Organization

Festival dei Due Mondi

Stage director

Jeanne Candel

Samuel Achache

Conductor

Florent Hubert

Chorus master

Jeanne Sicre

Set designer

Lisa Navarro

Lighting designer

Vyara Stefanova

César Godefroy

Construction of the scenes

François Gauthier-Lafaye

Singer

Matthieu Bloch

No role specified

Anne-Emmanuelle Davy

Vladislav Galard

Clément Janinet

Olivier Laisney

Léo-Antonin Lutinier

Thibault Perriard

Jan Peters

Marie Salvat

Marion Sicre

Lawrence Williams

Théâtre de Caen

Théâtres de la Ville de Luxembourg

프랑스어

Dido and Aeneas

Spoleto

Italy

San Simone

Dido and Aeneas Purcell

Public

영어

Approved

Conceived starting from the famous Baroque work Dido and Aeneas by Henry Purcell and drawing on different fields such as literature - from Aeneid to Shakespeare's Sonnets - cinema, documentary and painting, Le Crocodile trompeur by Samuel Achache and Jeanne Candel masterfully intertwines myth and tragedy, music and theatrical action, in a "contemporary farce" that resists genre classifications, going far beyond theatrical experimentation.
«The first time I listened to Dido's final song I was in the conservatory and I still shiver» comments Jeanne Candel «The story is simple, direct, without frills: he arrives, the two fall in love, he leaves again, she dies. What interests me most is to understand how to represent the events avoiding naturalism and the too direct "I love you, I hate you", using allegories to enter the scenes in a more suggestive way ».
The show is a large fresco where madness and extravagance represent a pulsating beat but Purcell's work appears in its purest classicism.
The scene is freely inspired by Brueghel's painting L'ouïe between allegory and reality, while the music, voluntarily deconstructed, enhances the passion of feelings. «To love, to leave, to devour, to let oneself die».
The orchestra, directed by Florent Hubert is fully integrated into the theatrical action so that the musicians become actors and the actors are themselves musicians who interact with the codes of the opera. On stage, they wisely combine speech with song, French with English, sentimentality or the more open intellectualism with comedy.

English

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깁스

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