Les Enfants Terribles
Philip Glass / Jean Cocteau
Les Enfants Terribles
A ballet-opera by Philip Glass based on the story by Jean Cocteau, in French, with Hungarian and English surtitles
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Last event date: Saturday, December 11 2021 11:00AM
Adaption by Philip Glass and Susan Marshall
Rare is the work for the opera stage in which singers and dancers share equal importance in jointly moving the story along with their expressive power. This is something that is evident in the balett-opera Les enfants terribles, which world-renowned Philip Glass composed as the final part of his Jean Cocteau trilogy. In the story of Paul and Lise, the two children are both prisoners and victims of an imaginary world of their own invention, having created through play an entire world which they are no longer able to distinguish from reality. One way to interpret the piece is as Cocteau’s faith in the transcendent power of the imagination and creativity, in which the singers and dancers alternate in relating the events taking place in the story.
Les Enfants Terribles
An Opera By Philip Glass
Based on the story by Jean Cocteau
Adaption by Philip Glass and Susan Marshall
© 1996 Dunvagen Music Publishers Inc. Used by Permission.
An Opera By Philip Glass
Based on the story by Jean Cocteau
Adaption by Philip Glass and Susan Marshall
© 1996 Dunvagen Music Publishers Inc. Used by Permission.
Conductor
Elisabeth (voice)
Elisabeth (dance)
Paul (voice)
Paul (dance)
Gérard (voice)
Gérard (dance)
Agathe / Dargelos (voice)
Agathe (dance)
Dargelos (dance)
Narrator
Mother (dance)
Michael (dance)
Housekeeper (dance)
Doctor (dance)
Uncle (dance)
Young lady (dance)
Featuring on piano
Libretto after Jean Cocteau's novel by
Director, choreographer
Dramaturg
Set designer
Costume designer
Lighting designer
Consultant
Company répétiteur
Hungarian surtitles
English surtitles
Assistants to the director
Musical assistants
Our offer
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The world-famous Dutch harpsichordist, organist and conductor Ton Koopman, one of the most significant representatives of the international practice of the historically informed performance of early music, turns 80 this October.
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