The Minotaur – half-bull, half-man – has been imprisoned in a labyrinth on the island of Crete. Young men and women are sacrificed to him each year to repay an old debt. Can Theseus end this bloodshed?
News and features
From The Minotaur to Anna Nicole: some recent role creations in Royal Opera commissions.
Harrison Birtwistle's reading of this ancient Greek myth focuses on the troubled inner world of the Minotaur, and his longing to discover his true identity and voice. Poet David Harsent provides a libretto of lyrical intensity, continuing a rich, creative partnership with Birtwistle – the pair have worked on a number of operas together, including Gawain, which was also commissioned by The Royal Opera and first performed here in 1991.
The Minotaur brings a raw and visceral dramatic world to the stage. The Overture is played against a backdrop of menacing waves, which herald the darkness to come. Alison Chitty's elegant designs reimagine the centre of the labyrinth as an amphitheatre-like space, where the Minotaur gores his victims. But the Minotaur also has a human side – during his dreams he acquires language and gives voice to his dark existence in monologues of poignant power. The central role, written for the acclaimed bass John Tomlinson, wears a bull's head mask, reminiscent of those used in ancient Greek rituals.
Generous philanthropic support from
The Maestro's Circle
This production contains violence and sexual scenes.
The performance lasts about 2 hours 40 minutes | Including one interval. Part one will last for about 1 hour 27 minutes followed by an interval of 25 minutes. Part two will last for about 55 minutes.
Sung in English with surtitles
|Lighting design||Paul Pyant|
|Video design||Leo Warner|
|Video design||Mark Grimmer|