The most difficult aspect when directing an opera is to make a repertoire work one’s own. How do you appropriate Scarlatti’s Il Primo Omicidio?
When you staged your production of Gluck’s Orphée et Eurydice at La Monnaie in Brussels, an image came to you whilst you were in your car: you saw Eurydice as a woman in a coma. Orpheus’s journey into the Underworld then became a film shot in real time across Brussels, during which he searches for Els, a woman afflicted with Locked-in syndrome. Did you have that type of vision for Il Primo Omicidio?
Why didn’t it work?
Scarlatti’s music is so beautiful that it becomes a danger for you: it distracts you.
In your view, the main difference between opera and theatre is not the music but the relationship with time.
How does baroque music resonate with our times?
Religion may have the duty to create fear but the theatre has no duty towards you. Now, the oratorio is a form of religious music. How do you escape that dimension in the production?
Where did you find the inspiration for the poses that the singers take?
Your reading: “We are always victims of music”