On the ruins of an old prison, Persada seeks the truth about her mother, "the woman who sings", whose love once defied the tyrant Soliman. In this singspiel composed in 1780, the young Mozart voices his aspirations to freedom and justice, foreshadowing The Abduction from the Seraglio. Raphaël Pichon and Pygmalion bring Zaïde together with other rarely performed works in a humanist fresco created in Salzburg in 2025.
Cast
Musical and stage design, musical direction, Raphaël Pichon • With Sabine Devieilhe, Johannes Martin Kränzle, Xenia Puskarz Thomas, Hugo Brady, Matthew Swensen • Choir & orchestra, Pygmalion
See all the cast
« Can a human being be happy without freedom? »
« Pour toi, qui dominais la vie,
La mort n'était pas effrayante,
Et en vain il brandissait
Sa lance contre toi :
Car à travers le royaume de la douleur,
L'Espérance marchait à tes côtés,
Et son bouclier d'acier
Était suspendu au-dessus de ta tête. »
An die Freude (excerpt, French translation by Sophie Kidd), poem by Johann Peter Uz (1720–1796), set to music by Wolfgang Amadeus Mozart at the age of twelve
Note from the playwright Eddy Garaudel
The preparation of Zaide in 1780 marked a decisive turning point in Mozart's career. This Singspiel, spontaneously composed for the Viennese court of the "enlightened despot" Joseph II then left unfinished, shines through the humanist themes it explores. For the first time, Mozart built a true musical and dramaturgical resonance chamber for what he considered just and good: the struggle against tyranny, the power of true love and, above all, the inalienable quest for freedom. Although Zaide initially draws on the clichés of the "rescue" narrative and on the rococo Turkish fashions of the time, the work transcends them through the psychological depth with which Mozart portrays his characters and through the rare musical intensity of the drama.
After Mozart's first departure from Salzburg in 1777, profound upheavals had marked his life: his decisive encounter with his new friend Haydn, his discoveries in Munich and of the Mannheim orchestra, his disappointed love for Aloysia Weber, his Parisian disillusionment and the tragic death of his mother. Mozart returned to Salzburg and to the service of Prince-Archbishop Colloredo with a heavy heart. Yet he also returned to his hometown profoundly transformed. The great vocal works he composed from then on carried the spirit of the Enlightenment as well as the philosophical and aesthetic movements stirring Europe. Zaide was the starting point of this new aesthetic, which refused concessions to the gallant taste and instead explored the truth of the human soul. How could one not see a direct link between Mozart's gradual emancipation from his guardianships (leaving Colloredo, leaving Salzburg, leaving his father) and his flourishing in the dramatic and sacred masterpieces to come: Idomeneo (1780–1781), Die Entführung aus dem Serail (1781–1782), the Great Mass in C minor (1782–1783), and many more.
What transforms us? What makes us better? These were the questions debated in Europe in the age of the Enlightenment. Mozart, who was soon to be admitted to the Viennese Masonic lodge "Zur Wohltätigkeit", made them his own by offering a vision of humanity that, while never ceasing to be traversed by doubt, allows love and forgiveness to triumph.
In Libertà! Mozart & Opera (2019), Pygmalion and Raphaël Pichon explored the musical and dramaturgical laboratory that preceded the three great masterpieces of the Mozart/Da Ponte trilogy. With this new creation for the Salzburg Festival, which delves into the rarely performed Zaide and Davide penitente (based on the Great Mass in C minor), as well as into other Mozart gems, they compose a humanist tableau in which the individual and the collective respond to each other; where the struggle between light and shadow is played out at every moment.
Eddy Garaudel
playwright of the show
Excerpts from Zaide, Davidde penitente, Thamos, König in Ägypten, and other works.
Artistic team
Cast
Co-production
In partnership with
Where does the performance take place?
Off-site season: Zaïde or the Path of Light is hosted at the Lycée Carnot, Hall Eiffel, 145, boulevard Malesherbes 75017 Paris. Metro: Wagram or Malesherbes (line 3). See the access map on this page.
What time does the performance start?
Performances begin at 9 pm on 9, 11 and 12 September 2026. Doors open 45 minutes before the start of the show.
How long is the performance?
The show lasts 1h40, with no intermission.
In what language is the show sung?
Zaïde or the Path of Light is performed in German and Italian, with French and English surtitles.
Is there an introduction to the show?
Yes, an introduction is offered by Agnès Terrier, playwright of the Opéra-Comique, before each performance.
What if I'm late?
Out of respect for the artists and the audience, latecomers can only be seated at an appropriate moment of the performance.
What are the rates for this show?
Tickets are €95 (category A) and €70 (category B).
Are there special rates for under-35s?
Yes, under-35s benefit from a dedicated offer. More information on the Under-35s page.
Are reduced rates available?
Yes, reduced rates are offered to young people, jobseekers, RSA recipients, people with disabilities, school groups and community organisations, subject to availability.
How can I book?
Bookings can be made online at opera-comique.com, by phone on +33 (0)1 70 23 01 31, or at the Opéra-Comique box office, place Boieldieu.
Is there a special rate for groups?
Yes, for groups of 10 or more, a 10% discount applies on Zaïde or the Path of Light. Contact: collectivites@opera-comique.com.
How can I get the show's programme booklet?
Programme booklets are on sale at the venue, before the show and after the performance. You can also pre-order the booklet online.
Are there resources to prepare for your visit?
Yes, find interviews, contextual articles and podcasts about the show on the Opéra-Comique website.
Is the performance accessible to people with reduced mobility?
The audience will be seated in tiered seating, where the steps may present access difficulties, and the venue does not have a lift. Please feel free to choose your seats according to your preferences or needs. If you have any questions regarding accessibility or would like to request a suitable seat, please contact the accessibility team before booking: accessibilite@opera-comique.com or 01 70 23 01 44.
How do I contact the accessibility team?
The accessibility team can be reached by phone on +33 (0)1 70 23 01 44 or by email at accessibilite@opera-comique.com.
