Opera on the pulse of time: The Magic Flute, The Woman Without a Shadow and more in Aix-en-Provence

The Aix-en-Provence Opera Festival opened with a bold and thought-provoking lineup this year, drawing attention not just for its individual productions but for the overarching vision behind its programming. The festival, which has been reshaped following the sudden death of former artistic director Pierre Audi in May 2025, continues to reflect his legacy through carefully curated works that challenge historical narratives and question the reliability of truth. Among the highlights were Clément Cogitore’s production of Mozart’s The Magic Flute, Barrie Kosky’s The Woman Without a Shadow, Francesco Filidei’s Accabadora, and Romeo Castellucci’s Requiem. These diverse operas share a common theme: they probe the instability of history, memory, and moral certainty in times of crisis. Ted Huffman, the new artistic director, emphasized that the current season's choices were made by Audi before his passing and remain unchanged under his leadership. At 48 years old, Huffman represents a new generation of opera directors who have emerged from contemporary theater and film rather than traditional opera houses. His career includes directing modern works at prestigious venues such as Covent Garden, the Paris Opera, Glyndebourne, and Zurich. Unlike many of his predecessors, he avoids self-indulgent staging and instead focuses on collaborative artistry, aligning himself more with Audi’s approach, rooted in intelligence, curiosity, and a talent for uniting artists. The opening production, Cogitore’s The Magic Flute, offered a striking reinterpretation of Mozart’s classic. Set in post-war Germany, the opera examines the promises and failures of Enlightenment ideals after the devastation of the 20th century. Historical footage bridged the destruction of the 1940s with ongoing conflicts in Europe and the Middle East. Cogitore’s message was clear: history repeats itself because its lessons are never fully internalized. The performance featured Leonardo García Alarcón conducting the Cappella Mediterranea, whose rich orchestral colors brought out the clarity and contrasts in Mozart’s score. Ying Fang delivered a luminous Pamina, while Mauro Peter’s deeply human Tamino formed the emotional core of the show. Sabine Devieilhe transformed the Queen of the Night into a broken soul, her pain more compelling than her desire for vengeance. Barrie Kosky’s The Woman Without a Shadow approached similar themes through a different lens. Michael Levine’s monumental stage designs created one of the most visually arresting environments of the festival. Klaus Mäkelä, making his debut with a staged opera, conducted a triumphant performance. The cast included Michael Spyres, Ambur Braid, Brian Mulligan, and Nina Stemme, whose voices and dramatic presence gave depth to the moral dilemmas presented in the work. Perhaps the most surprising highlight of the week was Francesco Filidei’s Accabadora, based on Michela Murgia’s novel. The opera explores the ancient Sardinian tradition of assisted dying, neither advocating nor condemning the practice but focusing instead on compassion and the burden of responsibility. Filidei’s score displayed remarkable imagination in its orchestral textures. Noa Frenkel stood out as Tzia Bonaria, delivering one of the strongest performances of the festival. Supported by Lucie Leguay’s sensitive conducting of the Lyon Opera Orchestra and Valentina Carrasco’s unsentimental direction, Accabadora reaffirmed Filidei as one of the most intriguing composers of the present era.