«Who are you?» That is the question Peer Gynt asks the Bøyg, the Mountain King and the Sphinx, receiving only the answer, «Myself». But who is that, and who is Peer Gynt? What does it mean to be Norwegian in 2014, 200 years after we gained our first written constitution? What or where is the core, the seed? Is there one at all ? This work is a commentary on the position of the Peer Gynt phenomenon as a national and international Norwegian symbol. It is the story of the search for an identity that constantly escapes us. Our past and our memories, on the other hand, we carry with us whether we want to or not. The story of the evasive Peer Gynt shows that we have to face them in order to better understand ourselves.(reproduced from www.operaen.no)There are 8 singers, all of them singing several parts, except Peer Gynt : Nils Harald Sødal (tenor, Peer Gynt), Marita Sølberg (soprano, Young Solveig), Ingebjørg Kosmo (mezzo, Elderly Solveig), Kari Ulfsnes Kleiven (soprano, Ingrid / Anitra), David Hansen (countertenor, Bogey / Cheshire Cat), Thor Inge Falch (tenor, Smith / Huhu), Ketil Hugaas (bass baritone, Troll King / von Eberkopf / Professor Begriffenfeldt) and Johannes Weisser (baritone, Priest / Executioner, Minister Hussein). John Helmer Fiore will conduct the chorus and the orchestra of the Norwegian Opera. Sigrid Strøm Reibo will direct.
One day in 1917 an aging philosophy tutor, nicknamed Cripure (contraction of Critique of Pure Reason), feels unable to give advice to a student who is departing for the front in World War I. Amidst the horror of the war, he feels increasing disgust at life. He remembers how, years ago, he lost his wife. He is now living alone, supported only by Maia, his lazy housekeeper. His youthful promise as a writer and thinker has long since evaporated, and his body is becoming disturbingly abnormal as his feet become excessively large due to an illness. He hates himself, his colleagues and his students. He takes a class at which the students play up. In the afternoon he consoles himself with drink.
As the evening wears on he learns about disasters and local tragedies, deaths, robberies and betrayals which convince him of the irredeemable corruption of humanity. French soldiers are becoming mutinous as the war continues without hope of an end. Cripure becomes involved in an altercation at the railway station as disaffected soldiers riot. He hits a jingoistic "patriot" and is challenged to a duel, which he accepts. Convinced that he will be killed, he writes a will. To his surprise local people rally round to support him, including his housekeeper and old friends. Cripure's challenger is discovered to be a hypocrite and is forced to back off.
Saved from death, Cripure is more disturbed by the new evidence of human solidarity than he was by the consolation of despair. Unable to imagine a new life, he shoots himself. (from wikipedia)
There is no alternative. The public debate is under the seal of fatalism. There is no other objective than that of universal restrictions. The economy, the climate, overpopulation – the next catastrophe lies in wait at every bend. Minute by minute, the modern media feed us bad news. We know we should act but we feel powerless. We reduce our sphere of activity. We cease asking for anything whatsoever. We retreat into our shells. The link that would constitute values other than economic ones is missing. What might we do ?Soprano Karen Vourc'h will be joined by the chorus of the Opéra national Montpellier Languedoc-Roussillon and the Orchestre national Montpellier Languedoc-Roussillon. It will be conducted by Arno Waschk and directed by Urs Schönebaum.
Happy Happy shows us a society in which efficacity has become the determining value. It is a matter of favouring the formation of synapses as early as possible. Schooling is shortened, studies must be useful, work better organized. Music and the muses have lost their freedom of mind as well as their playful innocence and find themselves reduced to the simple functions to fulfil : they serve for learning more efficiently, communicating more efficiently, relaxing more efficiently, and procuring a real life more efficiently. Music has lost its self-worth. Life, too, perhaps.
Happy Happy brings together, in a sort of cabinet of wonders, impressions, quotations and scenes to become the plea for autonomy and co-humanity. Going back to the origins of Greek theatre, the play, written for a singer and a chorus, explores, in so doing, the connection between individual and crowd. It turns out that the person’s singing gets lost in the hot-tempered aspiration of the multitude at the celebration. And life goes on, ‘Happy Happy’. (reproduced from the composer's website)
Glare is a psycho-drama chamber-play with elements of science-fiction which focuses on the relationships between four protagonists. As doubts surface about whether one of the characters is an artificial human, the opera debates reality and its perception, the authenticity of experience, and emotion. It asks what is real and how we can really know who we are. (reproduced from the Music Sales Classical website)The opera will be performed by the Chroma chamber orchestra, conducted by Geoffrey Paterson, and directed by Thaddeus Strassberger. The cast is the following : Sky Ingram (Lea, a young woman, soprano), Amar Muchhala (Alex, a man in his prime, tenor), Clare Presland (Christina, Alex's ex-girlfriend, mezzo), and Ashley Riches (Michael, Alex's older-brother-like friend, baritone).
We follow Carlo Gesualdo from his emotional youth in Naples to a time of artistic fervour in Ferrara and an old age of hardships, beauty, mystery and melancholy, confined to his princely palace on a mountaintop in the town of Gesualdo in Southern Italy. The story is a psychological drama about a time when art flourished, while society was scourged by reckless violence. (reproduced from the Danish Royal Theater's website)
I wrote a lyrical piece addressed to children and adults from all cultures, which puts into song the story and message of the Little Prince, an extraordinary being from another place, a luminous and enigmatic child that Saint-Exupéry happens upon in the desert. The theatrical myth of the Little Prince takes on a near Mozart-like dimension. It expresses both wonder and grace, but also ultimate frailty and the sense of gravity experienced when faced with the ruthlessness of human reality: therein lies its paradoxical strength.The opera has been designed for audiences from 7 to 77 years. It should last about 75 minutes. It is the composer's fourth vocal work for the stage, after Go-gol (1996), Les Nègres (2003) and La Métamorphose (2010).
(Michaël Levinas, reproduced from the Opéra de Lausanne website)
| CD | DVD | |
| Le condamné | Roberto Alagna | Roberto Alagna |
| La condamnée | Indra Thomas | Adina Aaron |
| Le Geôlier | Jean-Philippe Lafont | Philippe Ermelier |
| Le 1er forçat | Jean-Philippe Lafont | Xavier Seince |
| Le 2e forçcat | Richard Rittelmann | Patrice Laulan |
| Le Guichetier de garde | Richard Rittelmann | Carl Ghazarossian |
| Le Directeur | Jean-Philippe Lafont | Yann Toussaint |
| Le Prêtre | Jean-Philippe Lafont | Jean-Marie Frémeau |
| L'Huissier de justice | Jean-Philippe Lafont | Jean-Marie Delpas |
| Un Friauche | Richard Rittelmann | Christian Helmer |
| L'Aumônier | Jean-Philippe Lafont | Eric Martin-Bonnet |
| Le Bourreau | Jean-Philippe Lafont | Luc Bertin-Hugault |
| Le Procureur général | Richard Rittelmann | Alain Gabriel |
