Synopsis
Inspired by biblical texts adapted into English by librettist Charles Jennens, The Messiah celebrates the life of Christ in three parts following the major stages of his destiny: the announcement made to the Virgin Mary by the Archangel Gabriel and the birth of Jesus: the martyr leading up to the crucifixion; and finally the resurrection of Christ for the salvation of humanity.

The Messiah on stage
Composed in three weeks and premiered in Dublin in 1742, The Messiah marks an important step for Handel, bring to an end a long series of intensively researched operas in Italian. By turning to an oratorio in English, the German composer, living in exile in England, rediscovered his creative energy, which had become somewhat dulled. He also expressed a certain number of dualities and influences (Venice and London, the sacred and the theatrical, the classical and the baroque) which make up the richness of his work. Handel by no means wrote The Messiah for the stage. However, in 2012 director Deborah Warner came up with a moving concept for staging the composer’s most famous oratorio, performed at the Lyon Opera House and revived this season. Its uncluttered set, dictated by the oratorio form, and its galvanizing contemporary interpretation in particular makes the fate of Christ resonate with our own concerns.

Oratorio
HWV 56, 1742
Libretto by Charles Jennens
A revival of the 2012 production, premièred at the English National Opera
Co-production with the English National Opera