Organization

Lighting designer

Costume designer (+2)

Yashi

Conductor

Conductor (+1)

Motonori Kobayashi

Stage director

Stage director (+5)

Marie-Eve Signeyrole

Set designer

Set designer (+3)

Fabien Teigné

Costume designer

Choreographer

Martin Grandperret

Chorusmaster

Chorusmaster (+4)

Fabio Mancini

Dramaturge

Merle Fahrholz

Soprano (+1)

Anna Sohn

Brunhilda

Mezzo-soprano (+1)

Hyona Kim

Frédégonde

Tenor (+1)

Sergey Romanovsky

Mérowig

Baritone (+3)

Mandla Mndebele

Hilpérick

Tenor (+2)

Sungho Kim

Fortunatus

Bass-baritone (+3)

Demian Matushevskyi

Landéric

Bass (+4)

Ian Sidden

Un Serviteur

Bass (+2)

Denis Velev

L'Evêque Prétextat

Film director

Video (+1)

Laurent La Rosa

Production Manager

Conductor (+6)

Fabian Schäfer

Language Coach

Pianist (+3)

Aymeric Catalano

Assistant film director

Assistant Stage Director (+3)

David Bolik

Head Of Studies

Conductor (+2)

Thomas Hannig

Cinematographer

Jonas Schmieta

Manager

Stage director (+2)

Alexander Becker

Stage Manager (+1)

Ulas Nagler

Assistant Set Designer

Set designer (+1)

Emine Güner

Assistant Costume Designer

Assistant Costume Designer (+2)

René Neumann

Theater Dortmund

Orchestra

Dortmund Philharmonic

Chorus

Opernchor Theater Dortmund

Opernhaus Dortmund

Prompter

Choreographer (+1)

Adriana Naldoni

Assistant Choreographer

It's a family feud - escalating into a civil war. Brunhilda competes against Hilpéric, her brother-in-law. The target of their attack, however, is the woman at his side, Frédégonde. After Hilpéric overwhelms his sister-in-law with a surprise attack, his son Mérowig is supposed to banish her to a shielded monastery. But Mérowig is so enchanted by her that he disobeys his father's orders...

When Ernest Guiraud died in 1892, only the first three acts of Frédégonde were available, the rest was composed by Guiraud's companion and friend Camille Saint-Saëns. His personal style, based on romantic harmonies and classical forms, makes Frédégonde a unique testament to the musical diversity of the late 19th century.
In the implementation for the Dortmund Opera, the audience follows the two queens as they look back on their eventful lives. A fascinating mix of live experience on stage and silent film brings the Merovingian era back to life.

frantsesa

Dortmund

Germany

Opernhaus