Eliogabalo

Francesco Cavalli

Palais Garnier - from 14 September to 15 October 2016

Photo © Nan Goldin

Eliogabalo

Opera in three acts (1999), posthumous creation

Music
Francesco Cavalli
Libretto
Anonyme

In Italian

Conductor
Leonardo García Alarcón
Director
Thomas Jolly
Artistic collaboration
Alexandre Dain
Choreography
Maud Le Pladec
Eliogabalo
Franco Fagioli
Alessandro Cesare
Paul Groves
Flavia Gemmira
Nadine Sierra
Giuliano Gordio
Valer Sabadus
Anicia Eritea
Elin Rombo
Atilia Macrina
Mariana Flores
Zotico
Matthew Newlin
Lenia
Emiliano Gonzalez Toro
Nerbulone, Tiferne
Scott Conner
Set design
Thibaut Fack
Costume design
Gareth Pugh
Lighting design
Antoine Travert
Dramaturgy
Corinne Meyniel
Chorus master
Thibault Lenaerts

Orchestre Cappella Mediterranea
Chœur de Chambre de Namur

Coproduction avec de Nationale Opera, Amsterdam

French and English surtitles



Ce spectacle fera l’objet d’une captation audiovisuelle

Une co-production Opéra national de Paris et CLC avec le soutien du CNC et la participation de France 2, réalisée par Julien Condemine et Roberto Maria Grassi.
Diffusion en direct sur Culturebox le 7 octobre.
Diffusion sur France 2 ultérieurement et sur France Musique le 16 octobre.

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"Eliogabalo is languorous, effeminate, lecherous, lascivious; watch, observe, may heaven preserve you."

Lenia, Acte I, scène 11


Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting a man’s battle against conventions and order. Cavalli’s last-known opera, dating from 1667, focuses on the perverse young emperor who neglected affairs of state in favour of sensual pleasures. Systematically overturning accepted morals, Elagabalus dresses men as women, and names women to the Senate, favours sinning servants and humiliates generals. Baroque and carnivalesque, Eliogabalo is not, however, an opera that advocates a return to order. Leonardo García Alarcón, a finder of baroque gems, and Thomas Jolly are careful not to transform Eliogabalo into a sublime icon who would abase virtue. On the contrary, the conductor and young director, who are presenting their first production for the Paris Opera, accept the character’s contradictions and ambiguities.

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