Directors Junior Mthombeni and Michael De Cock unite a mega-cast bursting with talent and contemporary music producers to give Dido and Aeneas by Baroque composer Henry Purcell a bold new twist. Grand, generous, and groundbreaking.

Classical live musicians and artists reinterpret Purcell. Together, they tell the story of Hannibal, the Punic Wars, and the origins of Europe. In the third century BC, the Carthaginian general Hannibal Barca began his dizzying journey: he marched with his troops through Spain, France, and Italy, on a quest to shake the Roman Empire to its core. Hannibal ad portas!

The Punic Wars serve as a metaphor for all the wars being fought today in this ever-changing, fear-inducing world. Hannibal offers a lens through which we explore the confrontation between old and new. Traditional European culture is, according to some, under pressure from a hyper-diverse Europe. The idea that barbarians are once again at the gates, ready to erase European history, seems—however absurd—unfortunately to be resurfacing. Hannibal therefore opens, through a unique synergy of opera and slam, contemporary dance and acting, a window into the past, present, and future of Europe. The creators take as their starting point the opera Dido and Aeneas, in which the mythical origin of the conflict between Europe and North Africa sets the stage.

In Hannibal, artists from Africa and Europe intertwine contemporary video and projection techniques with traditional live painting and acoustic instruments. Brought to life by many, with one heartbeat. Featuring mezzo-soprano Raphaële Green, singer Gala Dragot, harpist Jutta Troch, actors Marios Bellas and Alix Konadu, dancer Zach Swagga, visual artist Elke Gijsemans, Justine Bourgeus (Tsar B), Abel Baeck (NO LABEL), and many others. Several artists are part of the SOCHA collective, founded by Junior Mthombeni and Gerardo Salinas.

Hannibal: Who, Where, and When?

Hannibal Barca was born in 247 BC in Carthage, a city-state located in present-day Tunisia. The city was founded by Queen Elissa, known in Latin as Dido. Dido came from Tyre, a city in modern-day Lebanon.

Hannibal’s native language was Phoenician, spoken by the Phoenicians, a people originally from the region around present-day Lebanon who migrated to Carthage. The Romans referred to them as the Punics. They spoke of the Punic language and would call the wars initiated from Carthage the Punic Wars.

At a young age, Hannibal migrated to Carthagena, a city along the Spanish coast, where the foundation for his unshakeable character and military strategy was laid.

Hannibal’s father was Hamilcar Barca, commander of the Carthaginian army during the First Punic War. Hamilcar died during a campaign in Spain when Hannibal was only 18 years old. Although tradition dictated that the eldest son should succeed the father, Hannibal was still too young to command the army. His brother-in-law, Hasdrubal the Fair, took over leadership of the army until Hannibal was of age. Eventually, at 26 years old, Hannibal became the commander of the Punic army and would lead the Second Punic War.

The Punic Wars were fought between the cities of Carthage in North Africa and Rome in Northern Italy for dominance in the Mediterranean region. The second war arose directly from the first. After his father’s death, Hannibal took command of the troops and led them to several victories, coming close to the gates of Rome. The expedition toward Rome began from Cartagena, crossing the Alps. Hannibal was around 29 years old at the time.

The Second Punic War began over a dispute about the city of Saguntum in Spain. Although the city technically fell under Carthaginian control, the Romans had formed an alliance with Saguntum. In Carthage, the peaceful leaders lost their influence, and Hannibal was granted permission to act against Rome. In 219 BC, Hannibal laid siege to Saguntum. When the city called for help, the Romans demanded that Carthage halt the attack, but Carthage refused. Only after the conquest of Saguntum did Rome declare war on Carthage, prompting Hannibal to begin his campaign in Italy to defeat the Romans in their own territory.

Setting out from Spain with a mercenary army and 37 elephants, Hannibal achieved major military successes in Italy—first near Lake Trasimene and soon after at the Battle of Cannae. Despite his resounding victory at Cannae, no peace treaty was signed with Rome. Was it due to Hannibal’s insatiable ambition? Or perhaps his unreliable mercenary forces?

After the bloody Battle of Cannae, Hannibal hesitated to march directly on Rome. He fell into a kind of paralyzing doubt, while his soldiers were exhausted. Eventually, Hannibal returned to Carthage, where he received no further military support. Rome, on the other hand, continued to deploy new, well-trained soldiers with solid equipment. Scipio Africanus would eventually defeat Hannibal at the Battle of Zama, near Carthage. Scipio Africanus was Hannibal’s equal and opposite: a military genius as well, but shaped by the rigid hierarchy and discipline of the Roman army. Calculating and proud, he ultimately forced Hannibal and Carthage to their knees.

After the defeat at Zama, Hannibal returned to Carthage, but still received no support from his city. Rome, however, kept sending trained soldiers, making it impossible for Hannibal to continue his fight. To escape the Romans, Hannibal fled into exile in the region of present-day Turkey. Despite his remarkable strategic abilities, he was constantly on the run and forced to live in hiding.

In the final years of his life, Hannibal faced the growing threat of capture by the Romans. Choosing death over surrender, he took poison from a cup.

The Story of Dido and Aeneas
(And how Hannibal fits into it)

According to legend, Dido is considered the founder of Carthage after fleeing from Tyre. The male leaders received her in a condescending manner, offering her only as much land as could be covered by a bull’s hide. But Dido was clever. She spent the entire night cutting the hide into nearly invisible strips, which she then stitched together. In this way, she patiently and persistently wove the boundary of her city, Qart-ḥadašt or Carthage ("New City"). Carthage quickly gained importance as a trading post.

Although this legend attributes an important role to her in the founding of Carthage, there is little historical evidence to confirm her existence. Many historians consider her story largely mythical, likely amplified by later writers to dramatize the history of Carthage and its rivalry with Rome.

The myth is further elaborated in Virgil’s epic The Aeneid, in which Dido falls in love with the Trojan hero Aeneas. Aeneas, a valiant refugee from the ruined city of Troy, escapes its total destruction and, after a long and perilous journey, arrives in Carthage. When Aeneas leaves Carthage to fulfill his divine mission of founding Rome, Dido is so devastated by grief that she takes her own life. The queen curses Aeneas and foretells that his descendants will wage war against Carthage for years to come. This myth was used to explain the enmity between Carthage and Rome and served as a literary justification for Roman dominance over Carthage.

Dido’s broken heart foreshadows the Punic Wars between Carthage and Rome—thus heralding the arrival of… Hannibal.

Opera by Henry Purcell

Henry Purcell (1659–1695) is considered England’s greatest composer. He was born in the heart of London (Westminster). As a teenager, he served as a choirboy, and later worked as an organist and composer at Westminster Abbey and the Chapel Royal. Purcell composed a great deal of church music, including anthems, but also music for the theatre, odes for notable figures, and instrumental works.

Purcell was around twenty-five years old when he wrote the opera Dido and Aeneas. It is said that Purcell first performed or tested the piece at a girls’ boarding school. All roles—except that of Aeneas—were written for and sung by girls, most of whom were of noble descent.

It is very likely that the composer himself performed the role of Aeneas. The opera tells the story of the lovers Dido and Aeneas, and it is far from cheerful. The plot is full of sorrow and grief, and the opera ends in suicide. In terms of subject matter, Purcell certainly did justice to the term "opera": most operas are dramas. Due to its short length—only about 50 minutes—it is often referred to as a chamber opera or semi-opera.

Purcell composed a beautiful and moving lament for the dying queen, undoubtedly one of the highlights of the opera: When I am laid in earth.

Discover the Hannibal Spotify Playlist

To get into the mood, we asked the cast and crew to share their musical suggestions—the songs that, for them, embody the spirit of Hannibal. Explore the full playlist now on Spotify.

Opportunities

For the past six years, KVS has been part of OPPORTUNITIES, a fascinating European consortium of NGOs and universities united in rethinking migration. From Accra in Ghana to Dakar, Ghent, and Paris... we’ve journeyed together in search of new, equal, and humane ways of relating to one another—beyond the narrow lens of a purely European perspective. These have been incredibly enriching years for all partners involved, and the project is now approaching its conclusion. Time to let imagination take the lead—and to confront reality through art.

As a final contribution, KVS is creating a theatre production within this framework that will tour six (European) countries, in collaboration with both major and grassroots partners in Europe and far beyond.

Hannibal is an international co-production between KVS and Théâtre de Liège, Teatre Nacional de Catalunya (Barcelona), Théâtre National Daniel Sorano (Dakar), and Festival O (Rotterdam). After its world premiere in Brussels, the production will travel to five Senegalese cities, Valchiusella, Rotterdam, and Paris—each time reimagined with local dancers, actors, and musicians.

At the end of January 2025, OPPORTUNITIES will highlight the many ways in which the “level telling field” was put into practice. Alongside research findings, we will share migrant stories, documentaries, TikTok videos, drawings, and more during a collective closing event for the project.

Come listen, and actively take part in the dialogue of equality.

 www.opportunitiesproject.eu

Cilab

Did you know… that all the costumes worn by the performers in Hannibal are made entirely from reclaimed materials—and are therefore circular? For this, KVS collaborated with Cilab, a social workshop based in Mechelen. Director Junior Mthombeni and visual artist Elke Gijsemans have been sharing a studio space with the circular fashion company founded by, among others, Jan Merckx. In 2020, Merckx and a group of others founded Cilab with the aim of creating new clothing from fabric remnants or recycled garments. They've now been doing this for four years, for a wide variety of clients—from fashion labels to art projects such as the sail for Muce (a circular pavilion in Antwerp), a new outfit for Manneken Pis (on the occasion of International Repair Day), and a sensory book for KMSKA for the Ensor exhibition…

Because Jan Merckx and Cilab were sharing a workspace with Elke and Junior, they naturally became intrigued by each other’s work. It soon became clear that a creative cross-pollination was possible. The refugee issue affects Jan, Junior, and Elke deeply—this emotional connection brought their practices together. Cilab previously helped SOCHA (the precursor to Hannibal) find suitable—second-hand—costumes for their creation On Fire #03. And now again for Hannibal, in close collaboration with Marie Szersnovicz, the production’s costume designer, and the costume department of co-producer Théâtre de Liège.

With its circular approach, Cilab challenges the absurd logic of the fashion industry, where new collections hit stores weekly—sometimes even daily. These fast-changing trends come with major consequences: poor working conditions in producing countries, excessive water consumption, transport emissions, and other climate-related issues. Then there’s the social aspect: clothing must remain affordable, and tailors should receive fair pay. Cilab seeks to raise awareness about circular fashion and to bring about real change in the fashion industry.

Meet the Team

Credits

direction JUNIOR MTHOMBENI & MICHAEL DE COCK dramaturgy GERARDO SALINAS
musical dramaturgy TOM SWAAK with VIANNEY ADRIAENS, KIREZI KALISA, DORA ALMELEH, MOHA AMAZIAN, PIERRE ANGANDA, ABEL BAECK, MARIOS BELLAS, JUSTINE BOURGEUS, IBRAHIMA CISSOKO, GALA DRAGOT, RAPHAËLE GREEN, AMINA IDDRISU, TONIC MENDI JACOBS, TOM KESTENS, ALIX KONADU, AYMARÁ PAROLA, EMMA POSMAN, ZACH SWAGGA, BAHAR TEMIZ, JUTTA TROCH scenography STEF STESSEL lighting design DIMI STUYVEN costume design MARIE SZERSNOVICZ video design FRANCESC ISERN painting ELKE GIJSEMANS production management CATHERINE VERVAECKE & ROBIN HECTORS stage manager CAROLINE WAGNER sound BRAM MORIAU lighting DIMI STUYVEN video THIBAUD DECOENE subtitles INGE FLORÉ costume workshop THEATRE DE LIEGE, CiLAB production KVS coproduction OPERA BALLET VLAANDEREN, DE MUNT / LA MONNAIE, THEATRE DE LIEGE, TNC, COMPAGNIE DU THEATRE NATIONAL DANIEL SORANO, MADAME FORTUNA, PERPODIUM with special thanks to THEATER ARSENAAL with the support of THE BELGIAN FEDERAL GOVERNMENT VIA CRONOS INVEST, THE EUROPEAN UNION (HORIZON 2020 PROGRAMME)