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In Les Enfants Terribles Gérard tells the story of his friends, brother Paul and sister Lise, who live in their own fantasy world. Orphaned and dependent on each other, they spend their days in their room, where they play the ‘game’. Gérard is Paul and Lise’s only friend and link to the outside world. As they grow older, their intense bond becomes increasingly destructive. When it becomes too oppressive for Lise, she starts working as a model and meets Agathe there. What started as a childish fantasy grows into a web in which everyone becomes entangled.
Four singers, an actor and three pianos. That’s all it takes to tell a gripping story about the driving, transcendent and sometimes destructive power of imagination.
Philip Glass’ chamber opera Les Enfants Terribles Philip Glass’ is based on the 1929 novel of the same name by French poet, writer and filmmaker Jean Cocteau. The music is, in the words of director Béatrice Lachaussée, ‘enchanting, fascinating, hypnotic, sometimes cheerful and sometimes oppressive’. Glass is known for his repetitive minimal music. In Les Enfants Terribles, this music immediately evokes strong images. For Lachaussée, the music describes life, which just keeps going on and on, with ups and downs. There is no escape: once you get on that carousel, you have to finish the ride…
Thanks to her love for the imaginary art world of Cocteau and her great visual imagination, Lachaussée is the director for Les Enfants Terribles. She previously directed Cocteau’s La Voix Humaine (2020) for Opera Zuid, and the family opera Een lied voor de maan (2021/2023). This time she is working with scenographer Jorine van Beek. Together they create a stage design in which the young singers of the National Opera Studio can bring the dark fantasy world of Les Enfants Terribles to life.
Les Enfants Terribles is a co-production of Opera Zuid, De Nationale Opera and the Nederlandse Reisopera, and thus part of the collaboration between the three opera companies to stimulate talent development.
Enter the mesmerizing world of Les Enfants Terribles where fantasy and reality become indistinguishable.
Les Enfants Terribles lasts ninety-five minutes and is sung in French, with Dutch and English surtitles.
INTERVIEW WITH DIRECTOR BÉATRICE LACHAUSSÉE
What is Les Enfants Terribles by Philip Glass about for you?
‘The opera is based on the book of the same name by Jean Cocteau and is a parable about the dangers of a relationship that is too close. It is about Paul and Elisabeth (Lise) – brother and sister – who threaten to suffocate each other, but at the same time find it very difficult to welcome a stranger into their world. The music by Philip Glass is fascinating and enchanting, like an uninterrupted stream – like a river – with currents of excitement and tension. The music supports the core of the story, which is very dark. At the same time, there are childlike and cheerful moments and the music evokes very strong images. For me, the music describes life, which just keeps going on and on, with ups and downs. From the first to the last note, the opera is like a carousel that, once you get on, you can’t get off and you go on a hypnotic ride.’
Les Enfants Terribles by Jean Cocteau has been your favorite for years, why?
‘Cocteau is one of my favorite artists. Les Enfants Terribles is one of his most famous works; I have devoured this book since I was seventeen. I find it so special how he reflects the complexity of the human psyche. That makes his work very human and at the same time perfect for opera. There are so many layers to his characters. His work is also very cinematic and creates an enormously strong imaginative world, which I love very much.’
Where does this love for imagination and creativity come from?
‘Because of what I experienced at a young age, I looked for a way to express myself. As a child, I danced, sang and wrote a lot. Because I had no words for my feelings, it became vital for me to express myself in a poetic way. Music helped me with that. In this way, I created a safe place where I could delve into my own creativity to my heart’s content. I wish the same feeling for the people who see my performances; that they are inspired to let their own imagination work for them. I think opera is the perfect form for that. Thanks to my very first opera experience – Die Zauberflöte in a circus tent – I have never seen opera as something elitist, but as an art in which all forms of creativity come together. I want to recreate the intimacy and freshness that I experienced then with every production that I make.’
What else do you hope to achieve with your direction of Les Enfants Terribles?
‘I want to tell an inspiring story in a poetic way, but I am also increasingly interested in the link between art and the needs of society. The theme of a ‘stranger’ who tries to belong to the group can be recognized from everyday life, but of course also in politics. I would find it interesting to encourage the audience to think about this theme in a more philosophical way. How we can enrich and broaden our lives by allowing new influences, by evolving through change and together achieving something even more beautiful. Because there is – I think – a great need to recreate a sense of connection between people, a sense of connection that transcends social and cultural boundaries.
Although I do not want to be judgmental or didactic; my intention is to create an enchanting performance that inspires people so much that they might want to come and see it two or three times to discover new nuances each time.’