Etiquette ancienne de savon Claudius Lubin - Carmen
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Georges Bizet (1838 - 1875)


Opera in four acts
Libretto by Henri Meilhac and Ludovic Halévy
adapted from the short story by Prosper Mérimée
First performed on 3rd March 1875 at the Opéra Comique, Paris

New production of the Festival d'Aix-en-Provence

In coproduction with Les Théâtres de la Ville de Luxembourg

Prices: 270€, 180€, 150€, 120€, 55€, 30€
Youth Prices: 9€
Children’s discovery offer for all performances, except the opening night
Performance available with season ticket packages and Premium or Prestige offers

3h with an interval
Sung in French with French and English surtitles
Pablo Heras-Casado
Stage Director and Designer
Dmitri Tcherniakov
Costume Designer
Elena Zaitseva
Lighting Designer
Gleb Filshtinsky
Stéphanie d'Oustrac*
Don José
Michael Fabiano
Elsa Dreisig*
Michael Todd Simpson
Gabrielle Philiponet
Virginie Verrez
Christian Helmer
Pierre Doyen
Le Dancaïre
Guillaume Andrieux*
Le Remendado
Mathias Vidal*
Chœur Aedes
Children's choir
Maîtrise des Bouches-du-Rhône
Orchestre de Paris
On 4, 6, 8, 10, 13, 15, 17 and 20 July at 7:30pm

L'amour est loin, tu peux l'attendre ;
tu ne l'attends plus, il est là !

Love is far away, you can wait for it: if you wait for it no more, it is there!

Free she was born and free she will die. This sometime cigar-maker, sometime smuggler with something of the sorceress about her is often in love – as capable of making a deserter of the sergeant Don José as she is of wooing the toreador, Escamillo. She is the ally of love – that rebellious bird and gypsy’s child she resembles so much. Her first name: Carmen. Around these two syllables Prosper Mérimée built a novella that Georges Bizet used to create a character that his opera would turn into a myth: that of a free woman who heeds her desires without worrying about propriety, and who is condemned to end up stabbed to death by a deserter consumed by passion. But a myth is open to an infinite number of possible readings. Although it has become the most popular opera in the world, Carmen – like any universal masterpiece – can still benefit from an innovative approach. Visionary director Dmitri Tcherniakov’s take on it promises some strong emotions as, like Mérimée, he shows us Carmen through the eyes of José. And against the dizzying vortex created by the meticulous direction, under the baton of an unbridled Pablo Heras-Casado, the eternal dance of love-unto-death plays out once more.

*former artists of the Académie