01
We
Mahler, Live
A woman alone on the big stage with her back turned to us. She wears a bright red dress and pointe shoes. A camera lying on the floor is aimed at her feet. A man joins it. He picks up the camera and lets it sweep over us - the audience. Thrown huge on a canvas, it is we who unexpectedly find ourselves as protagonists in the puzzle that Hans van Manen designed in the first video ballet in dance history: a sophisticated exploration of perspectives, distance and closeness...
Lord Valton had promised his daughter's hand to one of his officers, Sir Riccardo. Riccardo has now found out that Elvira loves someone else. Lord Arturo Talbo. He desperately complains to his friend, Sir Bruno Roberton, of his suffering. Bruno tries to comfort and distract Riccardo.
Elvira learns from her uncle Giorgio that he was able to persuade her father to give her heart free choice...
Don Juan is a figure who crosses boundaries: the boundary between the sexes, the boundary between classes and the boundary between life and death, because he does not stop at the walls of the cemetery...
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
A woman alone on the big stage with her back turned to us. She wears a bright red dress and pointe shoes. A camera lying on the floor is aimed at her feet. A man joins it. He picks up the camera and lets it sweep over us - the audience. Thrown huge on a canvas, it is we who unexpectedly find ourselves as protagonists in the puzzle that Hans van Manen designed in the first video ballet in dance history: a sophisticated exploration of perspectives, distance and closeness...
Don Juan is a figure who crosses boundaries: the boundary between the sexes, the boundary between classes and the boundary between life and death, because he does not stop at the walls of the cemetery...
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
Don Juan is a figure who crosses boundaries: the boundary between the sexes, the boundary between classes and the boundary between life and death, because he does not stop at the walls of the cemetery...
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
Don Juan is a figure who crosses boundaries: the boundary between the sexes, the boundary between classes and the boundary between life and death, because he does not stop at the walls of the cemetery...
What makes Claudio Monteverdi's Favola d’Orfeo (The Legend of Orpheus), first performed in 1607 at the northern Italian court in Mantua, the first opera? Of course there were a few forerunners. But in this work it is for the first time the music itself that not only symbolically takes up the word as an allegory in the prologue, but also congenially interweaves the entire scene...
The barber of Seville introduces himself as the “factotum of the whole city”: as a helper in all situations. Like all barbers of his time, he is not only responsible for beard and hair care, but also for tearing teeth and bloodletting. In addition, Figaro's offer also includes services for lovers and those willing to marry, such as secret transport of letters or serenades by order.
What makes Claudio Monteverdi's Favola d’Orfeo (The Legend of Orpheus), first performed in 1607 at the northern Italian court in Mantua, the first opera? Of course there were a few forerunners. But in this work it is for the first time the music itself that not only symbolically takes up the word as an allegory in the prologue, but also congenially interweaves the entire scene...
The fat knight Sir John Falstaff, who resides in the Gasthaus zum Garter, has no more money to foot his bill. Convinced of his attraction to women, he would like to combine the pleasant with the useful. He writes two love letters with the same content to Alice Ford and Meg Page, two wealthy citizens' wives, and asks them to go on a date. But they just have fun with the fat drunkard and together they hatch a plan to make a fool of Falstaff...
Don Juan is a figure who crosses boundaries: the boundary between the sexes, the boundary between classes and the boundary between life and death, because he does not stop at the walls of the cemetery...
What makes Claudio Monteverdi's Favola d’Orfeo (The Legend of Orpheus), first performed in 1607 at the northern Italian court in Mantua, the first opera? Of course there were a few forerunners. But in this work it is for the first time the music itself that not only symbolically takes up the word as an allegory in the prologue, but also congenially interweaves the entire scene...
The fat knight Sir John Falstaff, who resides in the Gasthaus zum Garter, has no more money to foot his bill. Convinced of his attraction to women, he would like to combine the pleasant with the useful. He writes two love letters with the same content to Alice Ford and Meg Page, two wealthy citizens' wives, and asks them to go on a date. But they just have fun with the fat drunkard and together they hatch a plan to make a fool of Falstaff...
What makes Claudio Monteverdi's Favola d’Orfeo (The Legend of Orpheus), first performed in 1607 at the northern Italian court in Mantua, the first opera? Of course there were a few forerunners. But in this work it is for the first time the music itself that not only symbolically takes up the word as an allegory in the prologue, but also congenially interweaves the entire scene...
Musical Direction Adam Fischer
Production Moshe Leiser
Patrice Caurier
Stage Design Christian Fenouillat
Costume Design Agostino Cavalca
Lighting Design Christophe Forey
Assistant choreographer Beate Vollack

Sarastro René Pape
Tamino Long Long
Sprecher Adrian Eröd
2. Priester Adrian Eröd
Königin der Nacht Sabine Devieilhe
Pamina Regula Mühlemann
Papageno Andrè Schuen
...
The opera Capriccio describes the genesis of an opera. The plot describes a day in the drawing room of the young and art-loving widowed Countess Madeleine, who is at the center of the action. As a muse, Madeleine inspires the artists around her. Above all the poet Olivier and the composer Flamand, both of whom are in love with them, and hope to conquer the heart of the beautiful countess with their respective artistic creations, who, however, cannot choose either of them.
The fat knight Sir John Falstaff, who resides in the Gasthaus zum Garter, has no more money to foot his bill. Convinced of his attraction to women, he would like to combine the pleasant with the useful. He writes two love letters with the same content to Alice Ford and Meg Page, two wealthy citizens' wives, and asks them to go on a date. But they just have fun with the fat drunkard and together they hatch a plan to make a fool of Falstaff...
Musical Direction Adam Fischer
Production Moshe Leiser
Patrice Caurier
Stage Design Christian Fenouillat
Costume Design Agostino Cavalca
Lighting Design Christophe Forey
Assistant choreographer Beate Vollack

Sarastro René Pape
Tamino Long Long
Sprecher Adrian Eröd
2. Priester Adrian Eröd
Königin der Nacht Sabine Devieilhe
Pamina Regula Mühlemann
Papageno Andrè Schuen
...
The opera Capriccio describes the genesis of an opera. The plot describes a day in the drawing room of the young and art-loving widowed Countess Madeleine, who is at the center of the action. As a muse, Madeleine inspires the artists around her. Above all the poet Olivier and the composer Flamand, both of whom are in love with them, and hope to conquer the heart of the beautiful countess with their respective artistic creations, who, however, cannot choose either of them.
The fat knight Sir John Falstaff, who resides in the Gasthaus zum Garter, has no more money to foot his bill. Convinced of his attraction to women, he would like to combine the pleasant with the useful. He writes two love letters with the same content to Alice Ford and Meg Page, two wealthy citizens' wives, and asks them to go on a date. But they just have fun with the fat drunkard and together they hatch a plan to make a fool of Falstaff...
Musical Direction Adam Fischer
Production Moshe Leiser
Patrice Caurier
Stage Design Christian Fenouillat
Costume Design Agostino Cavalca
Lighting Design Christophe Forey
Assistant choreographer Beate Vollack

Sarastro René Pape
Tamino Long Long
Sprecher Adrian Eröd
2. Priester Adrian Eröd
Königin der Nacht Sabine Devieilhe
Pamina Regula Mühlemann
Papageno Andrè Schuen
...
Musikalische Leitung
Guillermo García Calvo
The opera Capriccio describes the genesis of an opera. The plot describes a day in the drawing room of the young and art-loving widowed Countess Madeleine, who is at the center of the action. As a muse, Madeleine inspires the artists around her. Above all the poet Olivier and the composer Flamand, both of whom are in love with them, and hope to conquer the heart of the beautiful countess with their respective artistic creations, who, however, cannot choose either of them.
musical direction
Gianluca Capuano
Staging
Claudia Blersch
Angelina
Cecilia Bartoli
Don Ramiro
Edgardo Rocha
Dandini
Nicola Alaimo
Don Magnifico
Carlos Chausson
Alidoro
José Coca
Clorinda
Rebeca Olvera
Tisbe
Rosa Bove
orchestra
Les Musiciens du Prince-Monaco
Choir
Choeur de l'Opéra de Monte-Carlo
The opera Capriccio describes the genesis of an opera. The plot describes a day in the drawing room of the young and art-loving widowed Countess Madeleine, who is at the center of the action. As a muse, Madeleine inspires the artists around her. Above all the poet Olivier and the composer Flamand, both of whom are in love with them, and hope to conquer the heart of the beautiful countess with their respective artistic creations, who, however, cannot choose either of them.