Jarrett Ott sings the role of Æneas

Henry Purcell (1659-1695) Libretto by Nahum Tate Sixteen years after the publication of her recording of Purcell's masterpiece (Virgin classics), here is again Emmanuelle Haïm at the baton of the Concert d'Astrée for an interpretation of Dido and Aeneas, in a production which innovates by its setting. in a daring scene and the bias of a real plunge into the psyche of Dido. Purcell’s unique opera, consisting of a succession of short numbers, develops Virgil’s drama in minimalist form - a drama that librettist Nahum Tate had already simplified. However, if the original discourse goes to the essential through its purity and its great expressiveness, the introduction of musical interludes, composed by the faithful collaborator of Emmanuelle Haïm Atsushi Sakaï, allows a plunge into the torments of a Dido dissociated between her love for Aeneas and another inner voice, malefic, which opposes this love and which is embodied by the witch. Franck Chartier and his company Peeping Tom offer their first opera staging, where the horizon tightens like a vise around a Dido delivered to her schizophrenia. The dancers, like so many spirits, sometimes opposing, sometimes assisting, set the rhythm of a psychosis sublimated by the music of Purcell.

Direction musicale  Emmanuelle Haïm
Assistant à la direction musicale
et composition des intermèdes musicaux Atsushi Sakaï
Mise en scène Franck Chartier/Peeping Tom

Scénographie Justine Bougerol
Costumes Anne-Catherine Kunz
Lumières Giacomo Gorini
Conception sonore Raphaëlle Latini
Dramaturgie Clara Pons
Collaboratrice artistique Euridike De Beul
Assistant à la chorégraphie Samuel Lefeuvre, Louis-Clément da Costa
Assistante à la mise en scène Lulu Tikovsky

Didon, La magicienne, Un esprit Marie-Claude Chappuis
Énée, Un marin Jarrett Ott
Belinda, Seconde sorcière Emőke Baráth
Deuxième dame, Première sorcière Marie Lys

Artistes de la compagnie Peeping Tom
Chœur et orchestre du Concert d’Astrée