Les Fêtes vénitiennes

At the end of the seventeenth century a new opera genre appeared — the opéra-ballet — with the creation of André Campra’s L’Europe Galante in 1697. Followed by Montéclair, Mouret and Destouches, Campra became one of the most brilliant innovators of the eighteenth century. Through his collaboration with Danchet, librettist of Les Fêtes Vénitiennes, he perfectly gratified the hedonist preoccupations of the Regency period in France: comic invention, a pragmatic approach to the art of love, biting observation of social mores, and incisive criticism of the Parisian theater milieu (particularly in the two entrées Le Bal and L’Opéra). 

A juxtaposition of little dramas, combining theater within theater, realistic and contemporary characters, simplified intrigues, and a commedia dell’arte ambiance, Les Fêtes Vénitiennes is a luxuriant work in which the aria, in a cantata style very influenced by Italy, holds sway, and dance and amusement are capital.

Following Platée, William Christie and Robert Carsen have once more joined forces to bring wit and panache to their recreation of this opéra-ballet, which will transport audiences into the delirium of the Venice Carnival.

Production: A new production by the Opéra Comique
Coproducted by Les Arts Florissants (sponsored by the Selz Foundation), the Théâtre du Capitol de Toulouse, the Théâtre de Caen, and the Centre de Musique Baroque de Versailles

Photos

Le Bal - Reinoud Van Mechelen (Thémir) and the choir of Les Arts Florissants

Les Sérénades et les Joueurs - Emmanuelle de Negri (Lucile) and Emilie Renard (Isabelle)

Les Sérénades et les Joueurs - François Lis (Léandre) and instrumentists on stage

Les Sérénades et les Joueurs - Élodie Fonnard (La Fortune)

L'Opéra - Emmanuelle de Negri (Lucie) and Rachel Redmond (Léontine)

L'Opéra - Marc Mauillon (Borée) and Rachel Redmond (Léontine)