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Sun 4:00pm |
January 16, 2011 |
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LES TROYENS
Hector Berlioz
Grand opera in five acts (nine scenes) Libretto: Hector Berlioz after Virgil World premiere: Karlsruhe, Groβherzogliches Hoftheater, 6 and 7 December 1890 Premiere of this production at Palau de les Arts Reina Sofía, Valencia: 31 October 2009, Premiere at the Mariinsky Theatre, St. Petersburg: 25 December 2009 Premiere of this production at the Polish National Opera, Warsaw: 11 January 2011 Original language version with Polish surtitles
Duration: 4 hrs 45 min.
Conductor: Valery Gergiev (16 Jan 2011 - Mikhail Tatarnikov) Director: Carlus Padrissa (La Fura dels Baus ) Set Designer: Roland Olbeter Costume Designer: Chu Uroz Choreography: Emil Faski, Chus Moreno Lighting Designer: Peter van Praet Lighting re-created for this production by: Joan Pedrola Music Cooperation: Mikhail Tatarnikov Chorus Master: Bogdan Gola Video projections: Francisco Aleu Riera
Chorus and Orchestra of the Polish National Opera, Dancers and Extras
Co-production of: Palau de les Arts Reina Sofia in Valencia and the Mariinsky Theatre in Sankt Petersburg
Performances with the consent of Alkor-Edition Kassel GmbH
George Lucas's Star Wars, the cinematic hit from the early 1980s about a galactic military conflict, showed a world of destruction, disintegration, and annihilation of our civilization's values. On the production side, it opened a whole new direction in filmmaking technology. The same in the field of opera can unquestionably be said about Hector Berlioz's Trojans produced by the Catalonian theatre company La Fura dels Baus. It is a modern, dynamic, and unconventional performance, bringing together an imaginary computer game taking over the contemporary world and the consequences of the development of new technologies which threaten the security of countries and societies. Carlus Padrissa describes the first part of this monumental work, The Fall of Troy, as the result of a war which, like computer viruses today, falls upon society, destroying, enslaving, and annihilating. The Trojans in Carthage is a different world - bliss, joy, sand and sea - where love, law and order reign. But this idyllic utopia cannot last forever, the destiny of our contemporaries is to fight and conquer successive unattainable galaxies.
A metaphorical and futuristic, innovative and surprising vision of the struggle for power and love, control and emotions, in the great musical work by Hector Berlioz, composed over just two years, conducted by maestro Valery Gergiev, director of the Mariinsky Theatre in St. Petersburg. "In the dazzling show by La Fura dels Baus, ancient myth meets Star Wars, and the eye is constantly engaged with images ranging from space-age technology to details of soccer uniforms.(…) The Trojan horse, which Berlioz perhaps never intended to be seen, is a shining but frightening war machine, with an abstract head and wheels that allow it to move about for a chilling confrontation with the horrified Cassandra, alone with it on stage. Just before the mass suicide of the Trojan women, a hazy partition appears to separate them from their Greek would-be ravagers and blotches of blood soon appear on it."
George Loomis, The New York Times
Photo: Krzysztof Bieliński Poster for the production, designed by Adam Żebrowski
Media patrons of the Teatr Wielki - Polish National Opera:
Cooperation:
PLOT
PART ONE: THE FALL OF TROY
ACT 1
The plain at Troy. The Greeks are gone. After ten years of siege, their camp is deserted. The jubilant Trojans celebrate the end of the war. The only thing left on the abandoned entrenchment is a huge wooden horse which the inhabitants try to bring into the city as an offering to the goddess Pallas. During the ceremony Cassandra, daughter of Priam, king of Troy, paces absent-mindedly, deep in thought. Tormented by anxiety, she does not believe the gift from the Greeks is sincere, and she senses the city’s downfall. Her fiancé Coroebus tries in vain to comfort her and persuade her to join the celebrating people. She fails to convince anyone of the approaching danger that threatens the entire nation. No one believes the words of a madwoman. Her contemplation is interrupted by the approaching royal retinue which includes the Trojan heroes. Andromache - widow of Hector (King Priam’s son and Cassandra’s brother, he was killed in battle with the Greeks) - appears with her son, Astyanax. The people are touched by the sight of the widow who, despite her grief, has brought her son before the king to receive his blessing. Aeneas rushes in. Excited, he tells the story of the priest Laocoon who was seen being devoured by a sea serpent when he advised the Trojans to burn the horse. Everyone interprets this as an expression of Pallas’s anger at the planned sacrilege. Despite Cassandra’s protests, Priam orders the horse to be brought into the city and placed next to the temple of Pallas. Hearing a sound rather like the clashing of arms from within the horse, the Trojans take it for a happy omen. Watching the nervous procession, Cassandra notices the deadly trap hidden at one side of the horse. However, no one listens to her tragic vision. The procession unexpectedly turns into a triumphant parade. Cassandra sees the inevitable defeat of Troy.
ACT 2
Troy. The Greeks hiding in the huge wooden horse emerge to seize the city. During the fighting, the spectre of Hector visits the sleeping Aeneas and advises him to leave Troy and go to Italy where he will build a new empire. Coroebus, who is commander of one of the soldier units, arrives and urges him to fight in Troy’s defence to the death. At this time, in King Priam’s palace the Trojan women pray before an altar for divine aid for the soldiers. Cassandra foretells that Aeneas and others who will survive, will found a new Troy in Italy. The women realize that the seer’s prophecies were correct, and they regret not having believed her. Coroebus is killed. Cassandra decides to take her own life. She calls upon the other women to do the same so the invaders cannot defile them. Greek soldiers march into the palace and demand to be given the women and treasures of Troy. Head held high, Cassandra stabs herself with a dagger in front of the horrified soldiers. Her sister Polyxena commits suicide, too. The other women, scorning the Greeks, also take their own lives. Before she collapses, dead, Cassandra gives one last cry: “Italy!”.
PART TWO: THE TROJANS IN CARTHAGE
ACT 3
The palace in Carth age . The Carthaginians and Queen Dido are happy at the prosperity of their empire. However, the queen is concerned because she is afraid of the barbarian king of Numidia, Iarbas, whose proposal she rejected. Dido confides in her sister Anna, telling her of her love desires. Iopas, the court poet, announces that an unknown fleet (composed of the surviving Trojans) has arrived in the port. The queen welcomes the arrivals. Aeneas’s son Ascanius shows her the treasures saved from Troy and recounts his country’s tragic story. Suddenly Narbal arrives and announces that Iarbas and his army have entered lands neighbouring upon Carthage and are readying to seize the city. Unfortunately there are not enough weapons in Carthage to repel the attack. Aeneas, who was among the Trojans disguised as a sailor until now, reveals his true identity and offers the services of his people in defending Carthage. Dido accepts the offer. The Carthaginians and Trojans stand side by side to fight against the Numidians.
ACT 4
Dido’s garden. Soon after a hunt in which Carthaginians and Trojans took part, Narbal is conversing with Anna. They are both happy that the Numidians have been defeated. The minister admits he is concerned about the country’s future because Dido has neglected her state duties, distracted by her love for Aeneas. Anna is not really worried at these words, in fact she says the stranger would be the perfect king for Carthage. Narbal reminds Anna about the prophecy - the gods indicated Italy to Aeneas and his people as their ultimate destination. Despite this, Anna believes the power of love will keep the Trojan hero with them. Dido and Aeneas in fact are deeply in love. The god Mercury appears during their love scene, striking Aeneas’s shield and calling out “Italy!” three times, an obvious sign that the hero should leave, continuing his journey.
ACT 5
The harbour of Carthage. Aeneas is in despair. Signs from the gods and the spectres of Priam, Coroebus, Hector, and Cassandra convince him that he should sail for Italy. He is torn between the pain he will cause Dido by leaving and the gods’ plans for him. In the end he orders his comrades to prepare to leave Carthage before dawn. Dido, terribly hurt by her lover’s attempt to leave her, rejects his apologies and excuses, cursing him. The Trojans sail away, of which fact Iopas informs Dido. The furious queen commands the Carthaginians to pursue and destroy the Trojan fleet. A sacrificial pyre is built in Dido’s garden, on which Aeneas’s relics are placed. The unhappy queen of Carthage takes off her veil and throws it onto her lover’s toga. Next, in front of her horrified subjects’ eyes, she stabs herself with Aeneas’s sword. Dying, she prophecies that from her ashes a hero will be born - Hannibal, who will avenge her nation and, something the Carthaginians will not behold, see the emerging Roman empire in all its glory.
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