![]() ![]() OP is thrilled to complete the trilogy in celebration of Philip Glass’ 85th Birthday in 2022. La Belle et la Bête: The Beast, the Man, and the Mask The timeless tale of La Belle et la Bête is a powerful portrayal of transformation made possible by love. ![]() With this production Opera Parallèle will become the first company to present performances of all three operas Glass wrote in homage to Cocteau, having performed Orphée in 2011 and Les Enfants Terribles in 2017. by Philip Glass Libretto by the Composer based on the film by Jean Cocteau A surreal new take on a timeless tale, fusing opera & film live on stage. This timeless icon of cinematic wonder served as the inspiration for Philip Glass’ 1994 opera of the same name. co-production by English National Opera and LA Opera and in collaboration with. Jean Cocteau’s sublime adaptation of Madame Leprince de Beaumont’s fairy-tale masterpiece is a landmark of motion picture fantasy, with unforgettably romantic performances by Jean Marais and Josette Day.īy transforming the characters of both the Beast and the Beauty from childlike figures to complex adult characters living in a surrealistic dream world, Cocteau transforms the tale into a surreal vision of death and desire while exploring themes that continue to resonate today-identity, compassion, and inner beauty. Librettist: Jerome Robbins, Philip Glass, Richard Riddell, Robert Israel. Once upon a time, in a world of magic and wonder, the true love of a beautiful girl finally dispelled the torment of a feral but gentle-hearted beast.With this new presentation of the classic fairytale La Belle et la Bête, Opera Parallèle blurs the boundaries of film and opera, fusing Jean Cocteau’s 1946 film with a powerful and arresting score by Philip Glass, thus honoring two of the great artistic minds of modern times. Between summer of 1967 and the end of 1968, Philip Glass composed nine works, including Strung Out, Gradus (for solo saxophone, 1968), Music in the Shape of a Square (for two flutes, composed in May 1968, an homage to Erik Satie), How Now (for solo piano, 1968) and 1+1 (for amplified tabletop, November 1968) which were 'clearly designed to experiment more fully with his new-found. ![]()
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