Organization

Soprano (+1)

Perrine Devillers

Soloists

Lieselot De Wilde

Baryton-basse (+7)

Yannis François

Baryton (+3)

Nicholas Merryweather

Mezzo-soprano (+7)

Lucile Richardot

Ténor (+2)

Antonin Rondepierre

Mise en scène

Jos Houben

Mise en scène (+1)

Emily Wilson

Direction d'orchestre

Direction d'orchestre (+1)

Sébastien Daucé

Lumières

Lumières (+1)

Christophe Schaeffer

Costumes

Costumes (+2)

Oria Puppo

Décors

Dramaturge

Katherina Lindekens

Atelier Lyrique de Tourcoing

Athénée Théâtre Louis-Jouvet

Opéra Royal de Versailles

Opéra de Rennes

Opéra de Rouen Normandie

Théâtres de Compiègne

Orchestra

Ensemble Correspondances

Born in the 16th century in England, the "masks", or rather masks , had the characteristics of mixing music, song, dance, theater, grandiloquent decorations... in the service of a figure of power whose qualities were praised. All elements that would later flourish in the Baroque gesture and that we find in French court performances. Cupid & Death, a mask with five entrances, begins with an inversion: Cupid shoots his arrows at two lovers and kills them, while death stings with points of love two old men ready to die. The libretto by playwright James Shirley, adapted from an Aesop fable, imagines the consequences of what love become dead and death transformed into love would generate: a capital chaos where polarities are reversed, where nature goes mad and enemies discover themselves friends…

A spirited variation of deadly love that the duo of directors Jos Houben and Emily Wilson, accustomed to discrepancies and games of bodies and objects ( La Princesse lumière , 2017), will passionately renew.

anglais