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Lully – Molière: Le Bourgeois gentilhomme

Summary

Comédie-ballet
  • From Thursday 4th to Sunday January 14th 2024
  • Royal Opera
  • 3h30 with intermission
Accueil Lully – Molière: Le Bourgeois gentilhomme 2024

Cast

  • Jean-Noël Brouté The Master Tailor, Covielle
  • Julien Campani The music master
  • Isabelle Candelier Madame Jourdain
  • Manon Combes Nicole
  • Bénédicte Guilbert Dorimène
  • Francis Leplay The Master of Philosophy
  • Leslie Menu Lucile
  • Nicolas Orlando The fencing master
  • Laurent Podalydès A lackey
  • Léo Raynaud A lackey, Dancer, The Little Mufti
  • Pascal Rénéric Monsieur Jourdain
  • Thibault Vinçon The dance master, Cléonte
  • Windy Antognelli, Flavie Hennion, Artemis Stavridis Dancers
  • Romain Champion, Cécile Granger, Marc Labonnette, Francisco Mañalich Singers
  • Soloists of Ensemble La Révérence
  • Denis Podalydès (member of the Comédie-Française) Stage direction
  • Christophe Coin Musical direction
  • Emmanuel Bourdieu Artistic collaboration
  • Éric Ruf Set design
  • Christian Lacroix Costumes
  • Stéphanie Daniel Lighting
  • Kaori Ito Choreography
  • Véronique Soulier-Nguyen Make-up and hair
  • Laurent Podalydès Assistant director
  • Delphine Sainte-Marie Set Design Assistant
  • Jean-Philippe Pons Costume Assistant

Presentation

This is a monumental work that celebrated its 350th anniversary in 2020, the force of which has in no way faded thanks to Molière’s extraordinarily skilful writing, which still leaves us hanging on every word of this bourgeois man.  Denis Podalydès takes on this classic, delivering a production full of humour and light-heartedness that is perfectly in keeping with the text and Molière’s devastating intelligence.

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In Le Bourgeois gentilhomme, Molière paints the portrait of an adventurer of the mind, who has no other wish than to escape his commoner condition and set foot on lands from which he is excluded – to discover a terra incognita forbidden to him because of his status at birth. Why mock Monsieur Jourdain? The bourgeois man is simply keen to discover what we now know as “culture” and decides to take on the vast challenge of making his dreams a reality. What does it matter that his dreams are ridiculous? By choosing to restore the original comédie-ballet form of the piece, set to music with Lully’s scores, Denis Podalydès summons all the arts. In this celebration of theatre, with costumes by Christian Lacroix, the director aims for the apotheosis of the senses so avidly desired by his hero played. The purpose of the comedy is of course to laugh. But it is difficult not to feel some sympathy for this man without qualities, who attempts to initiate the very first cultural revolution all by himself.  After a thousand comical twists and turns, Monsieur Jourdain is elevated to the rank of “Mamamouchi” and has his hour of glory, in music and dance, sickened by his bourgeois status, an imaginary gentleman, both fulfilled and defeated, duped and triumphant, in a rare theatrical moment where ridicule gives way to pure amazement.

Production by C.I.C.T. – Théâtre des Bouffes du Nord
Co-production by the Opéra Royal / Château de Versailles Spectacles, Les Nuits de Fourvière / Département du Rhône, Les Théâtres de la Ville de Luxembourg, Théâtre de Liège, Théâtre de Caen, Ensemble Baroque de Limoges / Fondation Laborie, Maison de la Culture d’Amiens, Châteauvallon – Scène nationale, Printemps des Comédiens / Montpellier
With the artistic participation of the ENSAD de Montpellier Languedoc Roussillon, the ENSATT and the JTN
Tromba marina, lute-maker Jean-Claude Condi, Mirecourt
Set construction by the Ateliers des Théâtres de la Ville de Luxembourg; art & Oh – Benoit Probst
Costume design by Ateliers du Théâtre de Liège

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Programme

First part: 1h40

Second part: 1h15

Video

The Royal Opera of the Château de Versailles

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And also…

CD Molière / Lully – Le Bourgeois gentilhomme

N°53
When the first notes of the new comédie-ballet, Le Bourgeois Gentilhomme, the fruit of Lully’s and Molière’s genius, sounded on 14 October 1670, no one could have imagined it would reach such a posterity – four centuries later, the same lightness, vigour and ingenuity still make us laugh!
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