Grand Théâtre de Genève tickets 26 March 2026 - Castor and Pollux | GoComGo.com

Castor and Pollux

Grand Théâtre de Genève, Geneva, Switzerland
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7:30 PM
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US$ 109

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If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Geneva, Switzerland
Starts at: 19:30
Intervals: 1
Duration: 2h 30min
Sung in: French
Titles in: French,English

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Conductor: Leonardo García-Alarcón
Bass-Baritone: Andreas Wolf (Pollux)
Ensemble: Cappella Mediterranea
Choir: Grand Théâtre de Genève Chorus
Tenor: Reinoud Van Mechelen (Castor)
Creators
Composer: Jean-Philippe Rameau
Choreographer: Edward Clug
Librettist: Pierre-Joseph Bernard
Overview

Following Les Indes galantes (The Amorous Indies, 2019) and Atys (2022), the Grand Théâtre continues its exploration, with Leonardo García Alarcón and his Cappella Mediterranea, of opera-ballet and the French Baroque repertoire.

While he had already written numerous pieces for keyboard, as well as religious pieces and works for special occasions, Jean- Philippe Rameau was already in his fifties when in 1733 he composed his first tragic opera, Hippolyte and AriciaLes Indes galantes followed in 1735, and finally, in 1737, Castor and Pollux. Into its five acts punctuated by danced divertissements, the composer incorporated Italian madrigals, virtuoso ornamentation, unusual chord progressions, subtle dissonances and rich orchestral textures, all designed to emphasise the emotions of the characters and the dramatic tensions.

In a double desire to return to the work’s roots and discover a little-known score, Leonardo García Alarcón and Romanian choreographer Edward Clug have decided to tackle the rarely-performed 1737 version, which is more innovative and subtle than 1754 revision. Against the backdrop of a war between two neighbouring peoples which has left deep scars, Rameau paints an almost psychological portrait of the characters, Pollux in particular, who is torn between his love for Telaira – betrothed to his brother Castor –, and his duty to the latter. Willing to give up his immortality to save his mortal brother who has fallen in combat, Pollux descends into the underworld to take his place. What we are talking about is a brotherhood which seeks to be universal, and which transcends everything – even death –, and an unconditional love that triumphs over the horrors of war.

Much sought-after by the major dance companies for his ability to bring narrative creations to life (Peer Gynt for Ballett Zürich, for example), choreographer Edward Clug is making his first foray into the world of opera with Castor and Pollux. Inspired by the wonderful particularity of the French Baroque, he will convey the work’s inexhaustible relevance by placing it into a fruitful dialogue between the bodies of the dancers and those of the singers, setting dance at the heart of his dramaturgy while embracing the contours of Rameau’s sumptuous music. Bringing these mythical heroes to life are a host of expert interpreters of the Baroque repertoire: tenor Reinoud van Mechelen making his GTG debut as Castor, opposite a Pollux sung by Andreas Wolf – a memorable Celenus in Atys at the GTG in 2022 –, the two of them vying for the heart of Sophie Junker’s Telaira. In the role of Phoebe is Franco-Swiss mezzo soprano Ève-Maud Hubeaux, bringing all her artistic versatility and finesse to an entirely different repertoire to her impressive Princess Eboli at the GTG in 2023.

History
Premiere of this production: 24 October 1737, Theatre in the Palais-Royal in Paris

Castor et Pollux (Castor and Pollux) is an opera by Jean-Philippe Rameau, first performed on 24 October 1737 by the Académie royale de musique at its theatre in the Palais-Royal in Paris. The librettist was Pierre-Joseph-Justin Bernard, whose reputation as a salon poet it made. This was the third opera by Rameau and his second in the form of the tragédie en musique (if the lost Samson is discounted). Rameau made substantial cuts, alterations and added new material to the opera for its revival in 1754. Experts still dispute which of the two versions is superior. Whatever the case, Castor et Pollux has always been regarded as one of Rameau's finest works.

Synopsis

The synopsis is based on 1737 version

Prologue
The allegorical prologue is unrelated to the main story. It celebrates the end of the War of the Polish Succession, in which France had been involved. In the prologue, Venus, goddess of love, subdues Mars, god of war, with the help of Minerva. In the 1754 revision, the prologue was eliminated.

Act 1
Background note: Castor and Pollux are famous heroes. Despite being twin brothers, one of them (Pollux) is immortal and the other (Castor) is mortal. They are both in love with the princess Telaira (Télaïre), but she loves only Castor. The twins have fought a war against an enemy king, Lynceus (Lyncée) which has resulted in disaster: Castor has been slain. The opera opens with his funeral rites. Telaira expresses her grief to her friend Phoebe (Phébé) in Tristes apprêts, one of Rameau's most famous arias. Pollux and his band of Spartan warriors interrupt the mourning bringing the dead body of Lynceus who has been killed in revenge. Pollux confesses his love for Telaira. She avoids giving a reply, instead asking him to go and plead with his father Jupiter, king of the gods, to restore Castor to life.

Music in Act I: In the 1737 version, the act opens with a tomb scene in which a chorus of Spartans mourns the death of their fallen king Castor who has been slain by Lynceus. The music in F minor features a descending tetrachord motive associated with lamentation since Claudio Monteverdi's Nymph's Lament (in this case it is chromatic: F-E-Eb-D-Db-C). Although Telaira's Tristes apprêts in scene 3 does not have the descending tetrachord feature, Cuthbert Girdlestone still calls it a lament. The air is in da capo form, whose B-section has a recitative-like quality. It features a bassoon obbligato part and a high register outburst on the word "Non!" that marks its high point. The march music for the entrance of Pollux and the Spartans is martial in character. With Lynceus's corpse at his feet, Pollux proclaims his brother avenged; the Spartans chorus then sings and dances in rejoice "Let Hell applaud this new turn! Let a mournful shade rejoice in it! The cry of revenge is the song of Hell.". The second air of the Spartans in C Major, a that allows for a trumpet obbligato part with all of its military associations. (Before valved instruments, the trumpet keys were C and D major.) The act concludes with a lengthy recitative in which Pollux professes his love for Telaira.

Act 2
Pollux expresses his conflicting emotions in the aria Nature, amour, qui partagez mon coeur. If he does what Telaira says and manages to persuade Jupiter to restore his brother to life, he knows he will lose the chance to marry her. But he finally yields to her pleas. Jupiter descends from above and Pollux begs him to bring Castor back to life. Jupiter replies he is powerless to alter the laws of fate. The only way to save Castor is for Pollux to take his place among the dead. Pollux, despairing that he will never win Telaira, decides to go to the Underworld. Jupiter tries to dissuade him with a ballet of the Celestial Pleasures led by Hebe, goddess of youth, but Pollux is resolute.

Act 3
The stage shows the entrance to the Underworld, guarded by monsters and demons. Phoebe gathers the Spartans to prevent Pollux from entering the gate of the Underworld. Pollux refuses to be dissuaded, even though Phoebe declares her love for him. When Telaira arrives and she sees Pollux's passion for her, Phoebe realises her love will be unrequited. She urges the demons of the Underworld to stop him entering (Sortez, sortez d'esclavage/Combattez, Démons furieux). Pollux fights the demons with the help of the god Mercury and descends into Hades.

Act 4
The scene shows the Elysian fields in the Underworld. Castor sings the aria Séjours de l'éternelle paix: the beautiful surroundings cannot comfort him for the loss of Telaira, neither can a Chorus of Happy Spirits. He is amazed to see his brother Pollux, who tells him of his sacrifice. Castor says he will only take the opportunity to revisit the land of the living for one day so he can see Telaira for the last time.

Act 5
Castor returns to Sparta. When Phoebe sees him, she thinks Pollux is dead for good and commits suicide so she can join him in the Underworld. But Castor tells Telaira he only plans to remain alive with her for a single day. Telaira bitterly accuses him of never having loved her. Jupiter descends in a storm as a deus ex machina to resolve the dilemma. He declares that Castor and Pollux can both share immortality. The opera ends with the fête de l'univers ("Festival of the Universe") in which the stars, planets and sun celebrate the god's decision and the twin brothers are received into the Zodiac as the constellation of Gemini.

Venue Info

Grand Théâtre de Genève - Geneva
Location   Boulevard du Théâtre 11

Grand Théâtre de Genève is the main opera house of Geneva. The venue is a majestic building, towering over Place Neuve, officially opened in 1876, partly destroyed by fire in 1951 and reopened in 1962, after extensive refurbishments, which houses the largest stage in Switzerland. As an institution, it is the largest production and host theatre in French-speaking Switzerland, featuring opera and dance performances, recitals, concerts and, occasionally, theatre.

Built in 1879, the Grand Théâtre de Genève is the largest artistic stage in Switzerland and home to the Geneva opera house and the Geneva Ballet Company. Every season, it features nine performance runs of opera, three of dance and a broad range of recitals and cultural, youth-friendly or festive events to develop its audience and honour its public service mission. Gutted by fire in 1951, the building and the front of house retain its original Beaux-Arts style whereas the wood-panelled auditorium, completed in 1961, seats 1500 and boasts a spectacular metalwork security curtain that extends into the ceiling, where 1200 glass stars shine as the house lights. The Grand Théâtre de Genève employs its own opera chorus of 40 singers and has an artistic partnership with the Orchestre de la Suisse Romande for its opera season. Since 2019, Aviel Cahn is the general manager of the Grand Théâtre de Genève and since 2022, the Geneva Ballet Company is directed by Sidi Larbi Cherkaoui. The Grand Théâtre de Genève was named Opera Company of the Year in 2020 (Opernwelt).

Designed by Jacques­Elisée Goss on a design by Henri Sylvestre, the Grand Théâtre de Genève opened in 1879, in a Beaux­Arts and Second Empire­style building, with a horseshoe­shaped auditorium. In 1951, there was a terrible fire, during a rehearsal of Wagner’s Walkyrie: the auditorium, stage area and roofs were destroyed. It reopened in 1962 after a reconstruction project led by Charles Schopfer, Marco Zavelani­Rossi and Jacek Stryjenski (the latter having designed the huge ceiling inspired by the Milky Way called Alto). The foyers and adjoining areas were then hurriedly restored. The stage area was modernized in 1997 and the stage decks in 2006. Between 2016 and 2019, the Grand Théâtre was closed for renovations and its activities were held at the Opéra des Nations. The Place de Neuve site underwent an architectural renovation (new rehearsal rooms and changing rooms in the basement, meeting room in the attic area), also involving security (upgrading of comfort and fire standards) and heritage items. The foyers and hallways were refurbished, tapestries repaired, damaged marble and faux marble surfaces were restored and the parquet floors recreated. Several modern improvements were introduced, such as the box office reception desks and a Milky Way­type lighting introduced in the Upper Circle and Basement bars. The building reopened on 12 February 2019 with Wagner’s Das Rheingold and an Open Doors day followed by a Mapping on the place de Neuve on 23 March 2019 gathering 14000 people.

In 1962, the Grand Théâtre de Genève acquired a permanent ballet company, made up of 22 artists, offering two original choreographic creations per season. Collaborating with choreographers of international renown, over the course of its performances, it has built a worldwide reputation for itself. Today, whilst the premieres are always held in Geneva, the Geneva Ballet frequently performs outside Switzerland (France, Italy, United States, Russia, Australia, China, Brazil, South Africa…). From the 22–23 Season, the Ballet is under the management of Sidi Larbi Cherkaoui.

Founded in 1962, the Choir of the Grand Théâtre de Genève is an ensemble of forty-two professional singers from a wide variety of nationalities.
An essential part of the artistic department of the Grand Théâtre de Genève, the Choir takes part in the productions that contribute to the institution’s renowned reputation. For certain specific productions requiring a larger ensemble, additional professional singers join the group, allowing for flexibility and adaptability according to the program’s demands.
Thanks to the quality of its performances and its dedication, the Choir of the Grand Théâtre is not only recognized for its level of excellence by the press, but its performances are also praised by directors, conductors, and audiences alike. In 2023, the Choir was once again nominated for the Opera Awards.

Important Info
Type: Opera
City: Geneva, Switzerland
Starts at: 19:30
Intervals: 1
Duration: 2h 30min
Sung in: French
Titles in: French,English
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