![]() ![]() For his debut at the Paris Opera, Wajdi Mouawad tells us about the trajectory of Oedipus, this man who ignores himself, in a continuum of organic images, sometimes vegetal, sometimes aerial or aquatic. ![]() He put collectively a glossary of all of the obscure references within the libretto like the water of Castalia, a sacred spring in Delphi and despatched it to the. Despite a triumphant reception, the work was surprisingly rare on the stages during the 20th century. PARIS Ahead of rehearsals for his staging of George Enescu’s Oedipe on the Paris Opera, the playwright and director Wajdi Mouawad did one thing uncommon. First performed at the Palais Garnier in 1936, it returns to the Paris Opera after an absence of eighty-five years, under the baton of Ingo Metzmacher, who speaks passionately about this music rich in French influences and yet truly unique. The influence of Fauré, his master, Stravinsky, Debussy and ancient Romanian musical traditions nourish an orchestral and vocal writing of unparalleled originality. Georges Enescus only opera accompanied him for more than twenty years. the unique technical capabilities of an instrument are highlighted. Sophocles' piece has the effect of an electric shock on the Romanian composer who from then on, and even before having a libretto, works on his score, created in 1936 at the Paris Opera. includes categories such as sonata, symphony, and opera opus. ![]() Given the resources involved, this Oedipe. Ken Cazan, director of Chicago Opera Theaters 2004 production of Death in. In 1909, leaving a performance of Oedipus as the King at the Comédie ‑ Française, Georges Enesco hastened to transcribe the first bars of his future and unique opera. The smaller roles are luxuriously cast, from Ekaterina Gubanova’s vocally voluptuous Jocaste to Anne Sofie von Otter’s briefly imposing Mrope. Strange, strange, hallucination, he sings, in an exotic melisma that draws. ![]()
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