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La Finta pazza

From Saturday 3rd to Sunday 4th December 2022
3h15 including intermission

Cast

Mariana Flores Deidamia
Filippo Mineccia  Achille
Gabriel Jublin Ulisse
Valerio Contaldo Diomede
Alejandro Meerapfel Licomede
Norma Nahoun Minerva, La Fama
Kacper Szelążek Eunuco
Marcel Beekman Nodrice
Salvo Vitale Capitano
Julie Roset Aurora, Giunone
Alexander Miminoshvili Vulcano, Giove
Fiona McGown Tetide, Vittoria
Anna Piroli, Sarah Hauss, Aurélie Marjot Donzelles
Ruben Ruf Pirro
Priscilla Bescond, Sidney Cadot, Maëlle Desclaux Femmes du gynécée
Quentin Isabellon, Sébastien Chabane Gardes

Cappella Mediterranea 
Leonardo García Alarcón Conductor
Jean-Yves Ruf Stage direction
Laure Pichat Settings
Claudia Jenatsch Costumes
Christian Dubet Lights
Cécile Kretschmar Wigs and makeup
Anaïs de Courson Stage direction assistant
Fanny Gamet Settings assistant
Ariel Rychter Vocal coach
Mónica Pustilnik Musical direction assistant musicale
Fabián Schofrin Artistic assistant

Show in Italian with french and english subtitles

Presentation

Opera in a prologue and three acts on a booklet by Giulio Strozzi, first performed in Venice in 1641.

The story of the incredible success of La Finta Pazza in Venice in 1641 is often attributed to the presence of the diva Anna Renzi and to Torelli’s incredible stage machinery. However, a show with an excellent singer and an impressive machinery is nothing without remarkable music. As soon as I discovered this score, which has almost never been performed recently, I immediately understood the surprising quality of this music and why it had such an impact on young King Louis XIV. It offers something new in the history of music, just as the opera was becoming accessible to the public, with an extremely sophisticated relation between music and text. The quality of the music is the reason why La Finta Pazza was the first opera performed at the French court in 1645, at a time when the genre was completely unknown.

When comparing Sacrati’s music to Monteverdi’s, it appears much more ornate, with more coloratura, more explicit virtuosity, which Monteverdi tried to avoid when this was not required by the text; this takes Sacrati closer to later opera composers. He is in fact closer to a composer like Cavalli, although his harmonies are very new – 4/2, ninth/seventh and composed chords – and found neither in Monteverdi or Cavalli. We used to think that this type of chords only came later and now know they already existed in Sacrati’s music. In La Finta Pazza, I rediscovered the type of harmony and intervals found in “Pur ti Miro” of The Coronation of Poppea, which according to me clearly shows Sacrati’s intervention in the score. As for the rest, we see here a musician inventing a style, constructing his range of emotions, his music is still a work in progress and his style not fully individual. However, the natural aspect of his music makes him a great composer who deserves to be listed alongside Cavalli and Monteverdi. As the only available score of La Finta Pazza comes from a revival in Piacenza in 1664, one could fear there would be some musical additions by another hand. This is not the case, the style of composition is consistent throughout, even in the instrumental parts.

The basso continuo – the continuo – plays a central role in this music of course. As soon as it was invented, around 1600, basso continuo became the pulse that supports the singers’ breath, the development of colours, a sort of second, emotional, decor. A wealth of instruments, luths, archlutes, guitars, harps, harpsichords, organ, viola da gamba, lyres was needed to enhance the text and make its emotions accessible to the public through the colours of the continuo. My approach of La Finta Pazza will not be any different from my approach of Monteverdi and Cavalli’s operas: the text always dictates how and who should accompany it. La Finta Pazza has played a central role in the exportation of Italian opera, particularly to France, where it has remained a constant presence since: after Sacrati came Rossi, Cavalli, Lully, then Piccini, Rossini, Donizetti etc. in the 18th and 19th century. This long history was born with the Finta Pazza, which inspired the passion for opera to France. After four centuries, it seemed to me that it should be recreated in France.

- Leonardo García Alarcón -

An Opéra Royal / Château de Versailles Spectacles and Opéra de Dijon coproduction

 

 

 

Launching concert of Château de Versailles Spectacles' CD.

Saturday 3rd December –"15 minutes with" at 6.30
On presentation of your ticket for that evening and subject to availability.

Lire la suite

Photo gallery

©Gilles Abegg

©Gilles Abegg

©Gilles Abegg

©Gilles Abegg

Video

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Royal Opera

More info

Prices

Catégorie 3

41€ to 49€
Web Carte CVS
41€
Web Tarif moins de 26 ans
41€
Web Tarif Plein
49€

Catégorie 2

59€ to 70€
Web Carte CVS
59€
Web Tarif moins de 26 ans
59€
Web Tarif Plein
70€

Catégorie 1

78€ to 92€
Web Carte CVS
78€
Web Tarif moins de 26 ans
78€
Web Tarif Plein
92€

Prestige

113€ to 130€
Web Carte CVS
113€
Web Tarif moins de 26 ans
113€
Web Tarif Plein
130€

Prestige VIP

151€
Web Tarif Plein
151€

PRESTIGE VIP CATEGORY : Best seats in house with complimentary glass of champagne and programme.

PRESTIGE CATEGORY : Excellent seats with complimentary glass of champagne and programme.

REDUCED RATE applicable to under 26s, Chateau de Versailles Spectacles card holders and groups of more than 10 people (excluding special company offer).

To ensure the best welcome possible, people with limited mobility are advised to book their seats by telephone at +33 (0)1 30 83 78 89.

In case of any technical problem, the box office service remain available to complete your order by phone at +33 (0)1 30 83 78 89 (Monday-Friday from 11am to 6pm) or in our box office-shop (3 bis rue des Réservoirs, 78000 Versailles ; Monday-Friday from 11am to 6pm, and on Saturdays with concerts or shows except during the Musical Fountains Shows, from 2pm to 5pm).

 

 

 

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    Time :

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