When, in 1733, Voltaire, the most brilliant mind of his day, collaborates with Rameau, its greatest composer, in undertaking an ambitious reform of operatic practice, the result is the biblical opera Samson. But the libretto is condemned and the score lost – possibly reworked here and there in later compositions. Claus Guth and Raphaël Pichon, haunted by this interesting project that had turned into one of the most intriguing failures in operatic history, have tried, not to recreate the letter, but to revive the spirit: to marry a strong, noble libretto with the most eloquent music.

Goethe's masterpiece set to music by Jules Massenet can be rediscovered on stage at the Opéra Comique, conducted by Raphaël Pichon and directed by Ted Huffman.

Jean-Joseph Cassanéa de Mondonville was greatly admired in his day. His opera Titon et l’Aurore was one of his most popular works, being held up as a triumph over the rival Italian style during the Parisian Querelle des Bouffons in the 1750s. The narrative of this spectacular opéra-ballet follows the tumultuous and seemingly unbreakable liaison between the goddess L’Aurore and her lover the shepherd Titon. Jealous gods and goddesses try to interfere through murderous intent and dramatic abduction, but true love ultimately conquers all in stage director Basil Twist’s acclaimed feast for the senses.

Strauss’s elegant romance brings the glamour and enchantment of 19th-century Vienna to cinemas worldwide in a sumptuous production by legendary director Otto Schenk that “is as beautiful as one could hope” (The New York Times). Soprano Rachel Willis-Sørensen stars as the title heroine, a young noblewoman in search of love on her own terms. Radiant soprano Louise Alder is her sister, Zdenka, and bass-baritone Tomasz Konieczny is the dashing count who sweeps Arabella off her feet.