Trompe la mort (Francesconi) Paris 2017 Naouri Fuchs Dubois Komlósi Uria-Monzon
Popular Singers in this Opera Recording
Information on the Performance
- Work Title: Trompe la mort  
- Composer: Francesconi Luca   
- Libretto: Luca Francesconi    Libretto Text, Libretto Index
- Venue & Opera Company: Opera de Paris, Palais Garnier, Paris, France  
- Recorded: 2017
- Type: Staged Opera Live
- Singers: Laurent Naouri, Julie Fuchs, Cyrille Dubois, Marc Labonnette, Ildikó Komlósi, Philippe Talbot, Béatrice Uria-Monzon, Chiara Skerath, Christian Helmer
- Conductor: Susanna Mälkki   
- Orchestra: Orchestre de l’Opéra national de Paris  
- Chorus: Choeurs de l’Opéra national de Paris  
- Chorus Master: Alessandro Di Stefano  
- Stage Director: Guy Cassiers  
- Costume Designer: Tim Van Steenbergen  
Information about the Recording
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, frsubs  
- This Recording is NOT AVAILABLE from a proper commercial or public source
-  
ADDITIONAL INFORMATION ON THIS PERFORMANCE
“I am the author, you will be the drama; if you don’t succeed, I’ll be whistled. ”
Trompe-la-Mort (Splendors and miseries of the courtesans, Honoré de Balzac)
For this world creation, Luca Francesconi takes on a tutelary figure from La Comédie humaine: Vautrin, alias Jacques Collin, alias Father Carlos Herrera, alias… Trompe ‑ la ‑ Mort. Impressive masked character, Trompe-la-mort is revealed both through latent, intangible energies, and in dramas with tragic twists and turns. Ambivalent character with royal familiarity and maternal eagerness, cruel and amorous, rapacious and capable of taming madmen, this “Machiavelli of the penal colony” who will end up chief of the police, uses his conquests to serve a brilliant goal while “hiding his walk ”. Embracing events in order to lead them, disguising his means of achieving, Trompe-la-Mort pursues an implacable enterprise of subversion of social and economic strata. Still, he remains terribly devoted to those he elects. Directed by Guy Cassiers for his first collaboration with the Paris Opera, this painting of a society on three permeable levels takes up in its own way the question posed by Balzac: “Isn’t the world a theater?” The Third Below is the last cellar under the planks of the Opera, to conceal the machines, the stagehands, the ramp, the apparitions, the blue devils vomited by hell, etc. “