Commissioned by Radio France from the Spanish composer Emmanuelle Da Costa, the opera Actaeon or the victory of the void based on a well-known ancient myth. It tells the story of a hunter who was transformed into a deer after seeing the goddess Diana completely naked, taking her bath and enjoying it. After becoming a prey, his own dogs finally kill him. Morgan Jourdain, deputy music director of Radio France’s master department, takes us through this creation.
Actaeon, mythology revisited
The version of Actéon performed at the Opéra Bastille redirects the ancient myth towards more contemporary concerns entrusted to librettist Samuel Muller: “We had to rely on the memory of the pocket opera by Charpentier that he wrote in 1684, but which celebrated Actaeon as a victorious man, the conqueror of nature and celebrated him as an unfortunate hero. The idea was to update the story a bit by seeing this hunting character not as a superhero, but as a kind of professional. It is nature that will guide the action of this Action and will once again take precedence over the excess of humanity. We tried to use mythology and give it a more current place and something that could speak to the children of today.“, says the director of the choir.
A unique adventure for young graduates
They are usually associated with more traditional choral performances, and this time the children on the Radio France master’s program explore a repertoire they are not very familiar with: “They are used to making very beautiful music with great conductors, but they are often behind the orchestra or behind the conductorexplains Morgan Jourdain. By finding themselves alone on a set, they benefit from an artistic experience that allows them to find a place of expression, of individual affirmation, while generally remaining in a collective group. Being on stage is the way to know who you are, to be able to speak to an audience and not just offer notes“However, this experience only applies to the oldest children of the master’s degree, from 12 to 17 years of age:”It is not very small because it is quite complex music. We’re doing it from the heart, which is not our specialty in radio children’s choirs. “, he says.
Actaeon or the victory of the voidto receive from November 7th to the 9th at the Opéra Bastille Amphitheater in Paris for school sessions and for all audiences.
The evening concert Listen later
A lecture listen 1 hour 29 minutes
Reporting Listen later
A lecture listen 3 minutes
Interview: Transforming Myth and Music - A Conversation with Morgan Jourdain, Deputy Music Director at Radio France
Time.news Editor: Welcome, Morgan Jourdain! It’s a pleasure to have you with us today. Your recent work on the opera Actaeon or the Victory of the Void has garnered a lot of attention. Can you tell us a bit about the inspiration behind this project?
Morgan Jourdain: Thank you for having me! The opera is commissioned from the Spanish composer Emmanuelle Da Costa, and it draws upon the ancient myth of Actaeon. In this story, a hunter is tragically transformed into a deer after witnessing the goddess Diana bathing, leading to his demise at the hands of his own hunting dogs. Our goal was to reinterpret this tale, to reflect contemporary concerns and shed light on nature’s relationship with humanity.
Time.news Editor: That’s fascinating! I understand that you collaborated with librettist Samuel Muller to bring a fresh perspective to this myth. How did you approach this reinterpretation?
Morgan Jourdain: Yes, that’s correct! We wanted to move away from the traditional portrayal of Actaeon as a heroic figure, as seen in Charpentier’s opera from 1684. Instead, we’ve framed him as a more relatable character—less of a superhero and more of a professional hunter. This shift allows us to emphasize nature’s power and authority over humanity’s excesses. We aimed to make this myth resonate with today’s audiences, especially the younger generation.
Time.news Editor: Speaking of younger audiences, the involvement of children from the Radio France master’s program seems crucial to the opera’s emotional depth. How has this experience been for them, especially in terms of their artistic development?
Morgan Jourdain: It has been a remarkable journey for these young singers, aged 12 to 17. Typically, they’re used to performing in more traditional settings, often behind an orchestra. This time, they play a central role on stage, which provides them with an extraordinary platform for individual expression. It’s incredibly rewarding to see them gain confidence and assert their presence while still being part of a collective effort. Performing complex music in a solo capacity helps them discover who they are as artists.
Time.news Editor: That sounds like an empowering experience. Considering the complexity of the music, do you believe it’s accessible for the students? How do you handle that aspect in your training?
Morgan Jourdain: Absolutely, while the music is complex, we ensure that the students are well-prepared to tackle it. It’s a process that requires dedication and focus, but it pays off immensely. The exposure to such rich, sophisticated music not only enhances their technical skills but also nurtures critical thinking and emotional interpretation. We’re committed to guiding them through this challenging repertoire, showing them that they can rise to the occasion.
Time.news Editor: The concept of using an ancient myth to address modern concerns seems timely. Do you believe this opera will spark conversations about the themes of nature and humanity’s role within it?
Morgan Jourdain: I certainly hope so! We live in times where our relationship with nature is more pressing than ever. By revisiting this ancient narrative, we’re encouraging audiences to reflect on their responsibilities toward the environment. The opera serves as a mirror, prompting discussions about our interactions with the natural world and the impact of human actions. I believe art can be a powerful tool for such dialogues.
Time.news Editor: As we wrap up, what do you hope audiences will take away from Actaeon or the Victory of the Void?
Morgan Jourdain: My hope is that audiences will leave with a renewed appreciation for both the myth itself and the richness of contemporary opera. I want them to feel inspired, to think about the stories we tell and their relevance today, particularly in relation to nature, identity, and responsibility. Most importantly, I want them to connect with the emotional core of the music and understand the journey we’ve undertaken together as a collective.
Time.news Editor: Thank you, Morgan Jourdain, for sharing your insights. It’s clear that you and your team are creating something truly special with this opera. We look forward to seeing how it resonates with audiences!
Morgan Jourdain: Thank you for your interest! It’s been a pleasure discussing this project with you.