Organization

Singer

Tenor

Jonathan Boyd

Idomeneo

Countertenor

Albane Carrère

Idamante

Soprano

Chiara Skerath

Ilia

Yoann Le Lan

High priest of Neptune

Bass

Wojtek Śmiłek

The voice

Stage director

Sandra Pocceschi

Giacomo Strada

Conductor

Débora Waldman

Lighting designer

Giacomo Gorini

Costume designer

Set designer

Costume Collaborator

Sofia Vannini

Antonio Mandrillo

Arbace

Julien Desplantes

First Trojan man

Augusto Garcia

Second Trojan man

Stage director assistant

Héloïse Sérazin

Ninon Massery

Cretese

Clelia Moreau

Wiebke Nölting

Zita Syme

First Cretan woman

Serenad Burcu Uyar

Elettra

Opéra Grand Avignon

Others

Choeur de l´Opéra Grand Avignon

Orchestra

Orchestre National Avignon-Provence

Avignon

France

Public

Approved

A god, a father, a prince: where to look freedom ?
The war is over. Which ? The Trojan War – always her. But dramas call for dramas, fear kills. King Idomeneo of Crete fought alongside the Greeks and sailed victorious to his country. When a terrible storm seems to leave no hope of survival, Idomeneo, clinging to a last resort, invokes Neptune and promises him the sacrifice of the first person he meets, if he approaches his lands safe and sound. The sea suddenly calms down. As he sets foot on the beach, Idomeneo makes out a silhouette approaching…he's not sure…he squints under the sun…it's really him…it's his son.
 
And here is the tragic machine racing again.
She carries with her a large choir, a sea monster sowing terror and like a gust raised by the god of the seas, the whole of the 18th century and its old opera machines. Artifices that begin to rust, Mozart sees it well. The young Mozart is precisely no longer so young; we are in 1781, he is twenty-five years old and the heart ready to dare. He signs with this first opera of maturity a reflective, circumspect and at the same time liberating work.
His mother has just died and his father has ordered him to return from Paris to resume his post in Salzburg. The Prince-elector of Bavaria commissioned an opera seria, a highly codified genre, and chose a subject inherited from French lyrical tragedy, drawing on Greek mythology.
 
Authority imposes, Mozart disposes. A visionary, he modernized the form by blurring the alternation of recitatives and arias and by composing ensembles usually reserved for the comic style: duo, trio and great novelty, quartet. The opera seria breathes. We smell the first scents of the romantic hurricane that will soon capsize Europe.
 
Sandra Pocceschi and Giacomo Strada offer a dark spectacle where the high voices of the soloists are the lights of a dark and brutal world. Nathalie Gendrot

English

Izrādes kredīti (Izpildītāji un radošā komanda )

Lomās

Radoša komanda

Ansamblis