|
Hippolyte et Aricie (2020)
Character: Self - Conductor
In October 1733, the audience at the Académie Royale de Musique witnessed the birth of a revolutionary work: Hippolyte et Aricie. With its inventiveness and musical richness, Rameau’s opera marks a break in the history of French music. A similarly revolutionary duo – Jeanne Candel and Raphaël Pichon – get to grips with this work for the Opéra Comique.
|
|
|
Le Nozze di Figaro (2023)
Character: Conductor
This Salzburg Festival production of Le nozze di Figaro (2020) offers a radical reinterpretation of Mozart's opera, directed by Martin Kušej, who continues his exploration of Mozart’s works following Don Giovanni (2002) and La clemenza di Tito (2003). The turbulent comedy, laden with erotic entanglements, exposes themes of patriarchal dependency, sexual exploitation, betrayal, and emotional emptiness. French conductor Raphaël Pichon, renowned for historically informed performances, conducts his first opera at Salzburg after his debut at the festival in 2018.
|
|
|
|
|
|
|
In Search of Bach II. Wedding Cantata (2025)
Character: N/A
Raphaël Pichon, Pygmalion and Sabine Devieilhe celebrate Bach and love in the very church where the composer married his first wife, Maria Barbara.
Program : J. S. Bach - Aria 1 de la cantate « Weichet nur betrübte Schatten » BWV 202
|
|
|
In Search of Bach III. Actus Tragicus (2024)
Character: N/A
Raphaël Pichon and the Pygmalion ensemble join forces with a magnificent vocal ensemble to perform Johann Sebastian Bach's cantata Actus Tragicus, set to a work by Johann Michael Bach. Program : Johann Michael Bach - Unser Leben ist siebenzig Jahre Jean-Sébastien Bach - Cantate Actus Tragicus BWV 106 (extraits)
|
|
|
|
|
|
|
Jean-Philippe Rameau: Samson (Festival d'Aix-en-Provence) (2024)
Character: N/A
When, in 1733, Voltaire, the most brilliant mind of his day, collaborates with Rameau, its greatest composer, in undertaking an ambitious reform of operatic practice, the result is the biblical opera Samson. But the libretto is condemned and the score lost – possibly reworked here and there in later compositions. Claus Guth and Raphaël Pichon, haunted by this interesting project that had turned into one of the most intriguing failures in operatic history, have tried, not to recreate the letter, but to revive the spirit: to marry a strong, noble libretto with the most eloquent music.
|
|
