Name: Ariane et Barbe-bleue ,Dukas
Start: 2021-03-13T00:00:00.000Z
End: 2021-03-27T00:00:00.000Z
Location: Opéra Nouvel de Lyon

Organization

Festival d'Aix en Provence

Singer

Contralto

Anaïk Morel

La Nourrice

Soprano

Katarina Karnéus

Ariane

Lighting designer

Urs Schönebaum

Alexandra Deshorties

Enkelejda Shkosa

Bass

Tomislav Lavoie

Barbe-Bleue

Adèle Charvet

Sélysette

Amandine Ammirati

Bellangère

Margot Genet

Ygraine

Hélène Carpentier

Mélisande

Stage director

Alex Ollé

La Fura dels Baus

Conductor

Lothar Koenigs

Marco Filibeck

Costume designer

Josep Abril

Set designer

Alfons Flores

Dramaturge

Olaf A Schmitt

Teatro Real de Madrid

Opéra de Lyon

Others

Lyon Opera Choirs

Chœurs et Studio de l'Opéra de Lyon

Orchestra

Lyon Opera Orchestra

френски

Ariane et Barbe-bleue ,Dukas

Lyon

France

Opéra Nouvel de Lyon

Grande Salle

Ariane (Ariadne) is a curious and independent young woman, and the newly married sixth wife of the infamous Bluebeard. Soon after arriving at his castle, she discovers her husband’s five former wives locked in a room. Naturally, she decides to free them—yet they seem unwilling to renounce captivity...

Paul Dukas's Ariane et Barbe-Bleue , performed here as part of  Lyon’s "Femmes libres?" ("Free women?") Festival, features a libretto inspired by Charles Perrault’s famous tale and its stage adaptation by Maurice Maeterlinck. Stage director Àlex Ollé chose to stage this highly nuanced work in spite of and because of its contradictions and dualities: folktale and nightmare, reality and idealism. This opposition also plays out in the work’s symbolism: "Ariane is a free woman," says Ollé, "who wants both to proclaim her own freedom and to share it with other women. But the other women in the play come to symbolize submission and the renunciation of individual freedom." The action unfolds in two parallel planes, one real (Ariane and Bluebeard’s wedding) and the other fantastic (the protagonist’s subconscious).

The finished product is a bracingly contemporary work that calls our perceptions of liberty into question, with Alfons Flores’s captivating scenography magnified by the stunning talent of mezzo-soprano Katarina Karnéus.

Ariane et Barbe-Bleue

Public

Ariane and Bluebeard

английски

Approved

Ariane et Barbe-bleue Dukas

Le Château de Barbe-BleueOpéra de  Béla Bartók Mise en scène : Andriy ZholdakDirection musicale : Titus EngelA découvrir en ligne le 26 mars 2021, dans le ca...

Ariane et Barbe-BleueOpéra de Paul Dukas Mise en scène : Àlex Ollé/ La Fura dels Baus Direction musicale : Lothar Koenigs A découvrir du 13 au 27 mars 2021, ...

Ariane et Barbe-Bleue - Interview d'Alex Ollé, metteur en scène

Student at the Paris Conservatory, Dukas, a friend of Debussy, was a gifted and atypical musician, passed through musical criticism. He is best known for his Sorcerer's Apprentice (immortalized by Disney in Fantasia ). It was in 1907 that Ariane et Barbe-Bleue , his only opera, was successfully premiered at the Opéra Comique with Debussy's librettist – some of whom denounced the influence being a little too visible and with whom he shared a taste for the orchestration. In reality, Dukas appropriates a process dear to Wagner, the leitmotif that allows him to characterize his characters through music, but with a language all his own: rich in sounds and colors, very evocative when it comes to make it feelBluebeard's Castle . Long forgotten, the work resonates today with a very topical echo: composed mainly for female roles, it is more than feminist, raising the question of freedom as a universal notion.

English

Elève au Conservatoire de Paris, Dukas, ami de Debussy, était un musicien doué et atypique, passé par la critique musicale. Il est notamment connu pour son Apprenti sorcier (immortalisé par Disney dans Fantasia). C'est en 1907 qu'Ariane et Barbe-Bleue, son unique opéra, est créé avec succès à l'Opéra Comique avec le librettiste de Debussy – dont certains dénoncent l'influence un peu trop visible et avec lequel il partage le goût de l'orchestration. En réalité, Dukas s'approprie un procédé cher à Wagner, le leitmotiv qui lui permet de caractériser ses personnages par la musique, mais avec un langage bien à lui : riche de sonorités et de couleurs, très évocateur lorsqu'il s'agit de faire ressentir à l'auditeur l'ambiance du Château de Barbe-Bleue. Longtemps oubliée, l'œuvre résonne aujourd'hui d'un écho très actuel : composée principalement pour des rôles de femmes, elle est plus que féministe, posant la question de la liberté comme notion universelle.

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