Organization

Set designer

Daniela Thomas

Felipe Tassara

Singer

Soprano

Carla Caramujo

Princess

Susana Gaspar

Eurydice

Tenor

Luis Gomes

Heurtebise

Marco Alves dos Santos

Cégeste

Baritone

André Baleiro

Orphée

Bass

Nuno Dias

Judge

Luis Rodrigues

Poet

Policeman

Mezzo-soprano

Cátia Moreso

Aglanice

João Pedro Cabral

Le Reporter

Glazier

Stage director

Felipe Hirsch

Conductor

Pedro Neves

Lighting designer

Beto Bruel

Costume designer

Nuno Esteves Blue

Video designer

Henrique Martins

Theatro Municipal do Rio de Janeiro

Repetiteur

Ramon Theobald

Fundação Centro Cultural de Belém

Orchestra

Lisbon Metropolitan Orchestra

Lisbon

Portugal

Grande Auditório da Fundação Calouste Gulbenkian

Orphée Glass

Public

Approved

Fascinated by the films of Frenchman Jean Cocteau, who he saw in his adolescence, still during the 50s of the last century in Paris, it is already as one of the most important composers of his generation that the North American Philip Glass decides to make a trilogy of adaptations from of Cocteau. The opera Orphée (1993), based on the 1949 film about the myth of Orpheus — a poet and musician who moves heaven and earth to bring his beloved Eurydice back from the dead — was the first.

The director chosen to stage Orphée in Rio de Janeiro, Brazilian director and director Felipe Hirsch, reveals that he was very touched by the fact that during the composition of this work, Glass was in an intense personal struggle to help his wife, designer Candy Jernigan, fighting cancer. According to the director: “Philip Glass transformed Jean Cocteau's masterpiece into another masterpiece. It's something unusual, but being unusual is a characteristic of Glass.” Daniela Thomas, Felipe Hirsch's frequent collaborator, met and worked with Philip Glass in the 1990s and both were studying the possibility of working together.

Felipe Hirsch claims to have done work in the opera Orphée «very much centered on Jean Cocteau», a multiple artist — poet, novelist, playwright, filmmaker, actor, theater director and designer . In the adaptation, they were influenced by the mirror work of the Czech set designer Josef Svoboda, in addition to the mirrors of Orphée de Cocteau himself. The mirror is another character Orphée and symbolizes the relationship with death and aging. According to the director, a profound reflection on the place in life that each one of us occupies at the present time, in this situation, in this context. It is the reflection of all artists who reach a certain age, at a certain level of recognition, and who reinvent themselves for the love of art.

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