Les Boréades | Rameau

The whole piece appears to focus on the frontispiece of the lyrics in the second act: "It's freedom which we need to love, Freedom is the highest good! " 

The freedom to love, for a woman who rejected the marital matches imposed on her, the political liberty of someone who revolts against the arbitrary privileges of a social class and demonstrates that nobility is, above all, a question of virtue and not blood. 

Spectacles have rarely been incorporated into the dramatic and musical structure in such an organic and significant way.

In this way, Les Boréades reflects on both the persistent and contradictory legacies of the Ancien Régime and the Lumières, and our current way of responding and overcoming these eras.

The sets also include the creation of accessories. Practically invisible to the eyes of spectators in the hall, or as big as the stage itself, the accessory creators work on small accessories and elements of the set alike.

Rehearsals, Italian rehearsals (musical rehearsal without accompanying acts or movements), piano staging, orchestra staging ... The artists form a real bond that the audience can feel during each show. 

Before the opening show, the artists wish each other good luck with a “Toï toï” (a German expression wishing success) and exchange small gifts, to round off these weeks of intense work.

In 2019, this co-production with the Komische Oper Company (Komische Oper de Berlin) received the Critic's Grand Prix in the Best European Co-production of the Year category from the professional performing arts review association—Syndicat de la Critique. 

The company paid tribute to Rameau on several occasions: Castor & Pollux in 2014, as a co-production with the Opéra de Lille, initially produced by the English National Opera and the Komische Oper Berlin.