Il Trovatore

Opera in 4 Acts, 1853

Music Giuseppe Verdi - Libretto Salvatore Cammarano, after Antonio Garci­a Gutierrez

Opéra de Rouen Normandie - September 24, 26, 28, 30, October 2, 2021 - New Production

« It's common belief that the wicked witch's damned soul still lives in the world,
And when the sky is black she shows herself in various shapes.» - Il Trovatore, Act 1.

Music Direction, Pierre Bleuse
Staging, Set design, Costumes design, Jean-Philippe Clarac & Olivier Deloeuil
Collaboration for scenic design, Christophe Pitoiset
Artistic collaboration, Lodie Kardouss
Lighting, Christophe Pitoiset
Video, Benjamin Juhel, Julien Roques, Tim Buisson
Graphic design, Julien Roques
Dramaturgy, Luc Bourrousse

With : Lionel Lhote (Il Conte di Luna), Jennifer Rowley (Leonora), Sylvie Brunet-Grupposo (Azucena), Ivan Gyngazov (Manrico), Grigory Shkarupa (Ferrando), Aliénor Feix (Inès), Martin Lamotte (Ruiz)


Opéra de Rouen Normandie


Witch-hunt and feminist dystopia in 2050s Rouen.

In a futuristic world where the Count of Luna’s cronies monitor the memory of women through huge high-security data centers, the “witch” Azucena is caught and sent back into the past on account of of her ability to focus on specific anterior events. 

A journey to 2020s Rouen, where Manrico was born; but also to Rouen during the 1500s, golden age of the witch trials in Europe.

Neo-feminist witches, anonymous hackers and technological power clash during incessant travels through time.

A futuristic reading of Verdi’s masterpiece aiming, through the exploration of Azucena’s memory problems, at confronting each spectator with a triple question:

—On an intimate level, how do we relate to past memories and feelings?

—On the political level, how to deal with, and pass on, the “right” memory?

—Il Trovatore as an archetype of operatic misogyny, with its unremitting instances of the erasure of female discourse (Azucena’s memories, Leonora’s visions, Ines’ forebodings) by male narratives? Or, rather, Il Trovatore as a philosophical tale, playing with notions of time, perception and predetermination in order, perhaps, to summon both past and future at the bedside of our present times?