Théâtre De L'Archevêché News
theater in Aix-en-Provence, France
- Aix-en-Provence
- France
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2024-04-25
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2018-07-20 15:36:00
Festival d’Aix-en-Provence (2), Ariadne auf Naxos, 14 July 2018
Théâtre de l’Archevêché Images: Festival d’Aix-en-Provence 2018 © Pascal Victor / artcompress Music Master – Josef Wagner Major-Domo – Maik Solbach Lackey – Sava Vemić Officer – Petter Moen Composer – Angela Brower Tenor, Bacchus – Eric Cutler Wig-Maker – Jean-Gabriel Saint Martin Zerbinetta – Sabine Devieilhe Prima Donna, Ariadne – Lise Davidsen Dancing Master – Rupert Charlesworth Naiad – Beate Mordal Dryad – Andrea Hill Echo – Elena Galistkaya Harlequin – Huw Montague Rendall Truffaldino – David Shipley Scaramuccio – Emilio Pons Brighella – Jonathan Abernethy The Richest Man in Vienna – Paul Herwig His Wife – Julia Wieninger Katie Mitchell (director) Chloe Lamford (set designs) Sarah Blenkinsop (costumes)James Farncombe (lighting) Martin Crimp (dramaturgy, including additional dialogue, translated by Ulrike Syha) Joseph W Alford (movement) Orchestre de Paris Marc Albrecht (conductor) Ariadne auf Naxos is in many ways the ultimate […]
2017-07-12 18:04:07
The beautiful stage is empty
Two productions at the Aix-en-Provence festival shared one look: empty stage with mechanisms visible, jumbled and mismatched costumes, and a recurring image of light bulbs. One was guided by the music and allowed the alert and stylish singers full range of expression and language, the other was an over-intellectualized mess with so many visual distractions and casting irregularities that only strong musical leadership kept the show from derailing. Erismena is the fourth Cavalli opera to be given at Aix, and the Venetian composer’s particular blend of comedy and seriousness, so commercially successful in the 17th century, is embraced and respected there. Stage director Jean Bellorini boasts few opera credits as yet, but he accepted Aureli’s libretto and Cavalli’s music as powerful stuff. No need to apologize for lyrical recitatives, overstuff the instrumental contributions, or sledgehammer the drag bits. For set, Bellorini and Véronique Chazal used a giant mesh tray […]
2017-07-12 11:06:00
Festival d'Aix-en-Provence (1) - The Rake's Progress, 11 July 2017
Théâtre de l’Archevêché Actors, Chorus, Mother Goose (Hilary Summers), Tom Rakewell (Paul Appleby), Nick Shadow (Kyle Ketelsen)Images: © Patrick Berger / artcompress Ann Trulove – Julia Bullock Tom Rakewell – Paul Appleby Nick Shadow – Kyle Ketelsen Nick Shadow 2, The Keeper of the Asylum – Evan Hughes Trulove – David Pittsinger Mother Goose – Hilary Summers Baba the Turk – Andrew Watts Sellem – Alan Oke Actors – Antony Antunes, Kirsty Arnold, Nichole Bird, Karl Fagerlund Brekke, Andrew Gardiner, Chihiro Kawasaki, Maxime Nourissat, Jami Reid-Quarrell, Gabriella Schmidt, Clemmie Sveaas Simon McBurney (director) Gerard McBurney (dramaturgy) Michael Levine (designs) Christina Cunningham (costumes) Paul Anderson (lighting) Will Duke (video) Leah Hausman (choreography, design assistance) English Voices (chorus master: Tim Brown) Orchestre de Paris Eivind Gullberg Jensen (conductor) Auction guests, Baba the Turk (Andrew Watts) and Tom I thought […]
2016-08-01 16:44:17
To each word a warbling note
The notion of doing a cut-and-paste job on a Shakespeare play to create an opera libretto may drive you to think, “What fools these mortals be!” But when Benjamin Britten and Peter Pears turned their editing pencils to A Midsummer Night’s Dream in 1960, something magical resulted. I am a longtime Britten fan, having been exposed to a black-and-white telecast of Peter Grimes in the 1960s, and can remember the premiere of Owen Wingrave, an opera written specifically for television (which I find to be a vastly underrated work now that I’ve had the opportunity to see it staged). So how is it that it took me so long to discover the innumerable joys of A Midsummer Night’s Dream? Despite what Wikipedia says about the opera becoming a virtual instantaneous addition to the standard repertoire (a rather UK-centric view, I dare say), it did not reach the Met till […]
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