuingStefano Britten. Inthepitandinconcert, roots – Verdi –while alsoconducting Rustioni. He willbegoing backtohis new permanentconductorDaniele first ofthestewardship season ofour Marton. alsomarksthe 2017/2018 Baus, John Fulljames andDavid Honoré, FuraAlex Ollé/La dels Brunel, IvovanHove, Christophe Yoshi Oida, Herheim, Stefan Richard seeing again, inorderofappearance, conductors welove. We shallthusbe have withthestagedirectors and and deepeningthepartnerships we for maintaining isaseason 2017-2018 Project Leaders spinning battleofthesexes. Set andReset/Reset byRoland Petit, Trisha Steptext .this And orelse and Opéra deLyon. For today, more ofthe endeavours ofalltheteams it isthejustification forthecollective is morethanjustencouragingforus: with increasingly limitedmeans, this an evermoredifficult context, and along thepathways weofferthem. In enthusiasm, curiosityandopenness audiences thatfollowuswithsomuch between works, artistsandthe a centreofexchangesandencounters withnewcreations.repertory It isalso seldom, andenrichestheoperatic to lightworksthatareperformedtoo repertory,celebrates thegreat brings whichtheatre –atthesametime be pursuing itsmissions, asanartistic In 2017/2018, theOpéradeLyon will piano. offering severalrecitalsofsongand for New Year’s Eve. We willalsobe National deLyon General DirectoroftheOpéra Serge Dorny hatred ofourera. and resist andrespondtothebarbary than ever, weneedartandculture to

Opéra de Lyon Season 17—18 3 Opéra de Lyon Season 17—18 4 deeply movingpoemsofOwen, who diedattheage a children’s choir, andthehumansphere thanks tothe with alargeorchestra, thenthesupernatural spherefor byasoprano (originallyin Latin Galina Vichnevskaïa) envisage athree-partdivision: thetraditional mass, sung soloists andachorus. Onthisbasis, itwas possibleto German texts, withthe singingdivided betweentwo not only basedontheliturgical often cited, thatofBrahms’s huge. Instead, hefollowedanothermodel, which isnot as that, evenif theproportionsof influence No, canbeclearly heard)? nothingassimple then beextendedandmadeoperatic, aswith Verdi (whose defunctis liturgical requiemsimply settingthetextof So what couldbefound, newideas toavoidabasic tolling thebellforallformsofbloodyconflict! up for: atonceestablishingaceremonyfordeath, while general, anditwas thelattersensethatBrittenstood as eitherarequiemafterparticularwar, orforwar in War Requiem now,moving callforpeace andinthefuture. The title for thevictimsofthesetwowars, butalsoavigorous, forarequiemwhicharose theidea wouldbeamemorial now onwouldneverdesertthecomposer. There then ofhisyouth,a reconciliationwiththeideals which from Events thusimposedthemselves, ratherthananeedfor An exceptionalconception Requiem profound convictions, aftertherefusalofhis the SecondWorld War, clearly intendedtoreaffirm his his exileintheUSA asaconscientious objectorduring part missedoutonmarkinghiscommitmentduring protestations anddemonstrations. Britten, who hadin and thatitled, disarmament, justlikenuclear toconstant Vietnam War was presentinthemindsofallpacifists War Requiem Wilfred Owen’s poems, occupiesacentralpositionin the armisticeofFirst World War –which, through this wouldbetoforgetthatthefiftieth anniversary of not apparently correspond toanycommemoration. But confirming stigmatisationoftheCold War. The date does freezing East-West yearsand relationsfortwenty-eight be completedwhen theBerlinWall hadjustbeenbuilt, to work, attheturnof1960s, onapiecethatwas to of Gandhiin1948. This was fifteen years beforehe set Hiroshima in1945, thenagainaftertheassassination busied Britten’s mindassoonthebombexplodedin forapacifistThe idea workwithauniversal reach WAR REQUIEM ? Shoulditbedropped?Definitely not. Shouldit , in1940, bytheJapanese authorities. , infact, allowsforatwofoldinterpretation, – was inviewas early as1960; thatthe German Requiem German missa War Requiem but alsoonpurely missa pro Sinfonia da , which is are differences, weareinthesameconfiguration asfor comesfullythe theatre intoplay. Despitesomeinevitable of wanting twoorchestras suggestsaset-upinwhich composedtenofhisoperas.had already fact The very composer who, in1961, twoyears beforeturningfifty, ofstagingitarose,the idea especially inthemindof As soonasthisconceptionhadbeenchosenbyBritten, A workforthestage? configurations arethusvariable. accordingly requiredtwo conductors andtheperformance Dieskau), accompaniedbyachamberorchestra. This a , fromamongtheirfoes(DietrichFischer- by atenorfromamongtheallies(Peter Pears) andby of 25, in1918, duringthebattleofSomme, sung of theOpéradeLyon and Children’s Choir Orchestra, Choruses Ekaterina Scherbachenko Soprano: : Jochen Schmeckenbecher Baritone: Maxine Braham Choreography: Lighting: Thibault Vancraenenbroeck Costumes: Sets: Director: Conductor: In LatinandEnglish 1962 and poemsbyWilfredOwen Text ofthe War Requiem Xavier deGaulle soloists, atthepiece’s poeticheart. chamber orchestra, thechildren’s choirandthetwomale orchestra andthesoprano, andthestageto presentthe Yoshi Oidawillbeexploitingthepittohousemain theOpéradeLyon,choosing acathedralbutinstead Britten’s friend, which alsocallsouttobestaged. Bynot dedicated anti-war piece byMichael Tippett, who was the vivid Tom Schenk

Paul Groves Lutz Deppe Yoshi Oida

Mass Daniele Rustioni

for theDead

A Child of our TimeA Childof

Saturday 21st Thursday 19th Tueday 17th Sunday 15th Friday 13th Wednesday 11th Monday 9th October 2017 New production (1939-1941), the

8 pm 8 pm 8 pm 4 pm 8 pm 8 pm 8 pm

being murderedbySalieri. havecontributedtotheriseof the legendofMozart story Don Giovanni recommendation… of theintrusion tutte discovered inPrague inlate2015, while theopera and Salieri, DaPonte, onatext byLorenzo which was Per la ricuperata saluteduOphelia, as attestedinthemanuscriptofdramaticcantata the ampleproofsofgood relations betweenthetwomen, accused himselfofmurderingMozart. This contradicts Salieri, who, inafit ofmadness, issupposedtohave in Schindler, Beethoven’s who in1824, secretary mentioned by The legendseemstohavebeencreated Anton This plothasdamagedtheItalian composer’s reputation. entire sectionsofitsdialogue. and Salieri himself, which headaptedfromtheverse play, timpani, piano, strings). The composerwrotethelibretto orchestra (woodwind, twohorns, threetrombones, a blindman, amixed, off-stage andasmall chorus under anhour, fortwosingers, asoloviolinistembodying compose thisoperainoneactandtwoscenes, lasting It tookRimsky-Korsakov to lessthanamonthin1897 inspired music. lightness ofthisotherwho inventedthemostsublimely hardworking manatthefrenzy, roughness, and rusticity but alsotheincomprehensionofthissamefine, cultivated, limitations, when confrontedbypure, thoughtlessgenius, a giftedman, who was neverthelessaware ofthisown Korsakov of theissueofjealousy didnotjusttreat 1984. Through thisfable, Pushkin, andthenRimsky- which was thenmadeintoafilm byMilosForman in recycled byPeter Schafferin1979 forhisplay had thelattermurderformer, thatwas anidea tobe by theplayofsamename Alexander Pushkin, who The rarely stagedopera, than thetruth A legendwhichisharder NIKOLAI RIMSKY-KORSAKOV MOZART ANDSALIERI Conversations withBeethoven Conversations was commissionedfromMozartonSalieri’s express , which Pushkin hadwrittenin1830, reusing , andaboveall the Mozart andSalieri a confessionbytheold Requiem

Nozze diFigaro co-signed byMozart co-signed into Pushkin’s , was inspired Amadeus Mozart Cosi fan , ,

to listen tohis from the obelbatti Masetto quoting hisariasalmostintheirentirety, suchas Salieri, andtheversatile, nonchalantMozart, while distinguish thetwocharacters, theplodding, restricted indications, usingmelodicformulaswhich clearly In thedevelopmentofwork, hefollowedPushkins’ ofthe also bringinginactualfeatures Austrian master. used pastiche, composing Mozart’s“in manner”, while the his suite did nothesitatetomixupentirepagesofhisworkin Mozart was seenasagod bytheRussians. Tchaikovsky At thetimeofgenesisRimsky-Korsakov’s piece, of theOpéradeLyon Orchestra, ChorusesandStudio Video: Lighting: Costumes: Sets: Director: Conductor: Alexander Pushkin Libretto bythecomposerafter Dramatic scenes,1898 Serrou Bruno showing upSalieri’s laboriousaspect. as usedatvariousrevivals, withRimsky-Korsakov thus latter areprovidedfromreworkedversions ofhisoperas, Mozart andSalieri Mozart Saturday 4thNovember,7.30pm Friday 3rdNovember,7.30pm FROM 6YEARS OPERA ANDCINEMA Queen of Spades Queen of Bruno deLavenère Étienne Guiol David Debrinay Jean Lacornerie Mass forthe Robin Chemin Pierre Bleuse Requiem

from

. For hispiece, Rimsky-Korsakov

and tointegratehisspiritinto Dead, when MozartasksSalieri

, while thequotationsfrom Don Giovanni Tuesday 7th Monday 6th Saturday 4th 3rd Friday 2nd Thursday November 2017 Tuesday 31st October 2017 production revival A 2010OpéradeLyon

, oralongextract

Batti, Batti, 7.30 pm 7.30 pm 7.30 pm pm 7.30 pm 7.30 7.30 pm

Opéra de Lyon Season 17—18 5 Opéra de Lyon Season 17—18 6 became atriumph. Il Barbiere diSiviglia rarerpieces,other theatres includingseveralmasterpieces: Egitto years, inNaples hecreated suchworksas on foroveracentury”, wrotePiotr Kaminski. Within afew (and) producetheformswhich Italian operawas tothrive of talentedsingers, (could)experimentashewished “he period, withitspurecreative fireworks. Thanks toateam bracelet. stepmother, butawickedstepfather, noslipper, buta Perrault’s tale: nopumpkinsorgood fairies… nowicked supernaturalfrom The librettohasremovedeverything A fairytalewithouta of thePrince. laziness ofhersisters andtheelegantrefinement character ofherstepfather, withoutforgettingtheselfish contrasts, fromthetendernessof Angelina tothefarcical makes useofcharacters offeringremarkablemusical and laughter. Soitisthattheplotofthis of Rossini’s mostpopularworks, passingbetweentears Premiered 1817, on28January and withoutawrinkle Cinderella isnow200yearsold LA CENERENTOLA the premierwas afailure. And asfor virtuosic, rightuptothefinal rondo. As for was prodigious. already such verve The whole thing is a singlenight?It was actually morelikethreeweeks, but not saidthatthescoreof productivity which madeanythingimaginable: was it again), , La Donnadel lago La Gazza ladraLa Gazza Cenerentola is setinRossini’s Neapolitan great (), ()… With anunfailing Cenerentola , while atthesametimeoffering La Cenerentola La Cenerentola The Barber was completedin dramma giocoso Otello

The Barber remains one (Rome , , itthen Mosè in

, modern transpositions, alongsideapparently traditional HerheimStefan isaneclecticdirector, capable ofoffering work, ofeach reading Always guidedbyanin-depth promised arevampedCenerentola, freefromclichés? naïve outcastinahostile, world. brutal Soarewebeing a causticvision, perfectly relayingthedesolationofa a universe ofcolourful, flashy images, inordertodistil ofmyth,could usekitschintheservice while creating applauded in2014. This enabledhimtoshowhowhe unknown toaudiencesinLyon, where his “director oftheyear” bythereviewOpernwelt, heisnot Herheim. toStefan entrusted Three timesnamed Direction ofthisbicentennial an eclectic,thinkingdirector Stefan Herheim: of theOpéradeLyon Orchestra andChoruses Alidoro: Michèle Losier Angelina, calledLaCenerentola: Tisbe: Clorinda: Renato Girolami Don Magnifico: Dandini: Don Ramiro: Hinrichs, TorgeMöller) Video: Alexander Meier-Dörzenbach Staging Assistant: (Andreas Hofer) Lighting: Costumes: Stefan Herheim Sets: Director: Conductor: In Italian Libretto byJacopoFerretti acts, 1817. Melodramma giocosointwo La Cenerentola Jean-Marc Proust the presenceofRossini himself… version popularised byWalt Disney. Without forgetting who ismorewildandcunning, asopposedtothe aseptic keeping inmindPerrault’s tale, hepromisesusaheroine of the “good littlegirl” behindCinderellaandso, while directordoesnotbelieveinthemyth This Norwegian representations, oftenwithastoundingvisualdelights. Daniel Unger, Katherine Aitken fettFilm (Momme Simone Alberghini Phoenix Stefan Herheim Nikolay Borchev Clara Meloni Esther Bialas Stefano Montanari

Cyrille Dubois

Cenerentola Monday 1st January 2018 Saturday 30th Thursday 28th Tuesday 26th Saturday 23rd Thursday 21st Tuesday 19th Sunday 17th Friday 15th December 2017 the OsloOpera As acoproductionwith New production Rusalka has been

7.30 pm 7.30 pm 7.30 pm 7.30 pm 7.30 pm 7.30 pm 7.30 pm was 4 pm 4 pm

and atimelessparableaboutjusticedestiny. poverty, oppression, abusesofpowerandcorruption, a princess. It isatonceapoliticalwork, denouncing young girl, who issoldbyherparentsbutthenbecomes tellstheeloquenttaleofa opera intheformofafable andmusicalacuity.exceptional theatrical This three-act is thustakingonaforgotten gemoftherepertory, withan productions of National deLyon, directedbyRichard Brunel, afterhis later, oftheOpera andtodayitisentering therepertory The workwas revived andrecordedsomeseventyyears An eloquent,modern fable New York, USA, inMarch1942. presence. He diedinexileLarchmon, inthestateof The premierefinally tookplaceinZurich, intheauthor’s but theNazis’ accessiontopowermadethisimpossible. simultaneously, wouldhavestagedthiscreation theatres opera thecomposercompleted. In1933, several German and orientalstylisationinthisnewpiece. It was thelast Zemlinsky successfully mingledtheinfluence ofjazz Previously anchoredinthemostlyrical post-romanticism, Jazz andorientalstylisation then alsoadaptedas Ling Sing-Tao (13thcentury), Henschke), which was itselftakenfromaChineseplayby Klabund (thepseudonymofthewriterandpoet Alfred Kreidekreis It was underjustsuchinfluence thathecomposed of in Berlin, where inparticularheconductedthepremiere Otto Klemperer’s ensembleattheKrolloper avant-garde modernity.European At theendof1920s, hejoined Alexander vonZemlinsky ofcentral dweltattheheart conductor, anddirectorofthePrague GermanOpera, brother-in-law, andMahler’s friend, thecomposer, Born in in1871, where hewas Schoenberg’s A masterpieceisreborn ALEXANDER VONZEMLINSKY THE CHALKCIRCLE Mahagonny ( The ChalkCircle , BertoltBrecht’s andKurt Weill’s opera. Der Jasager The Caucasian ChalkCircle and ), adaptedfromaplayby Houei-lan-tsi In thePenal Colony , which Brecht in 1954. . He . He

Rügamer asPrince Pao. the Yü-Pei ofNicola BellerCarbone orelseStephan Tschang LingofLauri Vasar, theMa of MartinWinkler, bring together, Koenigs’ underLothar expertbaton, the These seven, exceptionalperformanceswillinparticular worldisentirelyresemblance withthereal intentional. form ofakaraoke, aplaceofprostitution. concealing Any us. Soitisthattheteahouse, inthefirst act, takesonthe China, modernity, evokingacruel which toallof speaks The newLyon productionhasbeeninspired bytoday’s Seeing therealworld and StudiooftheOpéradeLyon Orchestra, Children’sChoir Midwife: Mrs Tchang: Tschao: Tschu-Tschu: Prince Pao: Yü-Pei: MA: Tschang-Ling: Lighting: Costumes: Sets: Catherine Ailloud-Nicolas Staging Assistant: Director: tableaux, 1933 Opera inthreeactsandseven Der Kreidekreis Conductor: In German Libretto byKlabund Martin Winkler Anouk Dell’Aiera Nicola BellerCarbone PiotrMicinski Laurent Castaingt Richard Brunel Hedwig Fassbender Benjamin Moreau Lothar Koenigs Stephan Rügamer Wolfram Koch Doris Lamprecht Lauri Vasar

New production Thursday 1st February 2018 Tuesday 30th Sunday 28th Friday 26th Wednesday 24th Monday 22nd Saturday 20th January 2018

8 pm 8 pm 4 pm 8 pm 8 pm 8 pm 8 pm

Opéra de Lyon Season 17—18 7 Opéra de Lyon Season 17—18 8 Don Carlos nor most oftenperformed–no festival arenotamongthosethat What ismore, theworks inthe artistic family tree. his rootsandthemainbranchof composer,the great Verdi isboth home city’s Conservatory, namedafter him, aMilanesewho studiedathis conductor, DanieleRustioni. For the OpéradeLyon’s newpermanent FestivalBut the2018 intendstosalute paths. explores lesswell-trodden annual festival, given thatitgenerally devote tohimtheOpéradeLyon’s that itmightseemastonishingto on theentireworld’s operastages Verdi’s workissoomnipresent Rigoletto and , butinstead Attila .

Macbeth Traviata , , piece, given open theroom itleaves is amoreopenandhighly tyrant andthefoundationof , which ofa concludeswiththefall people.ends upbreaking the “great mechanismofhistory” Don Carlos ( ideals souls,destroys beautiful illusionsand ( power crushes Power drives peoplemad( model. corresponding tohisShakespearian and imperiousinMacbeth, clearly energy andhopein energy any illusions, in viewed power: abitterview, freeof political common ishow Verdi, thateminently What thesethreeoperashavein for performed sincetheearly 1970s. As Met, ithasonly really beenregularly RysanekScala andbyLeonie atthe in the1950s byMariaCallas atLa recorded. de Paris, isstilllittleperformedor version composed fortheOpéra Don Carlos Attila Don Carlos –andliberalcomposer , itisagenuinerarity. Macbeth aredarkworks, inwhich , initsoriginalFrench Attila Don Carlos, , thoughrevived ). ). Attila Macbeth ), power , thenepic Attila Verdean Macbeth full of and ,

), ), Guy Cherqui Guy and live. anxious times, helps ustobreathe, affirms it: amusicwhich, inthese this explicitly, pageofhismusic each while hislibrettidonot always state inthefuture:humanity andhisfaith love Verdi ishistolerance, hislovefor the end, what makesusparticularly comes overasloyalandhuman. In for thefriendshipofsomeonewho Philippe II, austereandalone, looking Odabella’s valour; orelsetheterrible of Macbeth, Attila’s respectfor side –thefinal, desperatecourage monsters theirhuman canreveal even thedarkestones; inwhich even how tiny, character, survives ineach which aglimpseoflight, nomatter a messageofvibranthumanism, in workby What each Verdi gives usis world andhumanity. last opera, completely toabandon Verdi, whose to anoptimismwhich was never Falstaff , isahymntothe universal, heiscrushed. deviations. Whentheindividual upagainstthe runs theway theelementsdonottolerate and underwrite Remorse visionsconjureupinsanity andfantastical only throughtheirlustforpowerandmegalomania. through history, suchastheCeausescus, andwho exist become isolated, oneofthesedoomedcouplesthatcross Macbeth ofthe struggle allusiontothe the oppositionisbeingorganisedinaclear that ofthewildScotlandasseeninMacbeth; meanwhile economic poweroverpolitics, withaviolencenotunlike are thusmadetoraisequestionsaboutthedominationof violent formofpowerisexercised. Its internalconflicts finance, intheatmosphereoftrading deskswhere ablind, can beadaptedtoanycontext. It occurs intheworldof like mostofShakespeare’s playsaboutpowermadness, by IvovanHove, who wanted toshowthat The Lyon production, going backto2012, isaproduction The Lyon production a Verdean referencework. and succeeding recordinghavesinceturneditinto Scala,at La where theStrehler/Abbadoproduction ’s withMariaCallas, season andthen1975still then forgotten until1952, when ittriumphantly opened remained quiteclosetotheoriginal. This opera was of Shakespeare, andthelibrettistFrancesco MariaPiave be performedinLyon. version, which ischosenalmosteverywhere, thatwill seen asoneofhismatureproductions. It isthislatter including theadditionofafinal chorus, for Paris in1865, withquitemodestmodifications overall, the worksfrom Verdi’s youth. Butbecauseitwas revised Attila Because itwas premieredinFlorence1847, after ayear A transitionalwork MACBETH , Macbeth is thus the story ofacouple,is thusthestory who gradually indignados indignados is anoperathatcanbeclassified among Macbeth against Wall Street. is Verdi’s first adaption Macbeth Macbeth is often , qualities thatcanbeexpectedfromthisconductorwho tension, respirationandprecisionarethedistinguishing giving newcolourtotheshow. Rhythm, impulsion, as Daniele Rustioni willnowbetheconductor, thus All of thisimpliesanewworkofproduction, especially stage persona occasion. imposesanewstyleoneach and who hasnoprecisely defined tessitura, sothatthe who canbeinterpretedjustaswellbysopranosmezzos, voice” forthisparticularly arduousrole, adarkheroine, on numerousoccasions. Verdi didnotwant a “beautiful roles, Macbeth, andinparticularLady who shehassung Susanna Branchini, who isusedto Verdi’s mostexposed This revival Macbethof isdominatedbythe Lady A newcast Cherqui Guy to what isvirtually production. a recreated So it isthattheOpéradeLyon isinvitingitspublic is deeply aware ofwhat theItalian traditionmeans. Studio oftheOpéradeLyon Orchestra, Chorusesand Macduff: Banco: Susanna Branchini Lady Macbeth: Macbeth: Video: Costumes: Jan Versweyveld Sets andLighting: Director: Conductor: In Italian Piave, afterShakespeare Libretto byFrancescoMaria Opera in4acts,1865 Macbeth Tal Yarden Roberto Scandiuzzi

Ivo vanHove

Arseny Yakovlev Elchin Azizov Wojciech Dziedzic Daniele Rustioni

Thursday 5th Tuesday 3rd April 2018 Saturday 31st Tuesday 27th Sunday 25th Wednesday 21st Friday 16th March 2018 production revival A 2012OpéradeLyon

8 pm 8 pm 8 pm 8 pm 4 pm 8 pm 8 pm

Opéra de Lyon Season 17—18 9 Opéra de Lyon Season 17—18 10 and missed opportunities. adramaofsoulscaughtinthetrapdesires create the obstacles ofgrandhistoricalpieces, andinstead a series ofcurtains, he aimstohelpthisoperaavoid By adopting afluid scenography, basedonaplayusing in which bodiesarethe motors andsoulsofthevictims. family lifeandsuccession, marked byasensuality visiondominatedbydesire,a Shakespearian brutality, which play. looksjustlikeatheatrical He thusconstructs costumesinvestaspaceandpiece,in contemporary (re)founded firstly vision: onatruly theatrical characters Christophe Honoré is offering a A distinctlytheatricalapproach the Inquisition, hadacrosstobear. where everyone a hopelesstragedyonbackdropofSpainsubmittedto (1672)Réal Verdi producedforParis adarkgrandopera, to savetheInfante. andSaint Derived fromSchiller(1787) characters in Verdi’s entireoutput, who sacrifices himself areborneupbyPosa,and peace oneofthemostnoble lover, andofanisolated, unlovedking. offreedom Dreams an unwanted marriage, ofEboli, DonCarlos’s rejected a politicalroleinFlanders, ofElisabethwho isforcedinto whoof anInfante hasnotbeenallowedtolove, ortohave darkest. andbrokendreams ofthefrustrations It isastory Don Carlos A profoundlypessimisticwork that putontheFrench version. oftheatres tobeintherepertory is suchthattheydeserve Bieito). However, thequalityofsometheseomissions Barcelona (Peter Konwitschny), norinBasel(Calixto version haseverstagedthefullopera, neitherin Vienna/ version. ButnoneoftherecentproductionsFrench , Kuhn Gustav offeredanalmostcompleteFrench dress rehearsals in1867, butinItalian. Then, in1991, in showed uptheextractsthathadbeenexcisedduring entirety inFrance. Claudio Scala Abbado (1977)atLa Verdi’s longestoperahasneverbeenperformedinits in itsentirety A Frenchversionneverperformed GIUSEPPE VERDI DON CARLOS is Verdi’s longestopera, andalsooneofthe Don Carlos

of thisgenre. His vigour willstirtheburningcoalsofthis now takingonthelastandmostgrandioseexample conducted anothergrandoperainLyon, Eve-Maud Hubeaux. DanieleRustioni has previously by Sally Matthews, andEbolibytheyoungdaring Lyon’s Carlos willbeSergeyRomanovsky, therevelationof of baritoneswillsingPosa forthefirst time, while Don Grand Inquisitor. StéphaneDegout, thatmostrefined Philippe IIinFrench, confrontingRoberto Scandiuzzi’s Pertusi, belcantoItalian the great bass, who willtakeon singers devotedtostyleandelegance. It isMichele The French version requiresaparticularapproach, and A teamofgrandlyricalstylists of the OpéradeLyon Orchestra andChoruses Eve-Maud Hubeaux Princess Eboli: Sally Matthews Elisabeth deValois: A Monk: Roberto Scandiuzzi The GrandInquisitor: Stéphane Degout Rodrigue, MarquisofPosa: Sergey Romanovsky Don Carlos,InfanteofSpain: Michele Pertusi Philippe II,KingofSpain: Choreography: Lighting: Pascaline Chavanne Costumes: Sets: Director: Conductor: In French after FriedrichvonSchiller and CamilleduLocle, Libretto byJosephMéry 1867 Parisian versioninfiveacts, Don Carlos Cherqui Guy work, newsplendours. toreveal Alban HoVan

Zelmira Dominique Bruguière Christophe Honoré Patrick Bolleire

Daniele Rustioni

Ashley Wright

in 2015, Elisabethwillbeperformed

Friday 6th Monday 2nd April 2018 Friday 30th Wednesday 28th Saturday 24th Thursday 22nd Tuesday 20th Saturday 17th March 2018 New production La Juive

; heis 6.30 pm 6.30 pm 6.30 pm 6.30 pm 6.30 pm 6.30 pm 6.30 pm 3 pm

and drags usalonginitsswirling wake. and a generous musicwhich outofbreath neverruns cabalettas, spectaculararias, butalsolarge choruses Attila before youthful pieces. Butthiswas hisninthopera, justayear rhythmthatissotypicalof with thebreathless Verdi’s is aboveallasuccessionofbright, virtuoso, martialarias, patriotic values. case withmostof Verdi’s piecesinthiserathatexalted of demonstrations duringitsperformances, aswas the Austrians. This was enoughfor premiered in Venice, which was thenoccupiedbythe This operaofRoman resistanceagainstHun invaders A complex,evenconfusingstory Zacharias Werner’s tragedy, with itslibrettoby Temistocle Solera, adaptedfrom paradoxically quiteoftenperformed, especially inItaly, is oneofhismostemblematicworks, littleknown, but right interpreters; allofwhich mayexplainwhy. canto anddramatism, makingitdifficult to find the ofregister,with theirleaps impossibleacrobatics, bel is extremely hardtosing, especially forthefemaleroles, This music, which iswrongly consideredtoberepetitive, little representedinFrance, withtheexceptionof The so-called “young Verdi”, predating1850, hasbeen The youngVerdi CONCERT OPERA GIUSEPPE VERDI ATTILA is madeforlovers ofbel cantoheroism, acrobatic Macbeth which announcedhismaturity. already Attila hasaratherconfusinglibretto, but Attila, König derHunnen Attila to setoffaseries Attila Nabucco . . Rustioni, theOpéradeLyon’s newmusicaldirector, the stages.American andEuropean be Riccardo Massi ahighly acclaimedtenoronboth Alexey Markov, who will beEzio. Finally, Foresto will the world’s mostrefined basses, alongsidethebaritone In frontofher, Attila willbeDmitriUlyanov, oneof Serjan, oneofthereferencevoicesforthisrepertory. register andastoundingvirtuosity. Shewillbe Tatiana composer’s maturity, alongwithsuddenchangesof heroinesofthe and thedramaticcolourofgreat Odabella, arolethatalliesthedemandsofbelcanto This thrilling with brilliantlydifficultroles A top-drawercastforanopera of theOpéradeLyon Orchestra andChoruses Forresto: Odabella: Ezio: Attila: Conductor: In Italian Libretto byTemistocleSolera a prologue,1846 Lyrical dramainthreeacts,with Attila Cherqui Guy to itszenith. Scala,of La hewilldoubtlessly raisethework’s a Verdean swirl: havingtrainedinMilan, intheshadow is matchless when orchestrasinto itcomestoleading Alexey Markov

Dmitry Ulyanov Riccardo Massi Tatiana Serjan Daniele Rustioni Attila

is dominatedbythefigure of

November 2017 Théâtre desChamps-Élysées As acoproductionwiththe At theAuditoriumdeLyon Sunday 18th March 2018 At theOpéradeLyon Sunday 12th Meanwhile Daniele

italianità 4 pm 4 pm

Opéra de Lyon Season 17—18 11 Opéra de Lyon Season 17—18 12 Stalin –inevitably tohim. appealed Man giving risetothetotalitarianregimesofHitler and dictatorships –the utopiaofasocietybasedontheNew which denounceshowideologiespreparetheway for –,1953) hegrewupinaSovietsocietyandthistext, in MoscowonthedayofStalin’s funeral(9thMarch as early as the1970s… As for, Raskatov –who was born “political” –whereas inWest Germanyhewas acclaimed plays beingcensored, becausetheywerejudgedtobetoo was thencommunist (RDA) only tosee, ironically, his he haddecidedtosetuphomeinEastGermany, which experiences: freedfromNazism attheendofwar, comes overasavitalreflexion basedonhisown autobiographical aboutitforMüller, it nevertheless While thesubjectof A utopicsocietybasedontheNewMan death, in1995. proofs ofwhich thewritercorrectedafewdaysbeforehis DeadMan 3,Ghostsat Germania inBerlin Death two playsbythedramatistHeiner Müller: German andRussian, thislyrical piecetakesitsplotfrom Raskatov’s 2014, theOpéradeLyon hascommissioned Alexandre After thesuccessof From BerlintoMoscow ALEXANDER RASKATOV G r e GerMANIA, , and1971, writtenbetween1956 and MANIA A Dog's HeartA Dog's GerMANIA his secondopera. Sungin , hisfinal work, the had nothing , after

Bulgakov, in Germania Germania an exaggerated slowness and leaden rigidity;an exaggeratedslownessandleaden asforHitler, Russian tradition, thecharacterofStalinisexpressedwith toafineis itfor?Entrusted oktavistbassfromthepurest forpower–butwhat as twoabjectaccompliceshungry tinged withblackhumour, inparticularHitler andStalin, 3 Germania two takenfromthefirst “ characters inthetenscenes,than thirty-seven (!)appear judgment. InthespiritofPushkin’s verse novel, nofewer Dostoyevsky, thetaledoesnotdenounce, accuseorbear the particularitythat, asopposedtoworksby Tolstoy or Onegin which,construction inthespiritofPushkin’s The composerhasrespectedthedramatist’s non-linear The blackhumourofdramaticmoments and StudiooftheOpéradeLyon Orchestra, Choruses Tenor: Alto: Soprano: Soprano: Bass: Bass-baritone: Counter-Tenor: Baritone: Tenor: Video: Lighting: Sets: Director: Conductor: In GermanandRussian Man 3,GhostsatDead Germania DeathinBerlin Germania Libretto bythecomposerafter Opera 2018 GerMANIA Franck Mallet devastating changesintheworldtoday. Dernière Nuit ( as conductedbythesimilarly mindedJohn Fulljames by amusicianwho isapastmasterintheartofsatire, the higherregisters. This dark, furious, subversive score, he isanobviously Wagnerian tenor, fluttering around Sancta Susanna by HeinerMüller Magda Willi Mairam Sokolova Gennady Bezzubenkov Karl Laquit Michael Gniffke Will Duke , offers asuccessionofdramaticmoments, with Erich Schneider John Fulljames Ville Rusanen Elena Vassilieva Sophie Desmars

Alejo Pérez

. Several “star” rolesreoccurinthismaelstrom Piotr Micinski Andrew Watts in Lyon), shouldechoclearly withthe

,

Von morgen heuteauf

and

Germania”

Monday 4th June 2018 Wednesday 30th Monday 28th Saturday 26th Wednesday 23rd Monday 21st Saturday 19th May 2018 New production by theOpéradeLyon World premiere,commissioned , theeightothers from and

Benjamin, Eugene

8 pm 8 pm 8 pm 8 pm 8 pm 4 pm 8 pm

of the modernstage’s mostinterestingfigures young Hungarian director, basedinBerlin, who isone Berlioz, wewillbeinforaninnovative vision, fromthis There isnodoubtthat, aswithhisworkonGluckand time, continuingceaselessly, withoutabreak, breathlessly. a huntforinterchangeable, consumablewomen, against specialist magazine “Deutsche Bühne” the titleof “opera directoroftheyear”, awarded bythe Keine Pause” His 2009 adaptationof thus apoetofthestagewho willbetakingonthismyth. de Faust Strauss, Gluck’s as Wagner putit. InLyon, weowehima David Martonwillbedirectingthis “opera ofoperas”, The production Marton, anotherregularoftheLyon stage Mozart, BizetandRossini, inaproductionbyDavid known toaudiencesinLyon, where hehasconducted Montanari,production conductedbyStefano nowwell Giovanni aus demSerail After recentproductionsof A newDonGiovanni often performedtoday. and moremusic: itisthe Viennese version which ismost Giovanni After atriumphantpremiereinPrague in1787, Convitato dipietra months beforeMozart, offereda Molina, butalsothelibrettistBertatiwho, in1787, afew Da Ponte’s WOLFGANG AMADEUSMOZART DON GIOVANNI 2 GermanStage”“The 1 For smallstagesinHamburg andMunich. which madewaves duringthelastseason. It is , anessentialpartofanyprogramme, withanew was revived in Vienna in1788, withlesssuccess Don 1 ( , theOpéradeLyon isreturningto Don Giovanni OrphéeandEurydice Giovanni was inspiredby Tirso de , withmusicbyGiuseppeGazzaniga. Don Giovanni Idomeneo . No wonhim Break) Don Giovanniosiail , anda and “Don Giovanni. “Don 2 . Init, heanalysed Capriccio Die Entführung Damnation Damnation Don Don by on theoperashedirects, inagenuineimpulsebornof Montanari hasaccustomedustoseeinghimputhismark Comte Ory Dennefeld, who hastriumphedinLyon asIsolier( it comestoElvire, to shewillbeentrusted Antoinette who hassuccessfully herein appeared Ottavio willbeayoungsingerfromLyon, Julien Behr, sought-after formajoroperaticsopranoroles, while Donna Anna willbeEleonoraBuratto, who ishighly and oneofthemostpromisingvoicesmoment, who was theDonGiovanniof in2017,Aix-en-Provence will betheyoung(notyetthirty)Canadian Philippe Sly, thattheylivemeans desire(s). andbreathe DonGiovanni It youngsingers willfeature fortheheroes, whose youth The cast Guy Cherqui Guy the urgencyweexpectfromMozart’s hero. doubtlessly markitwithhisacuteprecision, butalsowith conducted withthebaroquerepertoire;his familiarity hehasalready of theOpéradeLyon Orchestra andChoruses Masetto: Leporello: Donna Anna: Don Giovanni: Elvira: Don Ottavio: Sound design: Lighting: Barbara Engelhardt Staging assistant: Director: Conductor: In Italian Libretto byLorenzoDaPonte Dramma giocoso Don Giovanni

Antoinette Dennefeld Henning Streck David Marton Christian Oldenburg Kyle Ketelsen Stefano Montanari ) andCunégonde in Don Giovanni Julien Behr Eleonora Buratto

Daniel Dorsch Philippe Sly in twoacts

several times, andhewill

Wednesday 11th Monday 9th Saturday 7th Thursday 5th Tuesday 3rd Sunday 1st July 2018 Friday 29th Wednesday 27th Monday 25th June 2018 New production Le RoiCarotte Idomeneo

. Stefano . When Le 8 pm 8 pm 8 pm 8 pm 8 pm 4 pm 8 pm 8 pm 8 pm

Opéra de Lyon Season 17—18 13 Opéra de Lyon Season 17—18 14 generation ofFlemishcomposers. to thevoice, andoccupies animportantplaceinanew Tactus musicseminar, contemporary isgreatly attached who ispartofthefirst generationofaward winners atthe Annelies VanParys (Moravian poemsandsomemoremodernextracts)which touch,contemporary which willbeprovidedbythetexts Janáček andKamiliaStösslova. Ialsowanted toadda but Ialsosoakeduptheintensecorrespondencebetween given acontext. As ever, Iofcourse startedwiththescore, by anactorasasinger. Butthistalestillneededtobe oflife,of atheatre andsocanbeinterpretedjustaseasily realistic, almostmongrellanguageisquitenaturally that explains, “seemed naturaltome, very somuchitsspoken, “Directing Transparent. stage italongwiththeFlemishgroup, Muziektheater for agripping Ivo Van Hove, responsibleattheOpéradeLyon already dramatic resonance. Following severalotherdirectors, impossible love. The workthusgains anincontestable who remainedmarried, while living inthe isolationofan identityintodoubt.He putshisvery Just likeJanáček, to it, inordertosurvive. justlikerefugeesforcedtoleave hiscountry,The youngmanleaves becomingastranger That’s why thispieceissomoving.” and explained tohismuse: was you. darkgypsy “This to setthetextmusicfortenor, mezzo andpiano, for afaraway lovedone, KamiliaStösslová. So, hedecided with hisownexistence, dominatedbyhisimpossiblelove follow her. Janáček tomaketheconnection didnotfail girl,with agypsy Zofka, to andabandonseverything overheelsinlove ofayoungmanwho head falls story In 1916, on auniversaldimension An impossiblelovethattakes LEOŠ JANÁ DISAPPEARED OF ONEWHO THE DIARY OTHER VENUES Lidové noviny The Diary of OneWho Disappeared The Diaryof

Macbeth

will settomusic.” published a verse diary tellingthe publishedaverse diary by Verdi, hasthuschosento EK

This composer,

”, he

piano, 1921 alto, threefemalevoicesand Cycle of22songsfortenorand Zápisník zmizelého Serge Martin scope ofanintimateepic. universal dimensionwhich providesthistalewiththe in theway itstickstoaspokenlanguage, andamore expresses atthesametimeatypically Moravian existence Janáček’s musicishighly suitedforthis, given thatit deeply spiritofthelastcentury.” markedbytheEuropean which willgive which is amodernresonancetostory variedcomponentparts the assemblageofthesevery toaworkaboutalienationandidentity: “Itleading is dimension intheaccumulationofvariousreferences, For Ivo Van Hove, theshowwillthusfinditsfull Pianiste: Tenor: Silvia deLaMuela Mezzo-soprano: Acteur: Costumes: Stage Assistant: Jan Versweyveld Scenography: Director: Poems byJosefKalda EdLyon HugoKoolschijn Lada Valesova Ivo vanHove An D’Huys

Krystian Lada

De Munt/LaMonnaie, Coproduction Klarafestival, Transparant Production bytheMuziektheater Sunday 11th Saturday 10th Friday 9th Thursday 8th February 2018 Populaire, Villeurbanne At theThéâtreNational the Théâtre NationalPopulaire As acopresentationwith and PoznanGrandTheatre Opera DaysRotterdam de laVilleLuxembourg, Amsterdam, LesThéâtres Kaaitheater, Toneelgroep

3.30 pm

8 pm 8 pm 8 pm

of theOpéradeLyon Orchestra andStudio Lighting: Sets: Director: Conductor: In Italian Charles Perrault. Libretto byG.Bistolfi,after Opera inthreeacts,1922 nelbosco La belladormente Serrou Bruno artists oftheStudioOpéradeLyon. HorákováBarbora Joly, isbeingperformedbytheyoung of Puccini. This newproduction, directedbytheCzech incredible closenesstotheorchestraandflamboyance des Nibelung and Siegfriedinthefinale ofthesecondday byaPrinceBeauty Charming isanallusiontoBrünnhilde It thattheawakening seemsquiteclear oftheSleeping of allagesbothoweanequaldebttoRichard Wagner. a distanceofthirtyyears, thesetwooperasforchildren as thatofHumperdinck’s Colmar, 2015. inJanuary And yet, itscharmsareaspotent before beingstagedinStrasbourgbytheOpéraStudio, so manyseductive qualities, hadnevercrossedthe Alps musical taleinthreeacts, afterCharlesPerrault, which has But BalletsRusses,for Les insecondplace. and the exception of ballets bythismusician, remainratherunknown, with above alloperatic. However, thenineoperasandfive was,Respighi (1879-1936) likeallItalian composers, of Rome Known aboveallforhissymphonicdiptych OTTORINO RESPIGHI NEL BOSCO DORMENTE LA BELLA Sleeping Beauty La Eva MariavanAcker

Boutique fantasque Michael Bauer Barbora Horakova (1916)and PhilippeForget . InthisItalian composer, thereisalsoan

La Fiamma

Pines of Rome Pines of (

la bella dormente nel bosco

Hänsel andGretel

(1919), afterRossini, written (

The Flame Wednesday 14th Tuesday 13th Sunday 11th Saturday 10th Friday 9th Wednesday 7th Tuesday 6th February 2018 de laCroix-Rousse At theThéâtre New production (1924), Ottorino

, 1934), aboveall, . Written at Fountains

Der Ring , 1923), a 7.30 pm 7.30 pm 7.30 pm 7.30 pm 7.30 pm 7.30 pm 5 pm

fortune. As themoneyhehasamassednotmade foramagicalbookwhichinstrument willmakehis Soldier encounters the Devil, who offers toswap his As hereturnshome, while playingtheviolin, apoor A Faustianstory write thelibretto, Stravinsky composed the helpofCharles-Ferdinand Ramuz, who was askedto composer was inafinancially precarioussituation. With Exiled inSwitzerland aftertheRussian Revolution, the TALE SOLDIER’S THE Blandine Dauvilaire libretto, dimensionofthetale. willbringouttheinitiatory it. His production, ofthescoreand the attheservice Isolde dels Baus( use ofvideo, Alex OlléfromtheCatalan Fura group La Known forhispowerfulaestheticapproachandvirtuoso Journeying withtheimaginary stagemusical. century Soldier’s TaleThe stand fortheDevil. Byminglingmusic, anddance, theatre central motif, symbolisestheSoldier’s soul, thedrums toactasasoloist.instrument Whiletheviolin, asthetale’s focused aroundsevenmusicians. Stravinsky wanted each (the Soldier, theDevilandPrincess), theworkis Written foranarratorwho interpretsthreecharacters A demandingscore disobedience condemnshimtohell. come what may, andends uprobbingtheDevil. Buthis him happy, theSoldierdecidestogethisviolinback, Orchestra oftheOpéra deLyon and thePrincess: The Devil,theSoldier Sets andcostumes: (La FuradelsBaus) Director: In French Ramuz Libretto byCharlesFerdinand in two parts,1918 Read, playedanddanced Histoire dusoldat ,

Erwartung Alex Ollé Alceste

spoken role Lluc Castells

… )hasadoptedthisworkonly tomagnify participatedinthebirthof20th- ,

The Flying Dutchman, Tristan and

OTHER VENUES Sunday 29th Saturday 28th Friday 27th Thursday 26th Wednesday 25th April 2018 At LeRadiant-Bellevue Le Radiant-Bellevue In partnershipwith La FuradelsBaus As acoproductionwith

The Soldier’s TaleThe

7.30 pm 7.30 pm 7.30 pm 7.30 pm

4 pm .

Opéra de Lyon Season 17—18 15 Opéra de Lyon Season 17—18 16 but by thistimehewas indemandItaly already and of politicalinterferencewithhis artistic programming, Rustioni’s sojourneinBari was nottolast, mainly because the interaction ofcharacters. comedy, focusingnoton “Elizabethan” scenery, buton theatre: responseto Verdi’s apared-down rumbustious kind ofapproachinItaly tothepresentationofoperaas Rustioni’s commitmenttoensemblevaluesandanew in Verdi’s mostcomplexoperatowhich sign-posted comprising Italian singers. An outstandingachievement Ronconi,production ofLuca witha castalmostentirely in performancesof Verdi’s termmusicdirectorclimaxed where hisall-too-brief me tothe Teatro Petruzzelli inBari, SouthernItaly, My enthusiasmforRustioni’s youthfuldynamismtook sheep!” he joked, thisyear. when earlier wemetin London “In my family, Iamtheonly musician. Iamtheblack he declares hewas not destined foramusicalcareer. performancesof La Scala He sang oneof the Three BoysinRiccardo Muti’s the “capital” oftheoperaticworld That Rustioni comesfromMilan based label, OperaRara. Salvini performed “opera-comique-style”semiseria, orchestras, andahigh-profile recordingofBellini’s rarely has ledtoengagementswithsomeofBritain’s leading the Britishpress, which, unusually foranoperaconductor, Bolena project duringwhich heconductsDonizetti’s involvement inWelsh National Opera’s Tudor Queens production of after leaving, hewas inchargemusically already ofanew has beenmeteoric, ifnotwithoutpitfalls. Only twoyears the fewconductors to do so: in2009 hisrisesinceleaving House, Covent Garden’s Jette-Parker programme, oneof He spenttwoyears asayoungartistontheRoyal Opera expected path, foranItalian maestroanyway. company. Rustioni’s from careertodatehastakenafar change ofemphasisforFrance’s mostimportantregional marksasubtle season from thebeginningof2017/18 Daniele Rustioni, astheOpéradeLyon’s MusicDirector Milaneseconductor,The appointmentofthe34-year-old OF THEOPÉRADELYON NEW PERMANENTCONDUCTOR DANIELE RUSTIONI and which appeared earlier this year ontheLondon- thisyear which earlier appeared Roberto Devereuz La Flute Enchantée Falstaff toenthusiasticacclaimin shortly followedbyhis – – , inthelastopera what wemightcall is clearly significant. Adelson e although Anna Yoshi Oida. less ofasurprise: Britten’s à Venise La Juïve 2014. SincethenhehastackledbothFrench at theOpéradeLyon in Verdi’s repertoire, butthathaschangedsincehisfirst appearance To date, hisbiggestsuccesseshavebeeninItalian in Maschera Il Trittico La Fenicetheatre in Venice, where theywerecreated, abroad, conducting of Hugh Canning, chiefclassicalmusiccritic inviting. of anew “golden age” inLyon. The prospectsarehugely Rustioni’s musicaldirectioncouldprovethebeginning after mostofthestagerehearsals andIdon’t likethat.” of rehearsals butnowadays oftentheconductorarrives collaboration. Inthegolden ageofoperatherewere lots musical andtheatrical muchinthesenseofareal very build bridgesbetweentheconductoranddirector, a closerelationshipwithSergeDornyandwewant to found anothermusical ‘family’ inLyon. have Ialready which Ithinkissuperior totheItalian translation. Ihave version inMarch2018. IamsohappytodoitinFrench, “Yes, it’s DonCarlossssss, “en français” , thefive-act house, but surely anessentialonefortheOpéradeLyon. of Verdi’s exciting. A complete French languageproduction a shorttime.” His secondLyon projectisevenmore and LPO. IcouldneverhaddonethisinItaly insuch Opera andnowIhaveupcomingdateswiththeCBSO North –both Coventleaving Garden, Igot engagementswithOpera without anyconnections. It was afreshstartformeafter benefited fromtheBritishsystem, inwhich Istartedreally of the Noseda’swork asGianandrea assistantatrehearsals and allthetimeIwas travelling toManchester to 2011. Iwas studyingattheRoyal Academy of Music acquired duringthefive years Iwas inLondon, 2006 “I’m proudtosaythatitispartofmyBritish “luggage” The Sunday Times The War Requiem

– Johann Strauss’sAustrian –Johann –and inRome, andanewproductionof and hisopeningshowasMusicDirectorisno Don Carlos at La Scala. atLa Butterfly inLondon. Rigoletto . He ismy “godfather”. Ifeelhave , ahugeundertakingforanyopera andconcerts War Requiem and

La Traviata –

and Welsh National inastagingby Une Nuit – Un ballo inthe Halévy’s in

Tuesday 12thDecember2017,8pm Sunday 10thDecember2017,4pm At theSaint-BonaventureChurch,Lyon2 Britten, Purcell,orBartók… Basque… WithairsbyBernstein,Sibelius,Martinu,Bach,Brahms, Nacht different cultures:from Hungary, Armenia,Israel,Egypt,Finland…Christmasthrough Christmas aroundtheworld:France,theUK,Germany,Poland, Children’s ChoiroftheOpéradeLyon Karine Locatelli CHRISTMAS SONGS Sunday 3rdDecember2017,4pm Schumann : Robert Willst dudassichgeh? O kühlerWald opus 105/ Brahms : Johannes Rencontre Fauré : Gabriel Simon Lepper Stéphane Degout, RECITAL Tuesday 28thNovember2017,7.30pm–GalaConcert Sunday 26thNovember2017,4pm ,… Franceso Geminiani,GeorgFriedrichHändel, Francesco MariaVeracini,AttilioAriosti, Lawrence Zazzo I BollentiSpiriti Stefano Montanari HAENDEL /PORPORA Sunday 24thSeptember2017,4pm Piotr IlyichTchaikovski: and Dances ofDeath Modest Mussorgski: Orchestra oftheOperadeLyon Ekaterina Scherbachenko Daniele Rustioni / TCHAIKOVSKI MUSSORGSKI CALENDAR CONCERT whiletakingtraditionalsongsinLatin,Armenian,Egyptian, ; Toujours; Adieu Feldeinsamkeit , opus72/

, piano

Aurore , Choirmistress

, conductor , countertenor baryton

, OrchestraoftheOperadeLyon, Zwölf Gedichte Die Mainacht (orchestration byDimitriShostakovich)

We Christmas Wish youaMerry Night onBaldMountain , opus71 , opus39/1/ , opus21/ , opus86/ Symphony n°5inEMinor,opus64 Nicht mehrzudirgehen

, soprano

, opus43/

, opus35

Poèmes d’unjour Automne Alte Liebe

e

/ Auf demKirchhofe , opus18/3 , opus72/ Songs

, opus32/

: to Stille

, Francis Poulenc: Maurice Ravel: Ludwig vanBeethoven: Orchestra of theOperadeLyon Daniele Rustioni BEETHOVEN /RAVEL Sunday 31stDecember2017,8pm Opera Extracts. Orchestra oftheOperadeLyon Martyn Brabbins NEW YEAR’SCONCERT Sunday 6thMay2018,4pm in AMinor Johann SebastianBach: and Sonata inE-flatMajor Joseph Haydn: Christian Zacharias, RECITAL BACH /HAYDN Sunday 29thApril2018,4pm and Sonata inB-flatMajor,K378 Sonata inGMajor,K301 ; Sonatain B-flatmajor,K454 Wolfgang AmadeusMozart: Alexander Lonquich Stefano Montanari MOZART RECITAL Tuesday 24thApril,8pm At thethéâtredelaRenaissance,Oullins Antonín Dvo�ák Piotr IlitchTchaïkovski,AntonArenski, STRING ORCHESTRA SERENADES FOR Sunday 4thFebruary2018,4pm at theDanceRehearsalStudio. with themusiciansfromOrchestra of theOperadeLyon 6 programmesonsaturdaysandsundays, onehourofmusic CONCERTS CHAMBER MUSIC

Ma mèrel’Oye Sonata enGmajor,inA-flatMajor

, Conductor Histoire deBabar , conductor , violon , piano piano Symphonyn°7inA,opus92

Suite françaiseinGMinor,Partita

Sonatas forviolinandpiano:

Opéra de Lyon Season 17—18 17 Opéra de Lyon Season 17—18 18 NO MOREPLAY Major, K.467 n°23 inAMajor, K.488,Andante Music: PETITE MORT Costumes: CRÉATION 2018 April 19th –25th JIRÍ KYLIÁN/JOHANINGER Loes Schakenbos Sebastian Bach Ji�í Kylián 29th September2017 FREE FALL and GaryChryst Ji�í KyliánetOlivierKruithof Somma Joke Visser after Andantino Ji�í Kylián EAST SHADOW 27th Guest company At theSubsistances/15th JI�Í KYLIÁN DANCE 1996. This isarazor-sharp quintet, inwhich can already No more Play piecetotheBallet,choreographer willbeofferinga12th Kupferberg. Right attheendofseason, theCzech himself, andwhose linchpinisonceagainSabine installation, a disciplinetowhich Kylian isnowdevoting Les Subsistances, alongsideanintriguingphotographic the catastropheofFukushima. To bediscoveredat Aichi Triennale inNagoya, aspartofareflexion about which in2013, hecreated afteraninvitationfromthe Chryst.dancer andchoreographerGary This isa piece interpreters, hismuseSabineKupferberg and theformer Schubert’s he willbekeepingonly thelibretto, attachingtoit Morton Feldman andSamuelBeckett, fromwhich Shadow,East Jiří Kylián willbeadoptingtheroleofadirectorwith Honour toJi�íKylián,associateartist Lighting: Music: April 2017 with his piece April 2017 Johan Inger, whom audienceswereabletodiscoverin fortheBalletby acreation This programmewillreveal programme ofaneveningplaced underthesignofbeauty. be seentheenvelopingrolesof , Charlemagne Palestine 28th Anton Webern Wolfgang AmadeusMozart /Text: Ji�í Kylián , Catherine Voeffray /Performer: /Music: , Tomoko Mukaiyama / 29thSeptember /Choreographyandsets: /Lighting: Piano Sonata D959I / Exhibition openfromFriday15thto /Choreographyandsets: , writtenforNDT Iin1988, thenrevived in Costumes: an adaptationof , Neither

/Choreography,conceptand scenography: Kunst derFuge,Kontrapunktus1

/Choreography,setsandcostumes: , JoopCaboortetKeesTjebbes Franz Schubert , /Photographicstudy,imagesand concept: / Loes Schakenbos Sabine Kupferberg Five piecesforstringquartet, , SamuelBeckett Ballet oftheOpéradeLyon Joke Visser – I New Then I and 20th September2017

/Dancers: /Lighting: from

Beginning Somei Satoh Neither , Petite Mort

, Adagio as welltwoexceptional Piano sonataD959 / Piano Concerto n°21inC Piano Concerto Johan Inger Lighting: Ji�íKylián TomVisser /Video: . /Voices: Sabine Kupferberg , theoperaby andE from / Music: , alsoonthe /Costumes: /Lumières: JoopCaboort ast Shadow Piano Concerto Piano Concerto JasonAkira

opus5/

Johann

Ji�í Kylián

pieces fromtherepertory, which hehaschosen, anda to ourinvitationwitha “carte blanche” madeupoftwo the Jérôme Belisopeningthisseason’s ball. Onthisoccasion, Dance, danceoneveryfront Cédric Andrieux CRÉATION 2017 Adeline André Anderson after an originalideabyRobertRauschenberg/Music: SET ANDRESET/RESET et Issey Miyake Music PublishersLimited William Forsythe SECOND DETAIL 2017 September 14th –20th JÉRÔME BEL TRISHA BROWN WILLIAM FORSYTHE vocabulary, withitsminimal purityandacidicsoundtrack. Second Detail for theoccasionbyMichaelMeyers, William Forsythe’s in 2005, andwithascenographywhich was redesigned repertory, inaspecialversion remodelledforthecompany the USA, France andelsewhere. After enteringtheBallet’s dance, ofcontemporary which hasmarkedthehistory in Premiered in1983, by theemblematic Trisha Browninasingleevening. William Forsythe’s tosee(again) the spectators pleasure willhave thegreat proposition thatchimeswiththesechoices. Soitisthat enfant terrible – Charleroi Danses,Belgium, DANCE SECOND DETAIL – L’Archipel, Perpignan, – deSingel, Antwerp, – Festival DanceUmbrella,Sadler’sWells,London – Festival ReggioEmiliaDanza, – Festival Beethoven,Bonn ANNE TERESADEKEERSMAEKERANDMAGUYMARIN) THREE GRANDFUGUES DE LYON BA TOURS 19th and20thOct2017 /Scenography: LLET OFTHEOPERA (LUCINDA CHILDS) /Lighting: is a total deconstruction oftheacademic isatotaldeconstruction /Choreography,scenographyandlighting:

/Music: /Conception: ofFrench dancewillbeanswering Second Detail Set andReset

/ Choreography: (WILLIAM FORSYTHE) from 8thto10thFeb2018 PatriceBesombes /Costumes: ThomWillems©Boosey&Hawkes Michael Meyers 14th and15thFeb2018 / 26th and27thSept2017

(LUCINDA CHILDS, 12th Oct2017 Ballet oftheOpéradeLyon

Jérôme Bel

is aBrownianmanifesto and William Forsythe 30th Sept2017 Trisha Brown Set andReset/Reset

/Costumes:

/Assistant:

Laurie

– L'Espace desArts,Chalon-sur-Saône, – Espace CardinThéâtredelaVille,Paris STEPTEXT SARABANDE CRITICAL MASS – Royal OperaHouseMuscat,Oman CENDRILLON – Festival DecemberDance,Bruges,Belgium, (ALESSANDRO SCIARRONI) TURNING MOTIONSICKNESSVERSION SECOND DETAIL – Festival d’Automne,Paris,MaisondesArtsdeCréteilandThéâtre CREATION SET ANDRESET/ SECOND DETAIL Sets andcostumes: Bizet CARMEN Laurent Alphonse Daudet/Sets: L’ARLÉSIENNE 2017 November 18th –24th ROLAND PETIT and choreographicfantasies. and narrationwhich delightslovers oftechnicalprowess of Roland Petit’s “style”, asubtlemixtureofabstraction premiered 25years later, reflected thequintessence of French dance. contemporary to other experimentswhich weretosowthefirst seeds postures and much scandalasitdidenthusiasm, thankstoitsdaring times. are notlackingincharm. They arereflections oftheir It hastobesaidthatthesetwo(almost)forgotten pieces resisted thetemptationofreviving themforthis season. inNovember 2015,repertory Yorgos hasnot Loukos Petit’s of(re)seeingRolandAfter theindisputablepleasure Honour tohistory from 2ndto 12thMay2018 de laVilleoff-site, , Carmen/Libretto: Carmen Carmen /Lighting: / Choreography: (WILLIAM FORSYTHE) (JÉRÔMEBEL) (BENJAMINMILLEPIED) , pointes endedans (MAGUY MARIN) L’Arlésienne , premieredin1949, attractedjustas and his / Choreography: (WILLIAMFORSYTHE) Antoni Clavé (RUSSEL MALIPHANT) Jean-Michel Désiré (WILLIAM FORSYTHE) from 29thNovto2ndDec2017 René Allio Roland Petit Arlésienne

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danced bymen, withanexceptionalfemalepresencein in February, withaseriesoflightformsexclusively Forsythe, Russell MaliphantandBenjaminMillepied A compositeprogrammeisbringingtogetherWilliam Honour tomen from Sonatan°4forsoloviolininDMinor William Forsythe STEPTEXT Lighting: and Music: SARABANDE / Lighting: Lighting: CRITICAL MASS Ballet oftheOpéradeLyon 1th WILLIAM FORSYTHE BENJAMIN MILLEPIED RUSSEL MALIPHANT – Japanese tour JI – MC2 Grenoble PETITE MORT SARABANDE SECOND DETAIL – La ComédiedeValencefrom, PETITE MORT SECOND DETAIL – Théâtre desGémeaux,Sceaux, PETITE MORT SARABANDE Gallia Valette-Pilenko as though withamodernBalanchine. own impulsive way, soastoextractfromititsmusicality, while revisitingtheclassical, academic, inits vocabulary Benjamin Millepied’s remaining firmly fixed totheground. Onthecontrary, sculpts spaceandgives theairaparticulardensity, while mirrors, otherness, inasensually virileconfrontationthat male duet, ismoreattachedtoastudyofdoubles, Meanwhile, Russell Maliphant’s the soundcodesofJ.S. Bach’s taut lines, andinwhich thechoreographerdelves into are twistedandextendedasiftheywereextremely oftheclassicvocabulary,deconstruction inwhich bodies Steptext � Í KYLIÁNPROGRAMME – Sonatas andPartitas 4th February2018/AtLeRadiant-Bellevue Johann SebastianBach Roderick Murray Michael Hulls . Steptext Michael Hulls /Choreography,scenography,costumesandlighting: /Choreography: (BENJAMINMILLEPIED) from 22nd June2018 July 1st to (JI (BENJAMIN MILLEPIED) ET ET from 29thto31stMay2018 /Choreography: /Music: � NO MOREPLAY NO MOREPLAY Í KYLIÁN) (WILLIAM FORSYTHE) (WILLIAM FORSYTHE) is asortofmanifestoforanimmaculate /Music: forsoloviolin/Costumes:

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Opéra de Lyon Season 17—18 19 Opéra de Lyon Season 17—18 20 29 998306 PUBLIC FINANCE FINANCIAL MEANS TOTAL Technical Communication Administration including: –Orchestra Artistic personnel Category HUMAN RESOURCES THE OPERAINFIGURES 37 486682 OVERALL BUDGET – Management – OtherArtists – Ballet – Chorus

15,8 % State € €

19,7 % State

20 % Own income 354 108 33 3 32 35 62 165 Permanent staff 55 26

313,30 29,23 2,00 31,89 32,84 56,98 152,95 staff * Full-time equivalent 99,47 34,83 26,06 9,7 % Region 2 1

7,7 % Region

133,12 8,10 33,78 0,94 17,33 12,68 extra staff Full-time equivalent 55,87 72,83 3,40 1,02 60,8 % City ofLyon 9,8 % Greater Lyon 48,6 % City ofLyon 7,9 % Greater Lyon

446,42 155,33 45,08 28,04 32,83 50,17 69,66 225,78 equivalent total Full-time 38,23 27,08 * Full-timeequivalent 2 1 TOTAL EXPENDITURE Transfer ofreserves Depreciations andfunds Exploitation ofbuildings Operating costs Occasional andextrapersonnel Permanent personnel Production costs EXPENDITURE RECEIPTS TOTAL Personnel subsidy Lyon of subsidy /City Personnel Provision ofpersonnel Other publicassistance Region Lyon Greater City ofLyon State Conventional subsidies income Other revenues Tour Ticket sales Own resources RECEIPTS THE BUDGET Récital Concerts Ballets Operas RATES OCCUPANCY Figuresbasedontheyear2016 Figuresbasedontheyear2015

/

City ofLyon

2 / City ofLyon

2

37 486682 37 486682 16 143875 12 327355 11 18 10 2 3 570967 2 961465 7 1 329577 2 897000 2 947778 6 5 919507 2 315870 1 659895 3 -304 069 259 527 465 699 379 406 288 615 431 81 624 € 731 € 974 € 976 € 754 € 690 € 211 € 400 € 84 % 90 % 89 % 90 % € € € € € € € € € € € € € €

SCHOOLS CHAMBER MUSIC TOTAL Recitals Concerts Ballets Operas MAIN THEATRE AND ACTIVITY FREQUENTATION TOTAL 383 TOTAL + schools Chamber music Concerts Ballets Opera TOURS OTHER SITESINLYON PERISTYLE AMPHITHEATRE

Performances Spectators Performances Spectators Performances Spectators Performances Spectators Performances Spectators Performances Spectators Performances Spectators 129 50 90 20 58 43 19 74 32 13 8 774 3 9 2 3 2 2

196 39 501 83 848 16 864 55 682 33 387 22 786 2 768 8 534 9 188 7 510 4 073 1 617

537

930 424

Opéra de Lyon Season 17—18 21 Opéra de Lyon Season 17—18 22 for the2017–18 season: in itsentirety.Therearetwoflagshipprojects creation; theymobilisetheopera“house” multi-disciplinary andlinkedtocontemporary at openness andaccessibilityarealways with theOpera’sartisticidentity,projectsaimed insertion, arehospitalisedorinprison.Chiming or adultswhoarehandicapped,seekingsocial of priority neighbourhoods,includingchildren its professions.Theyconcernthe inhabitants projects, anddiscoveryoftheOpera season oftheOpera,participatorycreative projects aresetinavarietyofforms:theacademic Cultural activitiesandartisticeducational a daily basisintheheartofitssocialenvironment. participants. TheOpéradeLyonthusactson over 250partnersandmorethan34,000 pilots aroundtwentydifferentprojects,involving Each season,theculturaldevelopmentpole EDUCATIVE ACTIONS CULTURAL AND

will interprettheir “score”. Filmedandphotographed, (a double-bassist, harpist, singer…) duringwhich each butcher, hairdresser, mason…)andartistsfromtheOpera of the creation “Duos” artists fromtheOpéradeLyon. The departurepointis Lyon,employees ofGreater adultsinsocialinsertionand studentsfromthePlateau desMinguettes,high-school Nicolas Bianco, “Duos of Trades” associates340junior Drafted anddirectedbythecomposermusician existence,in everyday ofourlives attheheart andtown. andart generations aboutthepossibilitytoseebeauty on theconvictionthatitisvitaltoeducatefuture This participatory, politicalandpoeticprojectisbased Duos oftrades creative tools. artists transform sounds, imagesandlight, theparticipantsdiscoverhow devices, embeddedelectronics). Byplayingwiththevoice, (software,particular toolsofdigitalcreation peripheral cameras, video feedback, ofthe filming) anddiscovery the environment…), images(shadowplay, microscopic objects, percussion/motors, soundrecordingsfrom through practice: ofsoundset-ups(everyday construction initiatethemintotheoperatic anddigitalarts poetry) violinist anddeveloper), Laure Tejeda (song andsound andviolinist),leader SébastienEglème (sound-setter, designer andcomposer), Audrey Pévrier (vocalist, choir electronic objects), Enrico Fiocco (engineer, sound sound-painter, andcontrolof ofinterfaces creator - Pascal Caparros (image), Benjamin Nid (musician, year-olds.holidays for12/15 The sixartistsinthegroup for 14/15 year-olds, orduringtrainingsessionsthe project aimedatteenagers, aspartofaschoolprogramme Matrice,group Le hasbeenconductingaparticipatory in 2016, theOpéradeLyon, inassociationwiththeartistic of thedigitalarts?Sincebeginningschoolyear viatheprism to approachpiecesintheoperaticrepertory language. acontemporary digital toolssoastocreate How artiststoadopt our relationshipwiththeworldisleading The developmentoftechnologiesandtheirinfluence on Operatic andDigital presented intheOpera’s inJuneAmphitheatre 2018. andperformanceofashowwhichin thecreation willbe then participatewithNicolas Biancoandhisartisticteam insertion programme. Onthisinspirationalbasis, they studentsandadultsfollowingasocial junior high-school these duosstandaspretextsforweekly workshopswith Wiimotes

in situ , kinects betweentradespeople(a andcomputers into [email protected] Tel: +33(0)472004792 Sponsors –EnterprisesDepartmentManager Contact: in theregion… video-transmission ofperformancesinseveraltowns to the handicapped,opennessyoung,open-housedays, schools andforsocially-challengedaudiences,accessibility and theOpera’sStudio,culturaleducationalactionsin artistic creation,trainingyoungtalentsintheChildren’sChoir artistic excellencewhilepractisinganopennesstoallpublics: essential forcarryingouttheOpéradeLyon’sprojecttoattain our projectandvalues.Theirsupportcommitmentare For manyyears,bothenterprisesandfoundationshaveshared and partnersfortheirtrustgenerosity. The OpéradeLyonwarmlythanksitssponsors & PARTNERS SPONSORS Judith Moreau

Founding sponsor SPONSORS MEDIA PARTNERS Project sponsors Skills sponsors

Opéra de Lyon Season 17—18 23 THE OPERA IN PRACTICE BUYING TICKETS TO PERFORMANCES

OPENING DATES FOR RESERVATIONS Season-tickets as of 10th May 2017 at noon Unit ticket sales as of 7th June 2017 at noon.

AT THE OPERA’S TICKET OFFICE From noon to 7pm, Tuesday to Saturday (and on Mondays on performance days). One hour before each performance (for tickets to that day’s performance only) The off-premises box offices are open 1h before each performance.

+33 (0)4 69 85 54 54 From noon to 7pm, Tuesday to Saturday (and on Mondays on performance days).

AT WWW.OPERA-LYON.COM

General Director: Serge Dorny Communication media: Pierre Collet Opéra de Lyon Tel. +33 (0)1 40 26 35 26 Place de la Comédie – BP 1219 [email protected] 69 203 Lyon cedex 01 – France

Contact: Sophie Jarjat Press service Tel. +33 (0)4 72 00 45 82 [email protected]