The police man | Alejandro Sánchez - 21, 22, 24, 25 sepĮn el prólogo de la primera edición de la tragedia original, Jean Cocteau deja constancia de su deseo de que de toda puesta en escena de su texto haga referencia concreta al contexto histórico de su representación, algo que él mismo aplica al evocar en su film el París contemporáneo a la grabación del metraje, pero que el propio Glass parece ignorar al mantener esta temporalidad en su adaptación. The journalist / Glazier | Emmanuel Faraldo - 21, 22, 24, 25 sep
Heurtebise | Mikeldi Atxalandabaso - 21, 22, 24, 25 sep
New production of the Teatro Real and Teatros del Canal Premiere at the American Repertory Theatre of Cambridge (Massachusetts), Libretto by Philip Glass, based on the homonymous film (1950) by Jean Cocteau First seen in 1993, the composer transforms the death of the young poet Cégeste into the point of departure and return of a unique descent to the underworld. The loss of his own partner, designer and multimedia artist Candy Jernigan, also inspired Philip Glass to undertake this double tribute for what would become the first title in a trilogy of chamber operas based on Cocteau – the others are La Belle et la Bête and Les Enfants terribles - which are totally independent of each other.
His exploration of the myth - with allusion to Gluck’s Orfeo - is articulated as “ the successive deaths through which a poet must pass before he is changed into oneself” Jean Cocteau, author of the cinematographic script which is the inspiration for this opera, directed the film Orphée (1950) after losing his lover, Raymond Radiguet, who was only 20 years old. The myth of Orpheus is, above all, the translation to a symbolic language of mourning after the death of a loved one: denial, negotiation and acceptance find their way of expression through the pointless endeavour of the central character to rescue Eurídice from the kingdom of Hades and of his failed pact with the divinities of the underworld.
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