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As an artist of the 19th century, he was driven by the psychology of the masses. Thus, in &lt;i&gt;Boris Godunov&lt;/i&gt;, alongside the hero of the title, the main role is actually taken primarily by the Russian people, rejoicing, starving, demanding and questioning.

With the participation of conductor &lt;i&gt;Kent Nagano&lt;/i&gt;, catalan stage director Calixto Bieito proposes an original reading of this brilliant work. The cast leaded by Alexander Tsymbaliuk (Boris) associates Gerhard Siegel (Schuisky), Markus Eiche (Chelkalov) and Anatoli Kotscherga (Pimen).</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Jean-Philippe Rameau's Platee&lt;/i&gt; is a masterpiece of the French operatic repertoire and was highly regarded by critics during the composer's lifetime. Composed for the marriage of the Dauphin Louis, son of Louis XV, to the Infanta Maria Teresa of Spain, it was first performed at Versailles in 1745 and became an instant hit.

The plot revolves around the ugly and conceited frog Platee, the victim of a machination of the gods who make her believe that she is loved by Jupiter. Is this Rameau mocking Princess Maria Teresa of Spain - reputedly a woman of little beauty? Or the French court, which saw itself as a new Olympus?

This classic production from the Opera national de Paris by Marc Minkowski and Laurent Pelly returns to the stage with an entirely new cast, featuring Julie Fuchs, Mathias Vidal, Jean Teitgen and Lawrence Brownlee in the title-role.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Mozart&lt;/i&gt; was not yet seventeen when &lt;i&gt;Lucio Silla&lt;/i&gt; was created in Milan one December evening of 1772, yet we can still distinguish in this youthful composition some of the elements that established the exceptionally-gifted child musician as the greatest composer of all times. Indeed, with Lucio Silla, although a neoclassical "opera seria" in every way, it seems that Mozart was already learning to deconstruct and to free the traditional forms of musical drama from archaic conventions. We can also identify in this work an aesthetic premise that Mozart didn't formulate until ten years later: it falls to music only to express and to reveal the psychological depths of the characters; and the poetry in the libretto should only be its "obedient daughter".

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Tenor Kurt Streit is Lucio Silla, and soprano Patricia Petibon is Giunia for the last time, after having gained international recognition thanks to her numerous performances in this role, while mezzo-soprano Silvia Tro Santafe is the ardent Cecilio. In this monumental production, Claus Guth finds a way to respect both the classical setting and the formal innovations that make the opera so interesting. Ivor Bolton conducts the Orchestra and Chorus of the Teatro Real.</marc:subfield>
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Stage director Axel Ranisch interweaves those two works, resulting in a coming-a-of-age fairy tale on family, love, knowledge and self-determination: Mavra and Iolanta are becoming &lt;i&gt;Mavra/Iolanta&lt;/i&gt;.</marc:subfield>
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