“One of the jewels of this production is Cappella Mediterranea and conductor Leonardo García Alarcón, who sparkle as they display their art with a rare virtuosity and commitment.”
Rocco Zacheo for Tribune de Genève
Atys poses a simple question: how do we express what we feel? The Baroque period was characterised by unbridled emotion, teaching us that it is only by virtue of form that emotions acquire true meaning. The dancers of the Ballet du Grand Théâtre embody this tale of the unspoken and the repressed, while the singers lend their voices to characters who are battling with the revelation of their feelings. The cast is lead by the angelic soprano of Ana Quintans (Sangaride) and the powerful tenor of Matthew Newlin (Atys).
Tragédie en musique by Jean-Baptiste Lully
Libretto by Philippe Quinault after Ovid’s Fasti
First produced in Saint-Germain-en-Laye in 1676
Performed for the first time at Geneva’s Grand Théâtre
Coproduced with the Opéra royal de Versailles
Intropéra: Presentation of the opera 45 minutes before each show.
Performance running time: 2 hours 55 minutes with intermission
Album set to be released in November 2024.
Matthew Newlin, tenor – Atys
Giuseppina Bridelli, mezzo-soprano – Cybèle
Ana Quintans, soprano – Sangaride
Andreas Wolf, bass – Célénus
Michael Mofidian, bass – Idas / Phobétor
Gwendoline Blondeel, soprano – Doris / Iris
Lore Binon, soprano – Mélisse / Flore
Nicholas Scott, tenor – Le sommeil / Zéphyr
Valerio Contaldo, tenor – Morphée / Dieu de Fleuve
Luigi De Donato, bass – Le fleuve Sangar / Le Temps
Marta Fontanals-Simmons, mezzo-soprano – Melpomène
José Pazos, tenor – Phantase
Leonardo García Alarcón, Musical direction
Angelin Preljocaj, Staging and choreography
Prune Nourry, Set design
Jeanne Vicérial, Costumes
Eric Soyer, Lighting
Gilles Rico, Dramaturgy
Alan Woodbridge, Choirmaster
Chœur du Grand Théâtre de Genève
Ballet du Grand Théâtre de Genève
Cappella Mediterranea
With the support of Madame Aline Foriel-Destezet, Cappella Mediterranea’s main sponsor.
This production was sponsored by The Schoenlaub family and Jacques and Iman de Saussure.
Delving deeper into the opera
Atys is an addictive opera. Louis XIV was so enamoured of it that he could be heard humming the arias as he strolled through the palace. The opera was rediscovered by William Christie in 1987 during the baroque revival. Its mythological plot, set by librettist Phillippe Quinault from Ovid, is quite simple. The young Atys and Sangaride love each other, but Sangaride is to marry the king of Phrygia and the goddess Cybèle in turn loves Atys. Love triangles involving gods tend to end particularly badly and this one is no exception. mal et celui-ci ne fait pas exception. Cybèle uses her powers to make Atys kill Sangaride. When Atys realizes what he has done he kills himself.
Atys was the first opera of its kind – a lyric tragedy that actually ends in tragedy. Louis XIV’s affairs were no secret to his court. This only makes the King’s infatuation with this opera all the more surprising, given that the characters in this opera are punished for their desires. No doubt what attracts people to this opera is the heady mix of sensuality and stringency. Choreographer and stage director Angelin Preljocaj is no exception. He enjoys exploring different universes and weaving together tradition and modernity, assembling elements that seem disparate. He is joined on the set by Prune Nourry, a French visual artists who uses her bold, multidisciplinary practice – which combines high-flying conceptualisation with performance, photography, video and sculpture – to make incisive statements on issues ranging from gender politics to intercultural dialogue. Her set design for Atys is her first operatic endeavour.
Le Monde – Lully’s Atys: a story of a metamorphosis at Geneva’s Grand Théâtre
“The final scene is one of fury and lamentation. Water nymphs and Korrybantes warriors alternate between rage and sighs. The body of Atys rises into the air, while Prune Nourry’s transcendent tree unfurls its gnarled labyrinth of strings, which crisscross and interlace, depicting the vegetal transmutation of a human body in space. It is truly striking.”
Marie-Aude Roux for Le Monde
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Le Figaro – Atys: a successful metamorphosis
“Choreographer Angelin Preljocaj directs his first opera in Geneva in collaboration with Leonardo Garcia Alarcon. His contemporary version of Lully’s work exceeds all expectations.”
Ariane Bavelier for Le Figaro
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Le Temps – Interview with Leonardo García Alarcón and Angelin Preljocaj
“It is about silence. Music and dance are the twin sisters of expression. The substance is the same. For us musicians, it is the notes and their absence, and for the dancers, it is the bodies and how they are deployed in space. It is all about emotion and resistance.”
Leonardo García Alarcón
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Resmusica – In Geneva, Angelin Preljocaj’s dream of Atys
“This new production by Angelin Preljocaj enchants audiences without being overly sentimental. Preljocaj brings his unique choreography to the action – while it may initially be disconcerting, we are soon swept away by this impressive aesthetic performance. The singers, who largely respect the gestural codes of Baroque song, are dubbed by the dancers. We witness an exchange of gestures, sometimes initiated by the singers, other times by the dancers, always in perfect harmony with the words of the libretto. The dancers are far from the action at the beginning, but they gradually move closer to the singers. By the end of the show, their presence becomes an integral part of the drama. It’s all so beautiful, thoughtful, intelligent and inspiring”.
Jacques Schmitt for Resmusica
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Olyrix – An Atys in Geneva unlike any other from Angelin Preljocaj
“Choreographer Angelin Preljocaj first opera production, Lully’s Atys, is a UFO, a cross between contemporary art and opera that produces unique body language. The production is bolstered by the force of Cappella Mediterranea and Leonardo García Alarcón. […] We applaud the singers’ commitment to Preljocaj’s vision (according to their skills). Matthew Newlin gives his all as Atys, proving to be talented dancer while singing his part.”
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