Continue without accepting

We respect your privacy

With your consent, we use cookies or similar technologies to store and access personal information such as your visit to this website. You can withdraw your consent or object to processin based on legitimate interest at any time by cliking on "Find out more" or in your privacy policy on this website.

Welcome to the Théâtre des Champs-Elysées website

The Théâtre des Champs-Elysées and its partners set cookies and use non-sensitive information from your device to improve our products and display personalized advertising and content. You can accept or refuse these different operations. To find out more about cookies, the data we use, the processing operations we carry out and the partners with whom we work, you can consult our cookies dedicated page.



    Jean-Baptiste Lully

    After Alceste, our exploration of Grand Siècle opera continues with Atys, and another cast well-versed in this repertoire.

    Mathias Vidal
    Mathias Vidal © Bruno Perroud
    Véronique Gens © Sandrine Expilly
    Alexis Kossenko
    Alexis Kossenko © Frédéric Iovino

    Mathias Vidal | Atys
    Véronique Gens | Cybèle 
    Deborah Cachet | Sangaride
    Tassis Christoyannis | Célénus
    Hasnaa Bennani | Doris
    Virginie Thomas
    | Flore
    Eléonore Pancrazi | Melpomène / Mélisse
    David Witczak | Le Temps / Un Songe funeste / Le Fleuve Sangar
    Adrien Fournaison | Idas / Phobétor
    Antonin Rondepierre | Un Zéphyr / Morphée / Un Dieu du fleuve
    Carlos Rafael Porto | Le Sommeil
    Marine Lafdal-Franc | Iris / Une Fontaine
    François-Olivier Jean | Phantase

    Alexis Kossenko | direction
    Les Ambassadeurs~La Grande Ecurie
    Les Pages et les Chantres du Centre de musique baroque de Versailles | artistic direction Fabien Armengaud

    After Alceste last month, we now have Atys, the other seminal work by Lully. Whereas Alceste had a happy ending, this is not the case for Atys, which is the first work in the lyrical tragedy genre to have a tragic ending. It was a great favourite of King Louis XIV, and he was particularly fond of the famous scene of the sleeping hero in Act III. Unlike Alceste, it was a hit not just with royalty but also with audiences, thus earning it the title “the King’s opera”. Quinault was particularly inspired in his libretto. For these themes of thwarted love, Lully wrote extremely seductive music where festive dances alternate with romantic lyricism in arias, trios and quartets punctuated with beautiful choruses. It is hard not to succumb to the charm of this score with its irresistibly beautiful tones and dazzling colours. To celebrate this masterpiece which is all too rarely performed in concert, Alexis Kossenko has surrounded himself with a team well versed in this repertoire, led by the pairing of Véronique Gens and Mathias Vidal.

    Coproduction Théâtre des Champs-Elysées | Les Ambassadeurs~La Grande Ecurie | Atelier Lyrique de Tourcoing | Centre de musique baroque de Versailles | Opéra d’Avignon
    France Musique broadcasts this concert on the 13rd of April 8pm