Organization

Lighting designer

Felice Ross

Video designer

Denis Guéguin

Stage director

Krzysztof Warlikowski

Choreographer

Claude Bardouil

Dramaturge

Christian Longchamp

Set designer

Małgorzata Szczęśniak

Costume designer

Singer

Baritone

Ludovic Tézier

Hamlet

Tenor

Julien Behr

Laertes

Bass

Clive Bayley

Ghost of the late King Hamlet

Frédéric Caton

Horatio

Mezzo-soprano

Eve-Maud Hubeaux

Queen Gertrude

Jean Teitgen

King Claudius

Soprano

Lisette Oropesa

Ophelia

Brenda Rae

Julien Henric

Marcellus

Conductor

Pierre Dumoussaud

Chorus master

Alessandro Di Stefano

Philippe Rouillon

Polonius

Alejandro Baliñas Vieites

First gravedigger

Maciej Kwaśnikowski

Second gravedigger

Opéra National de Paris

Others

Chœur de l’Opéra national de Paris

Orchestra

Paris Opera Orchestra

frantsesa

Paris

France

Opéra Bastille

Hamlet Thomas,A

Public

ingelesa

Approved

In the 19th century, the works of Shakespeare watered the romantics. In particular The Tragic Story of Hamlet, Prince of Denmark, one of the most famous plays by the English playwright, crossed by the existential questions of the title role – To be or not to be –, the ghost of his murdered father and his love cursed for Ophelia. Alexandre Dumas senior was himself fascinated by this drama, of which he delivered a successful adaptation in 1847. It is from this version that Michel Carré and Jules Barbier offer Ambroise Thomas the libretto of Hamlet, the last opera to have been premiered in the Salle Le Peletier. Inspired by the musical and dramatic forms of French grand opera, the composer gives the story an ardor that contributes to the beauty of the score. Great sounder of the depths of the human psyche, Krzysztof Warlikowski explores the madness that runs through this landmark of lyrical theater, and brings out fascinating spectral images. More information onhttps://www.operadeparis.fr/saison-22...

IN A FEW WORDS :

In the 19th century, the works of Shakespeare watered the romantics. In particular The Tragic Story of Hamlet, Prince of Denmark, one of the most famous plays by the English playwright, crossed by the existential questions of the title role – To be or not to be –, the ghost of his murdered father and his love cursed for Ophelia. Alexandre Dumas senior was himself fascinated by this drama, of which he delivered a successful adaptation in 1847. It is from this version that Michel Carré and Jules Barbier offer Ambroise Thomas the libretto of Hamlet, the last opera to have been premiered in the Salle Le Peletier. Inspired by the musical and dramatic forms of French grand opera, the composer gives the story an ardor that contributes to the beauty of the score. Great sounder of the depths of the human psyche,

English

Au cours du XIXe siècle, les œuvres de Shakespeare ont été une source constante d'inspiration pour les romantiques. Notamment, L'histoire tragique d'Hamlet, prince de Danemark , l'une des pièces les plus célèbres du dramaturge anglais, dominée par les questions existentielles du rôle-titre – Être ou ne pas être –, le fantôme de son père assassiné et son amour condamné pour Ophélie. Alexandre Dumas père est lui-même fasciné par ce drame et réalise en 1847 une adaptation très réussie. C'est à partir de cette version que Michel Carré et Jules Barbier confient à Ambroise Thomas le livret d' Hamlet, le dernier opéra joué dans la Salle Le Peletier. Inspiré par les formes musicales et dramaturgiques du grand opéra français, le compositeur imprègne le récit d'une intensité qui contribue à la beauté de la partition. Un jalon de l'opéra pour lequel Krzysztof Warlikowski, toujours au plus profond de la psyché humaine, en redessine les contours shakespeariens.

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