‘Its first asset, a pure diamond with constant sparkle, comes from the pit, where the Cappella Mediterranea and its conductor, Leonardo García-Alarcón, displayed their art with 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).
Musical tragedy by Jean-Baptiste Lully
Libretto by Philippe Quinault based on Ovide
Composed in 1767 in Saint-Germain-en-Laye
For the first time ever at the Grand Théâtre de Genève
Coproduced with the Opéra Royal de Versailles
Intropera: 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
Victor Sicard, basse – Idas / Phobétor
Mariana Flores, 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
Attila Varga-Tóth, ténor – Phantase
Leonardo García-Alarcón, musical direction
Angelin Preljocaj, staging direction and choregraphy
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
19h00
Opéra Royal de Versailles
Versailles, France
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15h00
Opéra Royal de Versailles
Versailles, France
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19h30
Opéra Royal de Versailles
Versailles, France
Accéder à la billetterie
19h30
Opéra Royal de Versailles
Versailles, France
Accéder à la billetterie
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.