Name: Le Soulier de Satin
Start: 2021-05-21T00:00:00.000Z
End: 2021-06-13T00:00:00.000Z
Location: Palais Garnier

Admin

Organization

Singer

Jean-Sébastien Bou

Don Camille

Bass-baritone

Luca Pisaroni

Don Rodrigue

Mezzo-soprano

Eve-Maud Hubeaux

Doña Prouhèze

Baritone

Marc Labonnette

Le Père Jésuite

Le Roi D'espagne

Saint Denys

Almagro

Deuxième Soldat

Countertenor

Max Emanuel Cencic

L'ange Gardien

Saint Jacques

Saint Adlibitum

Tenor

Yann Beuron

Don Pélage

Bass

Nicolas Cavallier

Don Balthazar

Saint Nicolas

Frère Léon

Soprano

Vannina Santoni

Doña Musique

La Bouchère

Julien Dran

Le Vice-Roi de Naples

Don Ramire

Béatrice Uria Monzon

Doña Isabel

Doña Honoria

La Religieuse

Éric Huchet

Le Sergent Napolitain

Don Rodilard

Premier Soldat

Camille Poul

Doña Sept-Épées

Conductor

Marc-André Dalbavie

Stage director

Stanislas Nordey

Set designer

Emmanuel Clolus

Costume designer

Raoul Fernandez

Lighting designer

Philippe Berthomé

Dramaturge

Raphaèle Fleury

Choreographer

Loïc Touzé

Sound designer

Daniele Guaschino

Artistic Collaboration in the staging

Claire Ingrid Cottanceau

Saint Boniface

Fanny Ardant

La Lune

Opéra National de Paris

Orchestra

Paris Opera Orchestra

Video designer

Stéphane Pougnand

franska

Le Soulier de Satin

Paris

France

Palais Garnier

A Paris Opera commission, inspired by Paul Claudel’s celebrated stage play— from the spectacular Palais Garnier!

The Satin Slipper is a tale of forbidden love between Doña Prouhèze (played by the marvelous Ève-Maud Hubeaux) and Don Rodrigo (the great Luca Pisaroni). Though the duo’s love is the plot’s chief concern, however, the two rarely appear onstage together: Doña Prouhèze, indeed, seeks to save Don Rodrigo from an adulterous passion by pushing him to wander the world all throughout his life—the work takes place across decades and continents, creating an intense and vertiginous atmosphere that draws the spectator in little by little.

For composer and conductor Marc-André Dalbavie, Claudel’s play is utterly singular: lasting nine hours, it is the product of diverse influences, from Spanish theatre (in its format, spread out over four “days”) to Japanese Noh (in the variety of genres, tragedy coexisting with levity, even comedy). The language is musical, the framing and characters grandiose, and the composer set himself the task of adapting the source text while maintaining the uncommonly long running time—an indispensable part of the experience, in his view: “This story cannot be told in one or two hours,” Dalbavie says, “it takes time to make a unified whole out of such divergent styles and genres.” He then composed the music (incorporating traditional instruments from many different nations and cultures to evoke the world travels of Don Rodrigo), while librettist Raphaèle Fleury set the text, a Herculean feat of adaptation.

This world premiere by the Paris Opera represents the third installment in their French literature cycle begun in 2017. Under the baton of Marc-André Dalbavie himself, the impeccable Paris Opera Orchestra allows the sublime soloists to shine in a production for the ages.

"The Satin Shoe"

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enska

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