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Live performance from the Festival d'Aix-en-Provence, 23 July 2005.
Hèdre is queen but doesn't love the king. She prefers his son Hippolytus, whom he had from a first marriage, to Theseus. A guilty love, hidden by feigned hatred, that makes her suffer and perish, and that she can't keep from confessing as soon as she hears of the king's death. But Hippolyte doesn't love her. And the monarch is only wounded. Ashamed, the queen can no longer look at him. Oenone, her confidante, tries to save her by making the king believe that the outrage comes from his son. Fanned by Theseus, the fury of the gods strikes Hippolytus. The adulteress kills herself.
A man and a woman who loved each other find themselves in a cemetery. He is here to attend the funeral of his grandmother, she let herself be lured by this place without really knowing why. The man's parents, who have come to pour out their reproaches, gravitate around the lovers who desire each other and inevitably get closer. But what did they really experience? And do they still have something to live for?
Set in a Siberian prison camp, Janacek's final opera centers on the experiences of recent arrival Alexandre Petrovitch Goriantchikov (Olaf Bar), a nobleman who finds relief from the harsh conditions in the friendship of the illiterate Alyeya (Eric Stoklossa). Recorded at the Grand Theatre de Provence, this stage production is directed by the well-respected Patrice Chereau and features famed conductor Pierre Boulez. Filmed at the Aix-en-Provence Festival on 20 July 2007.
A look at the entire process of creating and developing Patrice Chéreau’s third staging of "In the Solitude of Cotton Fields" by Bernard Marie Koltès with Pascal Greggory and Chéreau himself. From the first reading around the table through the first contact with the performance space, rehearsals and lighting to opening night, the entire creative process unfurls in front of our eyes. The film shows us the evolving and ongoing dialogue between Greggory and Chéreau, a dialogue full of crises and magical moments of harmony and insight via which the truth, intensity, complexity, mystery and depth of Koltès’ text gradually emerge to form an implicit bond between these two men. The film also shows Chéreau directing rehearsals for Mozart’s "Don Giovanni" in Salzburg, revealing both the unity of and profound differences between his opera and theater work.
Last production staged by Patrice Chéreau, this Elektra will remain as the main and most striking lyrical event of these last years in Aix-en-Provence. This production is leaded by three amazing singers: the German soprano Evelyn Herlitzius gave a tremendous, never-to-be-forgotten account of the title role, Waltraud Meier portrays a human and chilling Clytemnestra and Adrianne Pieczonka is a fantastic Chrysothemis. Everyone's loneliness and intimate struggles are Patrice Chéreau's favorites theatrical themes. With Esa-Pekka Salonen conducting the Orchestre de Paris, this production of Elektra becomes an unforgettable experience.
Running through Bartók’s disenchanted tale, whose haunting music was initially condemned as unplayable, and the expression of despair in Poulenc’s monologue, the director Krzysztof Warlikowski perceives a shared dramatic thread, a shared feminine consciousness and a shared sense of imprisonment and suffocation: for the woman who penetrates the confines of Bluebeard’s castle and Elle, the woman who clings to a telephone conversation with a man as the only thing worth living for, are condemned to share the same fate. And this man she speaks to, does he really exist? Unless the director has interpreted Cocteau’s words to the letter and the telephone has become a “terrifying weapon that leaves no trace, makes no noise”…
French version of Cherubini's opera staged in Brussels by Krzysztof Warlikowski
Of Shostakovich’s initial undertaking – a trilogy on the tragic destinies of Russian women through the ages – only one opera was ever written: the hard-hitting Lady Macbeth of Mtsensk. Although one of the mainsprings of the work, the Shakespearean parallel is here bitterly ironic: unlike Lady Macbeth, Katerina Ismaïlova who, in the remote reaches of rural 19th century Russia, falls in love with one of her husband’s employees and is finally forced to commit suicide, is less a manipulator than a victim of a violent and patriarchal society. Krzysztof Warlikowski liberates all the subversive power of this scorching and scandalous work, which marked the early years of the Opéra Bastille.