Podcast
In partnership with France Musique
Eliogabalo
Francesco Cavalli
Eliogabalo
Opera in three acts (1999), posthumous creation
- Music
- Francesco Cavalli
- Libretto
- Anonyme
- 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.
about
"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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