This programme is above all a personal and artistic reflection on the myth of Pygmalion. By exploring two versions of this story (Rameau and Bailleux), I sought to reveal not only the different facets of this legend but also to question the role of art in our lives as artists. The myth of Pygmalion, beyond its first reading that might reduce the woman to a creation, serves as a pretext to explore what it means to create, what it means to give life to the inanimate – a reflection that, as artists, resonates deeply within us.

I wanted to pay tribute to the ballet act Pygmalion, which I consider a distillation of all that makes Jean-Philippe Rameau a great master. His orchestral writing shows a true symbiosis between instrumentalists and singers. The instrumental writing does not merely accompany the text: it enhances it, extends it, and fully participates in the dramatic expression. Rameau also entrusts the tenor with rare virtuosity, creating a heroic role tailor-made for countertenors, who are known for their incredible agility, such as Jéliote. This writing, full of technical challenges and lyrical richness, demands complete commitment from the performer. With a succession of dramatic arias, laments, perilous arias, and vocalisations, Rameau has created a work that pays tribute to the stars of the Paris Opera company, their incredible abilities and the passion they inspire.

Ballet act with a libretto by Ballot de Sauvot, created at the Royal Academy of Music in 1748.

Jean-Philippe Rameau (1683-1764)
Les Fêtes de Polymnie : Ouverture
Les Boréades : Entrée de Polymnie

Jean-Baptiste Lully (1632-1687)
Le mariage forcé : Récit de la beauté « Si l’amour vous soumet »

Antoine de Bailleux (1720 – 1798)
Pigmalion (Cantatille dans le goût italien)

Jean-Philippe Rameau
Pigmalion

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