Rien ne prédisposait l’américain, né en 1941 au Texas, à devenir l’un des plus brillants « décloisonneur » de la scène moderne.
George Frideric Handel - Wolfgang Amadeus Mozart
Handel's famous oratorio revisited by Mozart and the icon of experimental theatre, Robert Wilson. A rare version to be (re)discovered under the baton of Marc Minkowski.
In order to ensure the best possible seats for the exceptional circumstances we are going through, online booking is temporarily suspended for these 3 performances. The Theater is at your disposal to process your seat requests by phone at 01 49 52 50 50 or at the Box office.
Marc Minkowski | direction
Robert Wilson | staging director, scenography, lights
Carlos Soto | costumes
Nicola Panzer | co-staging director
Stephanie Engeln | co-scenography
John Torres | co-lights
Tomasz Jeziorski | video
Manuela Halligan | makeup and hairstyle
Konrad Kuhn | dramaturgy
Elena Tsallagova | soprano
Helena Rasker | contralto
Stanislas de Barbeyrac | tenor
José Coca Loza | bass
Alexis Fousekis | dancer
Max Harris | actor
Léopoldine Richards | figurant
Les Musiciens du Louvre
Philharmonia Chor Wien | direction Walter Zeh
Oratorio sung in German, subtitled in French and English
The Mozart version of Handel's most famous oratorio was commissioned by Baron Gottfried van Swieten. An aristocrat and generous patron of the arts, he introduced the young Mozart to the works of Bach and Handel by making available to him his library of scores that he had collected during his many travels. Mozart adapted the libretto in German and reorchestrated a little more than half of the original score, mainly adding extra sections for wind instruments, thus catering to the musical tastes in vogue in Vienna at the time. "He added small illuminations, as if Van Gogh was repainting the Mona Lisa, like a painter who adds colour with different harmonies. It's a different experience, but it's still Handel's Messiah," says Marc Minkowski. As for the vision of the work by the American director Robert Wilson, he explains: “For me, Der Messias is not so much a religious work, but rather a kind of spiritual journey.” A journey in which text and music are just as important to him as space, light, bodies, movement, and it is only in the interplay of all these elements that the strength and the beauty of the aesthetic and emotional effect, so characteristic of the American, blossom. "What can I do to give space to the music? When I close my eyes, I listen with greater attention; hence the question: am I able to create something on stage that, with my eyes open, helps me to listen to the music better?"
PRODUCTION de la Fondation Mozarteum de Salzbourg, en coproduction avec le Festival de Salzbourg, le Théâtre des Champs-Elysées et le Grand Théâtre de Genève
En partenariat avec France Inter
En partenariat avec France Télévisions