For his Paris Opera debut, Wajdi Mouawad evokes the life of OEdipus – the man unaware of his own identity – in a continuum of organic, vegetal, ethereal and aquatic images.
If the liaison between Titus and Berenice inspired one of the greatest French playwrights, it was the Roman Emperor himself, an incarnation of absolute sovereignty, that occupied the central position in what was to be Mozart’s last opera.