Since then, it’s been the most performed opera in the United States and a classic Christmas celebration around the world.
Amahl, a crippled young shepherd, tells his mother that he saw a very bright star in his dream. Tired of the boy’s imagination, the mother gets angry. Suddenly, someone knocks on the door of their miserable hut. Amahl brings in three kings. They explain how to follow a star from the sky to guide them to a newborn king. To celebrate the birth of the new king, Gaspard, Melchior and Balthazar took treasures that the mother wanted to take. After lecturing him, because they had surprised his attempted robbery, the three kings abandoned their precious gifts to the mother. She refuses, ashamed, understanding that love rather than gold will make the kingdom of the One who has just been born grow. Amahl sacrifices the only good he has for the newborn: his crutches. He is then healed, “as if by miracle”, and goes to accompany the three kings.
Opera in one act, sung in French
Libretto by the composer
Created in the NBC Studios in New York, 24 December 1951
Éditions G. Schirmer, represented by Sikorski Musikverlag, Hamburg
Aurélien Reymond-Moret graduated with a degree in musicology from the Université de Saint-Etienne. He pursued his studies in singing with Heidi Raymond and Jan Marc Bruin, and took master classes with Françoise Pollet. In 2008, he joined the choirs of several operas including Limoges, Lausanne, Geneva and Saint-Étienne. He has been a singer in several professional ensembles in Lyon, Lausanne and Geneva.
As an oratorio soloist he has performed Mozart’s Requiem, the Sept paroles du Christ en croix by Franck, Le roi David by Honegger, Mahler’s 8th symphony and Rossini’s Petite messe solennelle. On stage, he has played King Ouf the 1st in L’Étoile by Chabrier, Pâris in La belle Hélène, Nanki-poo inLe Mikado by Gilbert and Sullivan, Pinkerton in Madama Butterfly, the messenger in Aida, the priest and the armed man in Die Zauberflöte, Alfred in Die Fledermaus, Tybalt in Roméo et Juliette by Gounod, and the Duke of Mantua in Les Brigands.
At the Opéra de Lausanne: Chico in Pan y toros (2009), Buteux in La fille de Madame Angot (2010), un Araldo in Rinaldo (2011), a mask in L’Aiglon (2013), a guard in Manon (2014), Gaspard in Amahl et les visiteurs du soir (2017), Bertram in La donna del lago (2018).
Né en Suisse, Joël Terrin étudie à Lausanne avec Frédéric Gindraux, puis à Londres avec Rudolf Piernay. Il travaille également avec Dame Felicity Lott, Eugene Asti ou Francois Le Roux. A l’Opéra de Lausanne, il se produit en soliste et crée des récitals pour enfants ainsi qu’un workshop durant les Jeux Olympiques de la Jeunesse de Lausanne en 2020. À Londres, il travaille pour le London Symphony Orchestra, la BBC ainsi que pour le Wigmore Hall, en tant que soliste, curateur de récitals, ou encore lors de groupes d’études de musique vocale. Il fait partie du French Song Exchange entre le Wigmore Hall et la Salle Cortot à Paris, où il a la chance de faire ses débuts en 2019. Joël Terrin est artiste de la fondation Samling, et reçoit le titre d’ambassadeur de la mélodie pour le festival Oxford Lieder pour l’année 2020. Il est boursier des fondations du Pour‑cent culturel Migros, Friedl‑Wald et Colette Mosetti. Il remporte le English Song Prize en 2020, le deuxième Prix et le Prix du public au concours Kattenburg en 2019, ainsi que le deuxième Prix au Somerset Song Prize. En projet : des récitals au Wigmore Hall, a Aldeburgh ainsi qu’au Oxford Lieder Festival.
À l’Opéra de Lausanne : un cockney dans My fair Lady (2015), Juanito dans La belle de Cadix (2016), un Spirito dans L’Orfeo (2016), Gontran, Urbain et Alfred dans La vie parisienne (2016), Melchior dans Amahl et les visiteurs du soir (2017) et Lancelot dans Les chevaliers de la table ronde (2019).
Gérard Demierre went to the Kunstgewerbeschule Basel, the Piccolo Teatro in Milan and the École Nationale des Arts du Cirque in Paris. He was awarded for his work with the Morges Prix Culturel and the Prix de l’Éveil from the Fondation vaudoise pour la promotion et la création artistiques. He co-founded Le Petit Théâtre in Lausanne and was its director for 13 years. He wanted to transmit his passion for performing to the maximum possible number of people and therefore organised theatre workshops every summer for children and teenagers. To date, he has directed over a hundred productions.
At the Opéra de Lausanne: Peter and the Wolf (2006 and 2011), Les moutons bleus (2008), Phi-Phi (2014 Lyric Road), and Amahl and the Night Visitors (2017).
Studying in Switzerland, Canada and Sweden. He was trained in architecture in Lausanne, a graduate from the Vancouver Film School, Sébastien Guenot places an intuitive narrative at the heart of his artistic work, with a pronounced taste for exploring the world of dreams; the unconscious and dreamlike. Whether it is a question of composing a spatial atmosphere, communicating a story or staging an emotion, his approach constantly strives to imagine a unique relationship between content and form.
Located between the ancient mystical imagination and contemporary arts, his narrative language is multiple, in the same way that his drawing, sculpture, painting, sound, photography, graphics, moving images, scenography and architecture.
At the Opéra de Lausanne: Peter and the wolf (2006 and 2011), Les moutons bleus (2008), Phi-Phi (2014), L’enfant et les sortilèges (revived in 2015), La Belle de Cadix (2016), Amahl et les visiteurs du soir (2017).
After training as an electrician, Denis Foucart ventured into the world of events and designed the lighting for many events around the world, including Jean Michel Jarre’s concert, produced in Egpyt to usher in the year 2000. From 2000 to 2003, he was hired as the lighting director for the international tours of musicals Notre dame de Paris and Roméo et Juliette. At the end of 2003, he became the lighting director of the Béjart Ballet Lausanne, and designed his first lighting for ballets with Zarathoustra, La vie du danseur and Le tour du monde en 80 minutes.
For the Festival Avenches Opéra, he designed the lighting for La bohème and Nabucco. Head electrician at the Opéra de Lausanne since 2008, he took over the lighting on Pierre et le loup, Die Zauberflöte, La veuve joyeuse, L’enfant et les sortilèges and designed the lighting for Phi-Phi (Route Lyrique 2014), La Belle de Cadix (Route Lyrique 2016), and for the all-age opera, Amahl et les visiteurs du soir, in 2017, Cendrillon in 2018. His lastest creation Les chevaliers de la Table ronde (Route Lyrique 2019).