Life is a tale told by an idiot, full of sound and fury, signifying nothing.
Macbeth, acte V, scène 5
After celebrating Liberty last season, it is the other side of the coin that will interest the Dijon Opera for the 2019 | 2020 season. Not so much the absence of liberty, but rather the differences and misunderstandings that separate us, physically and morally. Crime and Punishment: this could well be the theme of our new season, which will explore the darker confines of the human soul, where betrayal, murder – of passion or politics – bleak melancholy, heavy familial guilt and remorse will be the bitter ingredients in this strange and troubling brew – a mirror, perhaps, of our present world?
Jealousy, adultery, the blind anguish secreted from the ancient walls of the dark castle of Allemonde, lead Golaud to murder and eternal remorse. Three times in Châtiments, the new opera by Brice Pauset based on works by Franz Kafka — which will be staged by David Lescot and conducted by Emilio Pomarico — the grand Kafkaesque equation plays out, in which the timid son submits to an all-powerful father figure, until the final expiation of a terrible fault never expressed. The desperate thirst for power – and the perverse sorcery of the three weird sisters – drive Macbeth to all sorts of crimes and their punishments, while his wife escapes the pain of remorse by fleeing into madness. In the magic castle, Ruggiero succumbs to the false pretences of love from the sorceress Alcina, who in the end must pay the price for all her tricks and misdeeds. Lastly, Songs will force us to pose the question: through what all-too-human desire does dark melancholy become a punishment both painful and delicious?
Once again covering five centuries of opera — from the 17th to the 21st centuries — this new season is also the occasion to complete the cycle devoted to Verdi as political thinker and student of power. After Simon Boccanegra and Nabucco, where the collective grandeur and a clear leader still allowed some vestige of hope, Macbeth traces a sharp psychological portrait, full of sound and fury, of a bloody tyrant caught in the infernal webs of political crime and its internal wastelands. This production will be staged by the talented Nicola Raab and conducted by Sebastiano Rolli.
Other paths will be opened to us throughout this new season, through operas as well as concerts.
In French music, for example, we will be offered Debussy’s Pelléas et Mélisande, with staging by Eric Ruf — followed by Schoenberg’s version, performed without conductor by Les Dissonances and David Grimal. There will also be numerous concerts, including Campra’s rare requiem with Emmanuelle Haïm and her Concert d’Astrée. We will also traverse the English lyric and musical countryside: the Shakespearian shadows of Macbeth, of course, but also Handel’s Alcina, staged by Serena Sinigaglia and conducted by Leonardo García Alarcón, and the Songsof Elizabethan England that Sébastien Daucé and Samuel Achache will bring to the stage, as well as two exceptional concerts with commentary, in which Andreas Staier will invite us into an English secret garden in the company of William Byrd, along with many other shows with the Cris de Paris or the Bournemouth Symphony Orchestra. This 2019 | 2020 season will also feature extensive tours of the Dijon Opera’s past shows throughout France and Europe, notably the twinned production of Rameau’s Pygmalion and Mondonville’s Amour & Psyche, staged by Robyn Orlin and conducted by Emmanuelle Haïm in Luxembourg and Caen, and Verdi’s Simon Boccanegra in a staging by Philipp Himmelmann at the Stadttheater in Klagenfurt.
General & artistic director