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.


    La Resurrezione

    George Frideric Handel

    Handel appropriates the opera form to express Christ’s Passion.

    Photo de Julien Chauvin © Franck Juery
    Julien Chauvin © Frank Juery

    Emőke Baráth | Mary Magdalene
    Elsa Benoit | An angel 
    Lucile Richardot | Mary Cleophas
    Emiliano Gonzalez Toro | John the Evangelist
    Robert Gleadow | Lucifer

    Julien Chauvin | violin & direction 
    Le Concert de La Loge 

    In the Christian faith, Easter Monday marks the first day after the resurrection of Jesus Christ. Many musicians have drawn inspiration from this episode, in particular throughout the baroque period. This liturgical context gave rise to the oratorio form, which drew heavily on the emotional power of opera. Handel composed over thirty oratorios. Although his “greatest hit” in this genre is still The Messiah, we should not underestimate his other works, including this Resurrection dating from 1708 when Handel left Germany and travelled to Rome to explore the art of Italian music at close quarters. The work was commissioned for a performance in the Palazzo Bonelli in April 1708, thus circumventing the ban on staging opera in private residences. In the manner of an opera, “Il caro Sassone”, as he was dubbed by the Romans, blends narrative accompanied by pared back basso continuo with dazzling arias to express the mysteries of Christ’s Passion. Julien Chauvin has assembled a fine cast for this performance.

    Jeanine Roze Production