Giuditta

The magnificent city of Ys in Brittany is protected from flooding by a dike, overseen by the royal family. To seal peace with the city’s former adversary, the King of Ys grants him the hand of his eldest daughter, Margared. But she breaks her vows at the altar, sparking the outbreak of a new war. Devastated to learn that the man she wishes to marry is promised to her own sister, Margared prepares to betray the secrets of the city of Ys to the enemy.

Misfortune strikes a kingdom: the queen is dying. She makes her husband swear that he remarry after her death, but on one condition, that he only marry a woman more beautiful than her. Seeing the picture of his daughter appear, whom he doesn't recognize at first, the king finds in her a woman more beautiful than the queen and he wishes to marry her, and continues to wish it even after she is recognized as his child. Advised by her fairy godmother, the little girl imposes impossible conditions in hopes of cancelling the wedding. But the king accomplishes the impossible. The girl then asks of him the skin of his donkey, the one that makes the kingdom's riches by defecating gold. Without hesitating the king fulfills the request of his daughter, who then flees him, dressed in the horrible garment to repel all desires.

‘In reality, this Lohengrin is an entirely new phenomenon for the modern consciousness!’ Richard Wagner himself understood the innovative character of his sixth piece of music theatre, completed in 1848, the year of revolutions. Although it is reckoned among his ‘romantic operas’, his new vision of musical drama is already clearly heralded in this work. In his hands, the mediaeval saga of the Knight of the Swan becomes a meditation on the true love that asks no questions. Alain Altinoglu, our Music Director, who has already conducted this work in Bayreuth, guarantees the quality of the music, while the director Olivier Py, known at La Monnaie for his brilliant productions of Les Huguenots and Hamlet, can be relied on not to downplay Wagner’s revolutionary political side. Wagner’s own opinion was that ‘one can only understand Lohengrin if one can liberate oneself from any modern-looking, generalising form of representation so as to see the phenomena of real life’. A challenge to us all?