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Experience The Legendary Grandeur Of Versailles

The grand spectacle of Louis XIV's Versailles is legendary. Now, it is yours to experience. In partnership with the Chateau de Versailles, Trianon Palace Versailles, A Waldorf Astoria Hotel is pleased to offer exclusive packages granting access to the Royal Opera. Each package includes show tickets and breakfast at La Veranda, with upgrades available for hotel accommodation and performance seating. During your stay, enjoy a gastronomic dinner at Gordon Ramsay au Trianon restaurant, awarded two stars at the Michelin Guide. Delight in the endless pleasures of La Ville Soleil, and discover the extraordinary events that have shaped Versailles into one of the world's most splendid destinations.

  • Versailles Festival Package, including an overnight stay, breakfast at La Veranda restaurant, and seating at your choice of Versailles show

Opera Events

HAENDEL: LA RESUREZZIONE

Sophie Karthäuser, Maria Maddalena
Sunhae Im, Angelo
Jeremy Ovenden, San Giovanni Evangelista
Sara Mingardo, Maria Cleofa
Johannes Weisser, Lucifero

Le Cercle de l’Harmonie
René Jacobs, conductor

Royal Chapel
Friday 28 March - 8pm
Running time: 2h30 including interval

After his first experience at the Hamburg Opera, Handel left for Italy, whose arts were brilliantly shining around the world. He often resided in Rome during the years 1706-1710, the Papal city was alive with creativity and had attentive patrons. One of them, Prince Francesco Maria Ruspoli gave him his most beautiful Roman orders: Dixit Dominus and shortly after a major oratorio in Italian, La Resurezzione. At the time, a ruling of the pope forbade the performance of operas in Rome, and Handel found refuge in an allegoric oratorio, where he could develop all his lyrical art and his genius for drama, protected from censorship (or almost…)

Created on Easter Sunday, 8th April 1708, La Resurezzione was richly performed: a large orchestra with forty musicians was conducted by maestro Corelli and as for the singers, there were 1 bass, 1 tenor, 2 castrati and the famous diva Durasanti. A sacrilege in the Holy City. The Pope obtained her replacement by a castrato for the second concert.

This oratorio retraces the passion and resurrection of Christ. He is not present, but St John, Mary Magdalene and Mary of Cleophas witness the action, with the Divine Angel as their support and the abominable Lucifer as their enemy. He opens the work by refusing to bow before Christ, who is forcing his entry into Hell… Handel’s writing is clearly dramatic, and he gives us a religious opera to hear, with all affects pertaining thereto, from fury to grief. And what style: with exceptional variety of instruments, scenes follow one after the other, calling on the virtuosity and the grace of interpreters, without ever relieving the pressure of a work which reveals more each time you listen to it. René Jacobs after having sung as counter-tenor major works of the baroque repertoire has made us rediscover them in the last twenty years as a conductor. More attentive than others to the voice, he knows how to highlight in baroque expression the underlying dynamics and rhetoric. This committed interpretation is only possible with an exceptional selection of voices: the singers here are admirable, and the Cercle de l’Harmonie follows on the steps of the most famous roman orchestra, Corelli’s, for a fascinating performance.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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HAENDEL: TAMERLANO

Xavier Sabata, Tamerlano
Max Emanuel Cencic, Andronico
John Mark Ainsley, Bajazet
Sophie Karthäuser, Asteria
Ruxandra Donose, Irene
Pavel Kudinov, Leone

Il Pomo d’Oro
Maxim Emelyanychev, conductor

Royal Opera
Saturday 5 April - 7.30pm
Running time: 3h30 including interval

Handel moved to England in 1712 and cultivated a close relationship with the aristocracy. His appointment as Court composer enabled him to create the Royal Academy of Music in 1719, for which he created a number of his works. This Academy was mostly reputed for its Italian operas, which is why the most famous singers of the time came to London.

Tamerlano was created on 31 October 1724. It is a perfect summary of the relationship the composer had with the aristocracy. The plot revolves around stories of love, jealousy, conspiracy and power plays among the rich and mighty. Tamerlano, a barbarian conqueror without scruple at war against his prisoner, Sultan Bajazet thrones at the centre of this imbroglio. This historical subject was often adapted for the theatre and the opera all along the 17th and 18th century. Tamerlano is one of the most significant and sensitive of the works composed by Handel. His subtle and inventive music expresses all the emotions and moods of his characters between power plays, love and conspiracy. Max-Emanuel Cencic, Xavier Sabata and Sophie Karthäuser are in Versailles again to magnify one of Handel’s most wonderful operas.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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JONAS KAUFMANN: MAHLER, LIEDER EINES FAHRENDEN GESELLEN

Jonas Kaufmann, tenor
Chamber Orchestra Vienna-Berlin

Royal Opera
Thursday 8 May - 8pm
Running time: 2h including interval

After several recitals with piano in the last few seasons at the Théâtre des Champs-Elysées, which could only bring additional confirmation of his musical refinement, Jonas Kaufmann explores the Lied “after Schubert”, through Mahler’s Songs of a Wayfarer, awaited as an evidence. Violent emotional explosions, whether musical or poetic, do not frighten the great German tenor. He has the voice for this song and poetry programme, at the frontier of romanticism, with the addition of the intelligence of the heart. The Vienna-Berlin chamber orchestra, which gathers the best musicians from the Berlin and Vienna Philharmonic orchestras, is the other asset of this programme, which mixes sublime, expressive, exhilarating or depressive treasures from Mendelssohn to Schoenberg.

Rates from 619€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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BACH: FUNERAL MUSIC FOR THE PRINCE OF CÖTHEN

Sabine Devieilhe, soprano
Damien Guillon, alto
Thomas Hobbs, tenor
Christian Immler, bass

Ensemble Pygmalion
Raphaël Pichon, conductor

Royal Chapel
Tuesday 13 May- 8pm
Running time: 2h including interval

Bach wrote an ambitious funeral cantata for the Prince of Cöthen’s death; its music has unfortunately not reached us, but most of it or almost is a parody of two major works of the time: the Trauer-Ode BWV198 and the Passion according to St Matthew BWV 244b.

As early as 1873, the first research and studies on Bach’s work permitted to establish how close the libretto for this funeral music was to many arias of the Matthew Passion: sonorities, number of verses and scansion, characters, etc… For example, the famous “Erbarme Dich” of the Matthew Passion resembles trait for trait the aria “Erhalte mich” of our Trauermusik. This has led to the hypothesis of a work partly using the St Matthew Passion and the TrauerOde, written a year earlier for the death of the Queen of Poland.

Did Bach think this music first for the text of our TrauerMusik, or first for the Passion according to Saint Matthew? Imagining that some of the greatest pages of the Kantor could be heard in their original context seemed fascinating to us.

This TrauerMusik gives us to hear what could be Johann Sebastian Bach’s longest and most ambitious cantata, using the two beginning and end chorales of the TrauerOde BWV198, as well as a chorale and nine arias from the Frühfassung (early version) of the Passion according to St Matthew. Recent university research has shown the proximity of the central chorale entitled Dictum, with the second Kyrie of the 1733 Mass in B. On the text of Psalm 68, the strict and severe fugue of the second Kyrie seems entirely thought out for this new context. Once we have accepted to remove our almost indelible imprint from this music on its known texts, we see a new, fascinating work appear, for which these new texts seem to have always been written.

Rates from 359€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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HANDEL: AMADIGI

Lawrence Zazzo, Amadigi
Roberta Invernizzi, Oriana
Karina Gauvin, Melissa
Filippo Mineccia, Dardano

Kammerorchester Basel
Ottavio Dantone, Conductor

Royal Opera
Thursday 5 June - 8pm
Running time: 3h30 including interval

Amadigi is one of the Italian operas from Handel’s London debuts; the premiere took place at the King’s Theatre in London on 27 May 1715. It was a great success and revived more than 17 times in London until 1717, before a large series of representations in Hamburg until 1720.

The origin of the story is to be found in Amadis de Gaule, a Spanish chivalry novel published in 1508. It is said that Handel wrote this work in a month only, while he was staying with the Earl of Burlington, to whom he dedicated his opera.

Based on the famous libretto Amadis by Lully and Quinault (1684), but maybe also inspired by Amadis de Grèce by Destouches (1699), Nicola Francesco Haym composed a version adapted to the Italian opera model. He was also the librettist of Giulio Cesare and Tamerlano, and a wonderful support for Handel’s musical talent.

The Paladin Amadigi and Princess Oriana love each other. But their love is thwarted by two powerful and jealous creatures, who intend to defeat this idyll: the magician Melissa, in love with Amadigi, and the Prince of Thrace Dardanus (Dardano), Oriana’s rejected lover. Before the lovers can surrender to the joys of cloudless love to the sound of pastoral music, they must go through many ordeals devised by demons and furies, over which they will prevail. Sorcerer invocations, impossible love, passionate impetus, prison and treason give Handel the occasion for a succession of arias, each more virtuoso than the other, among which those sung at the creation by the castrato Nicolo Grimaldi. The splendid counter-tenor Lawrence Zazzo is taking on the role for Versailles, together with the talented Karian Gauvin (heard in Versailles in 2012 in Giulio Cesare) singing Sorceress Melissa. Ottavio Dantone (who shone in Versailles in 2012 in Giulio Cesare) will conduct this masterpiece with all his youthful energy, at the head of the Basel Chamber Orchestra, an elite formation.

To give this work more stage presence, the singers of this Amadigi will wear costumes and will sing their arias without scores, before a Versailles baroque setting.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 Or by email : reservations.trianon@waldorfastoria.com

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JOSEPH CALLEJA RECITAL: VERDI, PUCCINI

Joseph Calleja tenor

Orchestre Lamoureux
Frederic Chaslin, conductor

Royal Opera
Tuesday 17 June -8pm
Running time: 2h including interval

Joseph Calleja is a tenor to (re)discover, after three appearances on Paris stages since 2007.
He is now an opera star of the DECCA label and can be regularly heard at the Met, in Munich, Berlin and Covent Garden. The first part of the programme is entirely dedicated to the great composer Giuseppe Verdi, whose bicentenary was celebrated in 2013.The second part moves on to Puccini’s and Mascagni’s verismo, after a detour in French opera. Fascinating tunes, from Verdi’s darkest drama to the great romanticism of Puccini: a great evening in perspective, with intensity and colour.

Cécile Reynaud

Rates from 419€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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BEETHOVEN: THE 9 SYMPHONIES

Andrea-Lauren Brown, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas Bauer, barytone

Anima Eterna Brugge
RIAS Kammerchor
Jos van Immerseel, conductor

Programme
Ludwig van Beethoven (1770 - 1827)
Symphony n°1 in C major op.21 (1800)
Symphony n°2 in D major op.36 (1802)
Symphony n°3 in E flat major op.55 “Heroic” (1804)

Royal Opera
Wednesday 18 June - 8pm
Running time: 2h15 including interval

"The symphonies are probably the most vivid proof of Beethoven’s genius. They are always considered as belonging together as a group, unlike Schubert’s, for which we often mention a certain number of unfinished symphonies. Beethoven however also left several unfinished works. Gustav Nottebohm (1887) probably overestimated their number, when he supposed that fifty symphonies were left unfinished, but it is still known that until he was thirty, the composer was looking for an acceptable form in the field of symphonies.
Then at thirty, he took the plunge and composed his "first" symphony. Thus the genius seventh chord opening the work is not “a stroke of genius", but the result of his constant search for ways to distinguish himself from his giant forerunners in the field of symphonies, Haydn and Mozart. Beethoven did not think his work was ended after the ninth symphony. He had started a tenth one and said he wanted to finish it. But the drafts we have are too succinct to permit a valid interpretation."

Cécile Reynaud

Rates from 359€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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BEETHOVEN: THE 9 SYMPHONIES

Andrea-Lauren Brown, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas Bauer, barytone

Anima Eterna Brugge
RIAS Kammerchor
Jos van Immerseel, conductor

Programme
Ludwig van Beethoven (1770 - 1827)
Symphony n°4 in B flat major op.60 (1806)
Symphony n°5 in C minor op.67 (1808)

Royal Opera
Thursday 19 June - 8pm
Running time: 1h40 including interval

"The symphonies are probably the most vivid proof of Beethoven’s genius. They are always considered as belonging together as a group, unlike Schubert’s, for which we often mention a certain number of unfinished symphonies. Beethoven however also left several unfinished works. Gustav Nottebohm (1887) probably overestimated their number, when he supposed that fifty symphonies were left unfinished, but it is still known that until he was thirty, the composer was looking for an acceptable form in the field of symphonies.
Then at thirty, he took the plunge and composed his "first" symphony. Thus the genius seventh chord opening the work is not “a stroke of genius", but the result of his constant search for ways to distinguish himself from his giant forerunners in the field of symphonies, Haydn and Mozart. Beethoven did not think his work was ended after the ninth symphony. He had started a tenth one and said he wanted to finish it. But the drafts we have are too succinct to permit a valid interpretation."

Cécile Reynaud

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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BEETHOVEN: THE 9 SYMPHONIES

Andrea-Lauren Brown, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas Bauer, barytone

Anima Eterna Brugge
RIAS Kammerchor
Jos van Immerseel, conductor

Programme
Ludwig van Beethoven (1770 - 1827)
Symphony n°6 in F major op.68 “Pastoral” (1808)
Symphony n°7 in A major op.92 (1812)

Royal Opera
Friday 20 June - 8pm
Running time: 2h including interval

"The symphonies are probably the most vivid proof of Beethoven’s genius. They are always considered as belonging together as a group, unlike Schubert’s, for which we often mention a certain number of unfinished symphonies. Beethoven however also left several unfinished works. Gustav Nottebohm (1887) probably overestimated their number, when he supposed that fifty symphonies were left unfinished, but it is still known that until he was thirty, the composer was looking for an acceptable form in the field of symphonies.
Then at thirty, he took the plunge and composed his "first" symphony. Thus the genius seventh chord opening the work is not “a stroke of genius", but the result of his constant search for ways to distinguish himself from his giant forerunners in the field of symphonies, Haydn and Mozart. Beethoven did not think his work was ended after the ninth symphony. He had started a tenth one and said he wanted to finish it. But the drafts we have are too succinct to permit a valid interpretation."

Cécile Reynaud

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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BEETHOVEN: THE 9 SYMPHONIES

Andrea-Lauren Brown, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas Bauer, barytone

Anima Eterna Brugge
RIAS Kammerchor
Jos van Immerseel, conductor

Programme
Ludwig van Beethoven (1770 - 1827)
Symphony n°8 in F major op.93 (1812)
Symphony n°9 in D minor op.125 (1824)

Royal Opera
Sunday 22 June - 5.30pm
Running time: 2h15 including interval

"The symphonies are probably the most vivid proof of Beethoven’s genius. They are always considered as belonging together as a group, unlike Schubert’s, for which we often mention a certain number of unfinished symphonies. Beethoven however also left several unfinished works. Gustav Nottebohm (1887) probably overestimated their number, when he supposed that fifty symphonies were left unfinished, but it is still known that until he was thirty, the composer was looking for an acceptable form in the field of symphonies.
Then at thirty, he took the plunge and composed his "first" symphony. Thus the genius seventh chord opening the work is not “a stroke of genius", but the result of his constant search for ways to distinguish himself from his giant forerunners in the field of symphonies, Haydn and Mozart. Beethoven did not think his work was ended after the ninth symphony. He had started a tenth one and said he wanted to finish it. But the drafts we have are too succinct to permit a valid interpretation."

Cécile Reynaud

Rates from 419€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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THE KING’S TWENTY FOUR VIOLINS

2 soloist singers
40 musicians, students of the High College for Music of Catalonia, of the Royal College of Music of London and of the Royal Conservatory of Brussels

Béatrice Martin, harpsichord and continuo leader
Académie d’Orchestre
Les vingt-quatre Violons de Roi
Patrick Cohën-Akénine, violin and conductor

Royal Opera
Saturday 21 June - 7.30pm
Running time: 1h30 including interval

In line with the project of reviving the instruments composing the King’s twenty-four Violins (dessus, hautes-contre, tailles, quintes and bass violins), the CMBV associates every two years with prestigious European music schools to give young musicians, brought together in an international academy, the opportunity of reviving this mythic orchestra and its repertoire.
As part of the Rameau year in 2014, the Twenty-four Violins Orchestra Academy will explore a new part of the French repertoire, going from the Grand Siècle to the Siècle the Lumières.
Conducted by Patrick Cohën-Akenine, the students of the High College for Music of Catalonia, of the Royal College of Music of London and of the Royal Conservatory of Brussels will play in Versailles and in prestigious locations and festivals in France and in Europe, contributing to the prestige of French culture.

Rates from 359€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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HAENDEL: DIXIT DOMINUS / BACH: CHRIST LAG IN TODESBANDEN

The Monteverdi Choir
The English Baroque Soloists
Sir John Eliot Gardiner, direction

Royal Chapel
Sunday 22 June - 8pm
Running time: 1h30 including interval

This concert assembles three major works of baroque music, with three very marked traditions: Bach’s German Protestant music; the virtuosity of Italian Catholicism in Handel’s Roman period; finally the pump of Rameau’s Grand Versailles Motet. These three works also shine with the brilliant youth of the three greatest baroque composers of the beginning of the 18th century. In its 50 years of existence, the Monteverdi Choir has played many repertoires, but these three composers have played an essential role for Sir John Eliot Gardiner, and offer us the three masterpieces of this exceptional concert.
Rameau first; Gardiner was one of his first and essential pioneers and he has devoted special attention to his work. His Motet In Convertendo, composed around 1713 (Rameau was 30) was completed for the Concert Spirituel in 1751. The musical inspiration of the young musician, completed by the perfection of the instrumentation acquired with experience, make this motet on of the most significant in the 150 years of production of this purely French form. A first masterpiece, in the French style.
Bach next: Gardiner and his Monteverdi Choir have devoted to this essential musician the monumental construction of the Bach Pilgrimage in 2000, interpreting (and recording) all his cantatas over the year, in the symbolic sites of Bach’s career. When he composed the cantata Christ lag in Todebanden, for Mühlhausen in 1707 (Bach was 22), the composer, who would become the Kantor for coming centuries, created one of his first works: and already, what mastery of form, what intensity in writing, going straight to the heart of the matter, while creating the powerful and contrasted effects demanded by Luther’s text! The voice is here divinely treated, the solo parts are sung in chorus (in the old German way) giving fantastic weight to each strophe of this beautiful meditation on the death of Christ composed for the Easter period. Second masterpiece, in the German style.
Handel finally, for a third masterpiece in the Italian style: his Dixit Dominus, a virtuoso work composed in Rome in 1707, (Handel was 22), the first catholic liturgical work in Italian, presented in the Pope’s capital by this newly arrived Saxon, has reached posterity. Counterpoint, jubilation, fierce combat and piety follow one another with dazzling mastery, in a descriptive style which carries away the auditor in a musical flow which nothing stops. A showpiece of the Monteverdi Choir, never surpassed in the chorale intoxication wanted by Handel, Dixit Dominus is a symbolic work for its fiftieth anniversary!

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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HANDEL: VALER SABADUS RECITAL

Valer Barna-Sabadus, counter-tenor
Concerto Köln

Royal Opera
Wednesday 25 June - 8pm
Running time: 2h including interval

In the constantly evolving world of counter-tenors, the young singer Valer Sabadus holds a choice place. The brilliant beauty of his timbre, his dramatic presence and his impressive technique, and a range which enables him to hold true soprano roles, guarantee highly spectacular performances.
Here with the virtuosos of Concerto Kölnn he presents a Handel programme which suits him perfectly. Mixing vocal feats and total suavity, Handel composed for the greatest singers of his time, of whom many castrati invited by him in London to interpret his most famous operas. All his writing bears this mark, as much at the Italian creation of the virtuoso cantata, Delirio Amoroso, composed in Rome 1707 on a libretto by Cardinal Benedetto Pamphili, as in the maturity work L’Allegro, il Penseroso ed il Moderato, a bucolic Ode, presented in London in 1740, bursting with inventiveness and sentimental effusions.
After his notable performances in Versailles in Didone by Hasse, Pergolesi’s Stabat Mater and Vinci’s Atarserse, Valer Sabadus sings solo for our greatest pleasure, in a recital with which he has triumphed on European stages in the last two seasons.

Rates from 359€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by emailreservations.trianon@waldorfastoria.com

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Opéra

CAMPRA: TANCREDE

Benoit Arnould, Tancrède
Chantal Santon, Herminie
Isabelle Druet, Clorinde
Alain Buet, Argant
Eric Martin Bonnet, Isménor
Erwin Aro, a magician wiseman, a wood dweller, a Warrior, Vengeance
Anne-Marie Beaudette, Peace, a warrior, a Dryad
Marie Favier, a warrior, a Dryad

Ballet de l'Opéra - Théâtre Grand Avignon
Françoise Denieau, choreography
Vincent Tavernier, director
Claire Niquet, scenography
Carlos Perez, lights

Singers of the Centre de Musique Baroque de Versailles
Orchestre Les Temps Présents
Olivier Schneebeli, conductor

Royal Opera
Tuesday 6 May - 8pm
Wednesday 7 May - 8pm
Running time: 3h including interval

André Campra is unquestionably the greatest opera composer between Lully and Rameau, at a time where Lalande reigned over the grand motet. His opera-ballets introduced popular or exotic tones on the stage of the Académie royale, but his tragedies pursued the Lullly experience with a larger orchestra and exacerbated theatricality. Tancrède his masterpiece demonstrates more than any other score the extent of his incredible talent.
Since its production at the Aix-en-Provence festival, more than twenty years ago, Tancrède had disappeared from French stages: this hero’s return (so famous from Monteverdi to Rossini) will give him the opportunity to rise again to the challenges of love and glory, in a time when as a Christian knight he will have to choose between his duty to free Jerusalem and the charms of the unfaithful Clorinde. Campra gives them the most beautiful musical weapons: fanfares, battles, cries of love echo masterfully in a pure baroque setting.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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LULLY: PERSÉE

Chris Enns, Persée
Peggy Kriha Dye, Merope
Mireille Asselin, Andromède
Olivier Laquerre, Céphée, Meduse
Carla Huhtanen, Cassiope
João Fernandes, Phinée
Lauwrence Wiliford, Corite, Mercure
Aaron Ferguson, Euryale
Curtis Sullivan, Grand Priest, Cyclope, Sténon, Triton
Meghan Lindsay, Warrior Nymph , Venus
Vasil Garvanliev, Protenor, Idas, Inferno Divinity

Dancers of l’Atelier Ballet
Opera Atelier Toronto
Jeannette Lajeunesse Zingg, Choreography
Gerard Gauci, Scenography
Bonnie Beecher, Lights
Arwen McDonnell, Regisseur

Marshall Pynkoski, Director

Choir Les Cris de Paris
Tafelmusik Baroque Orchestra
David Fallis, Conducto

Royal Opera
Friday 23 May - 8pm
Saturday 24 May - 8pm
Sunday 25 May - 4h30pm
Running time: 2h45 including

A lyrical tragedy by Jean-Baptiste Lully (1632-1687), then at the height of maturity and Philippe Quinault (the inspired couple of Armide), Persée was composed in 1682. The first performance in Versailles was to take place in the Marble Courtyard, but because of the bad weather, this project had to be abandoned. Lully then took the initiative to build a makeshift theatre at the last moment in the Manège de la Grande Écurie: "Theatre, orchestra, high canopy, nothing was missing. A great number of orange trees, of extraordinary size, very difficult to move, and even more difficult to raise onto the stage were placed there. All the background was a leaf bough composed of real tree branches cut in the forest. In the back and among the orange trees were many Figures, Fauns and Divinities and a great number of chandeliers. Many people, who knew how this place was a few hours before, could not believe what they saw". (Le Mercure François)
A few months later, to celebrate the birth of the duc de Bourgogne, Louis XIV’s grandson, Lully offered the Parisian people a free performance of Persée: wine flower freely for this impressive popular celebration.
After the magnificent performances of Armide by Lully in 2012 in Versailles, Marshall Pynkoski triumphed at the Salzburg Mozartwoche, and is coming back to Versailles with his energy, which underscores each minute of the music to give new life to one of Lully’s masterpieces: Persée, which has not been given in Versailles since the inauguration of the Opéra Royal in 1770.
Come and discover the fascinating saga of the hero Perseus, who fights against Medusa to save Princess Andromeda from her terrible destiny…

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email reservations.trianon@waldorfastoria.com

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PURCELL: DIDO AND AENEAS

Vivica Genaux, Dido
Henk Neven, Aeneas
Ana Quintans, Belinda
Tatyana Ilyin, First Witch
Caroline Meng, Second Witch
Lucile Richardot, Spirit
Jenny Daviet, Handmaid

Cécile Roussat and Julien Lubek, staging, choreography, sets, costumes, lights

Accentus - Opéra de Rouen Haute-Normandie
Orchestre du Poème Harmonique
Vincent Dumestre, conductor

Royal Opera
Saturday 14 June - 6.30 and 9 pm

Sunday 15 June - 4 and 7 pm
Running time: 1h10 including interval

A specialist of French and Italian music of the 17th century, which he has frequently staged, the next step for Vincent Dumestre was to interpret Purcell, the father of British music, who was so influenced by the continent.
He will richly serve Purcell’s passions, aided by Cécile Roussat and Julien Lubek’s ingeniosity. The Poème Harmonique, conducted by Vincent Dumestre is back on stage. This ensemble takes on English 17th century music and selects one of its greatest opera masterpieces: Dido and Aeneas. This work, which at the time of its creation, was a hybrid mix of theatre and masque (a show composed of songs, dances, instrument music and spectacular scenic machinery) enabled the British composer to fulfill his dramatic ambition. Purcell only signed a single opera in his short career; he died at 36, leaving a varied and rich production. This jewel is extremely concise. His score which develops a rich and daring language will be interpreted by the musicians of the Poème Harmonique to draw out all its colours.
The genius of this work also resides in the quality of the libretto, skillfully constructed by Nahum Tate. Its implacably elliptic writing tells of the story of love and separation of two lovers. Fleeing Troy, Aeneas stops in Carthage and falls in love with Queen Dido. Their love gives the people hope again. But Sorceresses and Spirit put a stop to their idyll, driving Aeneas back to his wanderings. The hero obeys them, abandons his beloved who dies of grief.
Cécile Roussat and Julien Lubek are directors with training from circus arts and Mime Marceau. They already worked with the Poème Harmonique for the Carnaval Baroque. They will mix mime, dance and acrobatics to music, in a moving and enchanting scenography. Vivica Genaux will interpret the role of Dido.

Rates from 389€ (includes a classic room and 2 tickets in 1st category) Information and bookings: (0033) 1 30 84 51 20 or by email : reservations.trianon@waldorfastoria.com

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