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© Opera Royal
Porpora: Polifemo
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 December 2027 | ||||||
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Opera in three acts to a libretto by Paolo Rolli, created in London in 1735.
Show in Italian with French and English surtitles.
Opera in staged version.
Synopsis
Act 1
Scene 1: A calm sea by the Sicilian shore, in sight of Mount Etna
The chorus sings of two goddesses (Vien bell'Aurora). Galatea and Calipso lament that they have fallen in love with mortals (Vo presagendo). As the chorus praises love (Febo tu ancora) Calipso leaves.
Scene 2: The same
Galatea's attempted exit is interrupted by Polifemo. He desires Galatea and wonders why she is not impressed with his pedigree (he is the son of Neptune) or his superhumanstrength. Galatea states that she can not love him. Polifemo responds that the flames in his heart are greater than those of Mount Etna (M'accendi 'n sen col guardo). Knowing of his tendency to rage and fury, Galatea wishes that he would understand she has fallen in love with the mortal Aci (Se al campo e al rio soggiorna).
Scene 3: The ships of Ulisse are seen in the distance; Ulisse disembarks with his entourage from one of the ships and is met by Aci.
After a long and arduous journey, Ulisse is happy to have landed. He sees a cave that will serve as suitable accommodation. Aci warns Ulisse of Polifemo the giant cyclops who terrorizes people, killing and devouring them. Aci explains that he knows the giant's routine and has been able to avoid him. He urges Ulisse to leave. But Ulisse wants to see the giant first; he explains his lack of fear in that "The greatest dangers are but common objects." (Core avvezzo al furore dell'armi). Aci muses that Ulisse's bravery is the kind that can vanquish Polifemo. He then sees Galatea, his love, approaching in a ship. (Dolci fresche).
Scene 4: Another part of the shore with cottages belonging to fishermen.
Calipso in disguise meets Ulisse. He is taken with her beauty, while she assures him safety (Vedrai che veglia il cielo).
Scene 5
Polifemo enters and is amused to find Ulisse ready to wage battle. Recognizing his heroism, Polifemo pledges to protect Ulisse and his men, which Ulisse warily accepts but remains on guard (Fa ch'io ti provi ancora).
Scene 6: A grove
In a grove, Galatea is happy to be with Aci but wonders at Aci's lack of concern about Polifemo. Aci responds that he's not afraid of the giant. Galatea promises to visit the grove again in order to meet but must leave because of the approach of Polifemo. Aci responds that her presence gives him joy (Morirei del partir nel momento). He leaves and Galatea wonders what the other sea nymphs will think of her affair with a mortal although she loves him. (Ascoltar no non ti volgio).
Act 2
Scene 1
Calipso muses on the implications of her love to a mortal.
(In the first version: Nerea encourages Calipso to use her charms in mollifying Polifemo in order to liberate Ulisse from the cave where he and his men are protecting themselves (Una beltà che sa’.)
Scene 2
Ulisse approaches with a flock and tells Calipso that Polifemo has given him a shepherd's tasks, and that his men are held captive in a cave. He explains that they are captives until Polifemo's slaves return with presents. If the slaves have brought no presents to Polifemo, then he will devour them. Calipso tells him not to worry because the gods are on his side (Lascia fra tanti malì) (early version:Nel rigor d'avversa stella) Ulisse remarks on her kindness (Fortunate pecorelle!).
Scene 3
Aci revels in his infatuation for Galatea (Lontan dal solo e caro...Lusingato dalla speme) (First version: Zeffiro lusinghier).
Scene 4: A view of the sea
Preparing to meet Polifemo, Galatea sails in her seashell, encouraging the breezes to bring her to Ulisse (Placidetti zeffiretti). Polifemo intercepts her and questions why she would prefer a young boy to his attributes. She refuses him and Polifemo swears revenge on Aci. Galatea continues entreating the breezes to bring her to Aci (Placidetti zeffiretti).
Scene 5: Aci and Galatea
Aci encourages the cupids to bring Galatea safely to shore (Amoretti vezzosetti). Aci and Galatea have an excited exchange in which they reveal their love for one another. Galatea tells Aci to meet her later in a grotto, and Aci promises to do so, his passion for Galatea overcoming his fears (Nell'attendere il mio bene). Galatea is smitten by Aci and wishes that all her hopes are true (Fidati all speranza). (Earlier version: Dal guardo che incatena.)
Scene 6:
Ulisse awakes to find Calipso. Calipso explains who she is to him. She promises him safety if he willll give his heart to her, and alerts him that the slaves are bringing presents to Polifemo. Overjoyed Ulisse sings (Dell'immortal bellezza).
Scene 7: A grove
Aci and Galatea express their love despite foreboding feelings of fear (Tacito movi e tardo).
Act 3
Scene 1: A rock near Mount Etna, at the foot of which in a shady bower where Aci and Galatea are located.
Polifemo admonishes Galatea (Fugace Galatea). He would have gladly been a water nymph to be with her. But he is more powerful than Jove and will bring about vengeance because of her refusal. He throws the rock and kills Aci.
Scene 2
Galatea mourns Aci (Smanie d'Affanno).
Scene 3: Polifemo's cave
Ulisse and Calipso prepare to meet Polifemo. Ulisse wonders why does she help him. Calipso explains that his previous heroic actions has moved her to help him. She becomes invisible as Polifemo enters, exultant over having exacted revenge. Ulisse offers him some wine from Mount Etna (D'un disprezzato amor). Polifemo drinks and falls asleep. Ulisse takes a burning brand and sticks it in Polifemo's eye and exults in having overcome him (Quel vasto, quel fiero). Calipso rejoices in seeing Ulisse beat Polifemo.
Scene 4: The rock which fell upon Aci
Galatea is happy that Polifemo has been vanquished but implores Jove to restore Aci to life.
Scene 5
The rock opens and a stream springs forth. Aci, now the god of the stream, holds an urn. Both Aci and Galatea thank Jove for restoring his life (Alto Giove).
Scene 6
Now blind, Polifemo wanders the island aimlessly (Furie ce mi strazjate). Aci tells Polifemo that Jove has exacted revenge for killing him (Senti il fato). Polifemo acknowledges that he is consumed with rage.
Scene 7
Ulisse praises the nymphs and all around him (Intessiete ghirlande). All sing a chorus to love (Accendi nuova face).
Program and cast
VIP CATEGORY: Best seats in house with complimentary glass of champagne and programme.
PRESTIGE CATEGORY: Excellent seats with complimentary glass of champagne and programme.
3h with intermission
Franco Fagioli: Acis
Julia Lezhneva: Galatée
Paul-Antoine Bénos-Djian Ulysse
José Coca Loza: Polifemo
Élénore Pancrazi: Calypso
Orchestre de l’Opéra Royal
Under the high patronage of Aline Foriel-Destezet
Stefan Plewniak: Conductor
Justin Way: Director
Christian Lacroix: Costumes
Roland Fontaine: Stage sets
Palace of Versailles Opera Theater
Royal Opera
The Royal Opera of Versailles, located in the grounds of the Castle, one of the major opera houses.
The opening of the opera house at Versailles brought to a close a process of planning, projects and designs that had lasted for nearly a century. While the Royal Opera was finally built towards the end of the reign of Louis XV, it had been envisaged since as early as 1682, the year when his predecessor Louis XIV took up residence at Versailles. The King had commissioned Jules Hardouin-Mansart and Vigarani to draw up plans for a ballet theatre. Mansart shrewdly decided on a position at the far end of the new wing that was to be built over the coming years: the nearby reservoirs for the gardens’ fountains could be used to fight any fire that might break out, while the sloping ground on that part of the site would allow provision of the necessary technical spaces below the stage without major excavation work. So cleverly-chosen, indeed, was the planned location that none of Mansart’s successors ever questioned it.
Major building work was already under way in 1685, but was soon interrupted because of the wars and financial difficulties which beset the later part of the king’s reign. Louis XV in his turn was long put off by the huge expense involved in the project. As a result, for almost a century the French court was forced to put up with a makeshift theatre installed below the Passage des Princes. When a grand opera was required, with a large cast and complicated stage machinery, a temporary theatre would be built in the stables of the Grande Ecurie, with the entire structure being demolished once the performances were over. This temporary solution was adopted, for instance, during the celebrations of the Dauphin’s wedding in February 1745, but its inconvenience was so starkly obvious that Louis XV finally resolved to build a permanent theatre, entrusting its design to his first architect, AngeJacques Gabriel.
The process of actually building the new theatre, however, was to take over twenty years. During this lengthy period of construction Gabriel, who had studied the leading theatres of Italy, in particular Vicenza, Bologna, Parma, Modena and Turin, presented a series of different designs to his royal patron, none of which was accepted. Only in 1768, faced with the forthcoming successive marriages of his grandchildren, did the king finally give the order for work to commence. Building progressed steadily and the new opera house was completed in twenty-three months, ready for its inauguration on the 16th of May 1770, the day of the Dauphin’s marriage to the Archduchess Marie-Antoinette, with a performance of Persée by Quinault and Lully.
Royal Chapel
This extraordinary two-level palatine chapel was built by Jules Hardouin Mansart between 1699 and 1708 and completed by Robert de Cotte in 1710.
The paintings on the vaulted ceiling by Antoine Coypel, Charles de la Fosse and Jean Jouvenet, as well as the lavish decoration fashioned by a team of sculptors working for Louis XIV, depict a number of Old and New Testament scenes. Facing the royal gallery is the remarkable organ, created by Robert Clicquot, the King's organ builder, which was first played on Easter Sunday 1711 by François Couperin.
Even though Hardouin-Mansart did not witness the completion of the chapel, he was the one who had dictated the major aspects of the architecture and decor: a ground floor with a nave, aisles and ambulatory, and an upper floor with galleries, a harmonious combination of white and gold contrasting with the polychromatic marble floor and paintings on the vaulted ceiling, all combining to create an original space with references to both gothic architecture and baroque aesthetics.
Every day, generally at 10 a.m., the court would attend the King's mass. The King would sit in the royal gallery, surrounded by his family, while the ladies of the court would occupy the side galleries. The "officers" and the public would sit in the nave. The King would only descend to the ground floor for important religious festivals when he would take communion, for Order of the Holy Spirit ceremonies and for the baptisms and weddings of the Children of France, which were celebrated there between 1710 and 1789. Above the altar, around the Cliquot organ played by the greatest virtuosos of their age, including François Couperin, the Chapel Choir, renowned throughout Europe, would sing motets throughout the entire service, every day.
The Orangerie gardens
From May to October, orange trees and other shrubs are taken out of the Parterre Bas of the Orangerie gardens. At the center of this parterre, there is a large circular pool surrounded by six sections of lawn.
Orangerie
A great stone cathedral within a formal garden, The Orangerie is both a royal and magical place.
Built between 1684 and 1686 by Jules Hardouin-Mansart to house and protect precious trees and shrubs during the Winter, this extraordinarily large building is located beneath the parterre du Midi (South flowerbed), for which it acts as a support. Two monumental staircases, known as "les Cent Marches" (the hundred steps), frame the Orangerie's three galleries, which overlook the parterre where, during the Summer, more than 1,200 exotic trees are arranged.
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