The murder of Abel by his brother Cain is one of those subjects that fascinated a century preoccupied by theological matters. That first murder was to engender all humanity and cast the ambiguous figure of Cain in the role of the father of civilisation. In the wake of Moses und Aron, stage director Romeo Castellucci returns to the Paris Opera with this oratorio, exploring its metaphysical dimension and the role of evil within the divine plan. Scarlatti’s music evokes the theme.

Scarlatti: Il Primo Omicidio

Ludwig van Beethoven headed for Symphony No. 9 literally his entire life. As early as the 1790s, he had an eye on Ode to Joy, perhaps the most well-known poem by Friedrich Schiller, written on the threshold of the French Revolution (1786). In his mature and, in particular, later years, the deaf composer with an acute ‘hearing vision’ increasingly distanced himself from conventional forms and genres and wrote parts beyond the possibilities of instruments of his day. He nurtured the idea of a symphony with a choir for at least several years.  The history of the Ninth’s interpretations includes 200 years of staggering revelations and lingering stagnation. Performed by the musicAeterna orchestra, choir, and guest soloists under the baton of Teodor Currentzis, Beethoven’s opus magnum acquires the original poignancy and energy of a recent discovery.