Charmant

#1 Le prince charmant existe ! (Il est italien et tueur à gages)
Moi, c'est Robyn, jeune mère célibataire au langage fleuri, maladroite et tatouée. Politiquement incorrecte et fière de l'être ! Le seul prince charmant auquel je crois est le héros du conte que je lis à ma fille tous les soirs. Mon ex a failli me démolir et jamais plus je ne laisserai un homme me briser. Je jongle entre mon travail de barmaid et de tatoueuse pour joindre les deux bouts. Ma princesse et moi, c'est nous deux contre le reste du monde ! …

With Joyce DiDonato as Cinderella capturing all hearts – not just Prince Charming’s – Massenet’s enchanting, sophisticated retelling of the classic fairytale makes its debut at Covent Garden in a charming and witty production by Laurent Pelly. The Cinderella story seen through the eyes of the belle époque, Massenet’s Cendrillon was first performed at the Opéra-Comique in Paris in 1899 and its gorgeous score embraces pathos, pastiche, broad humour, subtle eroticism and sheer magic.In Summer 2011, its debut at London's Royal Opera House was built around mezzo-soprano Joyce DiDonato, who first took on the title role at the Santa Fe festival in 2006.

There are two different short operas (from 1754 and 1757) by Rameau with the title Anacréon. Both are one-act actes de ballet; this one was actually used as the third entrée of Rameau's opéra-ballet Les surprises de l'Amour when it was revived the same year. Both works have as their subject the Greek poet, Anacreon. The 1757 one - which was first performed at the Paris Opéra in May of that year and has a libretto by Pierre-Joseph Justin Bernard - has an only marginally less slight ‘plot’ than the earlier Anacréon. It follows an argument as to the relative merits of love and wine. That’s resolved in Anacreon’s favour by L’Amour; in fact, he believes the two are not incompatible.

In a stunning world premiere recording, music director and conductor Nicholas McGegan, Philharmonia Baroque Orchestra & Chorale, and an international cast of French Baroque opera stars present Jean-Philippe Rameau’s original 1745 version of Le Temple de la Gloire, with libretto by Voltaire. Presented as a fully staged opera in April 2017, the three sold out performances enjoyed universal critical acclaim from some of the world’s leading publications.

Although nowadays Jean-Philippe Rameau is considered the greatest French baroque composer, he only came to real fame when he was already fifty years old. Then, in 1733, his first 'tragédie en musique', Hippolyte et Aricie, was performed in public. This was followed later that decade by Castor et Pollux (1737) and Dardanus (1739) and two 'opéra-ballets', Les Indes galantes (1735) and Les Fêtes d'Hébé (1739). By the 1740s his reputation was such that there was no other composer who could be invited to write the main music to be performed during the festivities at the occasion of the marriage of Dauphin Louis, son of King Louis XV, to Marie-Thérèse of Spain in February 1745. The festivities in Versailles, which lasted a month, started and ended with music by Rameau.