Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of bride-to-be to Norina, his own betrothed. Docile, then intractable, Norina excels in playing at false appearances.The conflict between the two generations smoulders and stokes the comedy whilst producing an undercurrent of wistful yearning.With sincerity and dramatic profundity, Damiano Michieletto opens a pathway to the heart of an apparently light-hearted work, renowned as the apotheosis of opera buffa. The Paris Opera Orchestra and ChorusA co-production of the Opéra national de Paris and La Belle Télé With the participation of France Télévisions, the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts and the Centre National du Cinéma et de l'image animée.Director: Vincent Massip © Opéra national de Paris – La Belle Télé – 2018Picture: © Vincent Pontet / OnP

Don Pasquale: A rich old bachelor who decides to marry at the last minute in order to deprive his nephew of his inheritance. Ernesto: Don Pasquale’s nephew who is in love with Norina. Norina: A penniless young woman who, under the pseudonym of Sofronia, pretends to be Don Pasquale’s wife. Doctor Malatesta: A friend of the family and an ally of Ernesto and Norina, he is the mastermind of the plan to fool Don Pasquale.

Don Pasquale

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Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of brid

Gaetano Donizetti

Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting a man’s battle against conventions and order.Cavalli’s last-known opera, dating from 1667, focuses on the perverse young emperor who neglected affairs of state in favour of sensual pleasures.Systematically overturning accepted morals, Elagabalus dresses men as women, and names women to the Senate, favours sinning servants and humiliates generals. Baroque and carnivalesque, Eliogabalo is not, however, an opera that advocates a return to order.Leonardo García Alarcón, a finder of baroque gems, and Thomas Jolly are careful not to transform Eliogabalo into a sublime icon who would abase virtue.On the contrary, the conductor and young director, who are presenting their first production for the Paris Opera, accept the character’s contradictions and ambiguities Orchestre Cappella Mediterranea Chœur de Chambre de NamurCoproduction avec de Nationale Opera, Amsterdam Coproduction Opéra national de Paris, CLC Productions with the participation of France TélévisionsWith the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts and with the assistance of the Centre national du cinéma et de l'image animée.Director: Julien Condemine & Roberto Maria Grassi © Opéra national de Paris - CLC Productions – 2016Picture: © Agathe Poupeney / OnP

<ul><li>Eliogabalo: Emperor of Rome</li><li>Alessandro: Eliogabalo’s cousin and heir </li><li>Gemmira: Giuliano’s sister, engaged to Alessandro but coveted by Eliogabalo</li><li>Giuliano: Prefect of the Praetorian Guard, in love with Eritea</li><li>Eritea: A young woman dishonoured by Eliogabalo and in love with Giuliano</li><li>Zotico: A confidant and favourite of Eliogabalo</li><li>Lenia: Eliogabalo’s nurse</li><li>Nerbulone: Coach driver, Lenia’s fiancé</li><li>Atilia Macrina: A young woman in love with Alessandro</li><li>Tiferne: A gladiator</li></ul>

2016-17-ELIOG162

Eliogabalo

Violent, terrifying and fascinating, Caligula, Nero and Elagabalus led lives so short, ambivalent and cruel that they inspired numerous writers. “Anarchy, to the extent to which Elagabalus pushes it, is genuine poetry”, wrote Antonin Artaud, exalting