The Enchantress

opera by Pyotr Tchaikovsky

Opera National de Lyon, France

Received "OPER! AWARD"as best lyrical opera production of the year 

in Berlin  21 September 2019

(3: 5)



Opera in four acts, 1887

Libretto by Ippolit Shpazhinsky


Conductor: Daniele Rustioni

Director and lighting: Andriy Zholdak

Sets: Andriy Zholdak, Daniel Zholdak

Costumes: Simon Machabeli




































All photos copyright Stolteth, all photos and video courtesy of the Opéra de Lyon




Prince Nikita Kurlyatev, deputy of Nizhniy-Novgorod: Evez Abdulla

Princess Yevpraskiya Romanovna, his wife: Ksenia Vyaznikova

Prince Yuryi, their son: Migran Agadzhanyan

Mamïrov, an old deacon: Piotr Micinski

Nenila, his sister, lady in waiting of the princess: Mairam Sokolova

Ivan Zhuran, valet of the prince: Oleg Budaratskiy

Nastasya (nicknamed Kuma), inn‑keeper: Elena Guseva

Lukash, son of the merchant: Christophe Poncet de Solages

Payisy, vagabond in the guise of a monk: Vasily Efimov


Orchestra and Chorus of the Opéra de Lyon

Premier will be in the frame of the Festival Life and Destinies












Brief article of Georges Banu from the web of Opera de Lyon

Portrait of an untamed artist

Andriy Zholdak is an exceptional director. Originally from Ukraine, he studied in Moscow with Anatoli Vassiliev, a man of the theatre respected in France, and who is an exceptional teacher. Without wishing to reduce him to the status of a successor, it can still be stated that the master taught him his art, which should be a personal approach, both poetic and free, to the texts being staged.

I owe my discovery of him to Gogol’s novel, Taras Bulba, a tale in which can be found the legend of the Cossacks of Ukraine, and whose adaptation dazzled me in Saint Petersburg, while a crowd of astonished critics called it a scandal. Yes, it was a real scandal, but one that opened wide the doors of the theatre to journeys from disturbing visual solutions, with space sliced up in an original way, using materials that, gradually, turned out to be the constants of Zholdak’s world. In particular milk, a nutriment which, in large quantities, stands out on the stage thanks to its whiteness, as well as the mythology of fertility associated with it.

Zholdak has a broad vision and aims at excess: it is his rebellious identity which, without either reservation or censorship, affirms itself with an incandescence that cannot be seen anywhere else.

With no precautions, Zholdak throws himself, body and soul, into the idea of providing direct, personal, original illustrations of the relationship of the struggle that has already been set up with the work in hand. He does not offer an  “interpretation” of it, but rather a series of confessions, dreams or visions about what it inspires in him. He invites us to an affirmed “stage universe”, which can sometimes seem almost autonomous.

On examining this artist’s career, what emerges, discreetly, is his attraction for mythological female figures; he affirms their constant power of seduction and explores them, while keeping their inexpressible explosive side. They are not iconic women, but volcanic women, the source of nameless conflagrations and extreme passions. He has thus built up a genuine group, going from Medea to Electra, from Phaedra to the Princess Turandot, or from Anna Karénine to Madame Bovary... with him, women stand out as the explosive centre of his world.

Zholdak has also put on memorable productions of Shakespeare, in particular Othello. What is more, it remains associated to a unique work of adaptation of classic novels, such as The Idiot, or else modern works that have marked our society, in particular in Russia: Solzhenitsyn’s One Day in the Life of Ivan Denisovich (2003), Erofeyev’s Life with an Idiot (2007) or, more recently, Stanislas Lem’s Solaris (2017). Here, his involvement in the language of the stage, displayed with an unseen intensity disturbs, and shakes us up; he draws the audience to him passionately, if they can only accept to take part in such a radical experience.

His latest masterpiece was Ibsen’s Rosmersholm (2016), a meditation on the commotion between love and faith!

Georges Banu 

next days of performances:

19th March at 19:30

22nd March at 19:30

24th March at 16:00

27th March at 19:30

29th March at 19:30 

31st March at 16:00




premier 15th March 2019


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