Castor & Pollux

Opera by Jean-Philippe Rameau

Libretto by Pierre-Joseph Bernard Version of 1737
First performed on October 24, 1737 by the Académie royale de musique at the Palais-Royal in Paris
Premiere at the Grand Théâtre de Genève
New production

Sung in French with French and English surtitles
Duration: approx. 2h30 with one intermission*

Cast

Musical Director Leonardo García Alarcón
Stage Director and choreographer Edward Clug
Set Designer Marko Japelj
Costumes Designer Leo Kulaš
Lighting Designer Tomaž Premzl
Video Designer Rok Predin
Chorus Director Mark Biggins

Castor Reinoud van Mechelen
Pollux Andreas Wolf
Télaïre Sophie Junker
Phébé Ève-Maud Hubeaux
Venus / One Planet Charlotte Bozzi
Mars / Jupiter / Athlete 2 Alexandre Duhamel
Minerva / A follower of Hebe / A happy shadow Giulia Bolcato
Love / Athlete 1 / The High Priest Sahy Ratia

Grand Théâtre de Genève Chorus
Cappella Mediterranea
Dancers of the Ballet du Grand Théâtre de Genève

About

Following Les Indes galantes (The Amorous Indies, 2019) and Atys (2022), the Grand Théâtre continues its exploration, with Leonardo García Alarcón and his Cappella Mediterranea, of opera-ballet and the French Baroque repertoire. While he had already written numerous pieces for keyboard, as well as religious pieces and works for special occasions, Jean- Philippe Rameau was already in his fifties when in 1733 he composed his first tragic opera, Hippolyte and Aricia. Les Indes galantes followed in 1735, and finally, in 1737, Castor and Pollux. Into its five acts punctuated by danced divertissements, the composer incorporated Italian madrigals, virtuoso ornamentation, unusual chord progressions, subtle dissonances and rich orchestral textures, all designed to emphasise the emotions of the characters and the dramatic tensions.

In a double desire to return to the work’s roots and discover a little-known score, Leonardo García Alarcón and Romanian choreographer Edward Clug have decided to tackle the rarely-performed 1737 version, which is more innovative and subtle than 1754 revision. Against the backdrop of a war between two neighbouring peoples which has left deep scars, Rameau paints an almost psychological portrait of the characters, Pollux in particular, who is torn between his love for Telaira – betrothed to his brother Castor –, and his duty to the latter. Willing to give up his immortality to save his mortal brother who has fallen in combat, Pollux descends into the underworld to take his place. What we are talking about is a brotherhood which seeks to be universal, and which transcends everything – even death –, and an unconditional love that triumphs over the horrors of war.

Much sought-after by the major dance companies for his ability to bring narrative creations to life (Peer Gynt for Ballett Zürich, for example), choreographer Edward Clug is making his first foray into the world of opera with Castor and Pollux. Inspired by the wonderful particularity of the French Baroque, he will convey the work’s inexhaustible relevance by placing it into a fruitful dialogue between the bodies of the dancers and those of the singers, setting dance at the heart of his dramaturgy while embracing the contours of Rameau’s sumptuous music. Bringing these mythical heroes to life are a host of expert interpreters of the Baroque repertoire: tenor Reinoud van Mechelen making his GTG debut as Castor, opposite a Pollux sung by Andreas Wolf – a memorable Celenus in Atys at the GTG in 2022 –, the two of them vying for the heart of Sophie Junker’s Telaira. In the role of Phoebe is Franco-Swiss mezzo soprano Ève-Maud Hubeaux, bringing all her artistic versatility and finesse to an entirely different repertoire to her impressive Princess Eboli at the GTG in 2023.