However Strauss and Hofmannsthal add the element of a play within a play, which allows for the violence and tragedy of Strauss to coexist with the elegance of his Rosenkavalier or Capriccio, his means of expressing his refinement through rococo.
Opera in one act with prologue
Libretto by Hugo von Hofmannsthal
First performed in Hofoper, Vienna, October 4th, 1916
Editions Boosey & Hawkes represented by Atlantis Musikbuch-Verlag AG, Zurich
COVID 19 : In light of the recent decisions taken by the Federal Council in connection with the COVID-19 pandemic and the deconfinement stages, the Opéra de Lausanne has decided to postpone the opening of online, ticket office and telephone sales of non-season holder tickets for the 2020-2021 season until the 29th of June at 13h00. In the meantime, only season tickets can be purchased via our website or by mail.
Thank you for your patience. We hope to see you all again at the Opéra de Lausanne soon and in complete safety.
For the first time at the Opéra de Lausanne.
Awarded the Jenny Lind scholarship, Christina Nilsson has a Masters degree from the University College of Opera in Stockholm. She recently won 1st prize at the 2017 Renata Tebaldi International Competition.
She has performed in Der Rosenkavalier, Min bror är Don Juan by Niklas Brommare, based on Mozart’s work, Son of Heaven by Moto Osada, Enrico di Borgogna by Donizetti and Hoss Oss by Thomas Jennefelt. She has performed in concert in Sweden at the Berwaldhallen, at Stockholm’s Concert Hall and at the Royal Palace in Stockholm, as well as abroad. She recently made her debut in the title-role of Aida at the Stockholm Opera, sang the Vier Letzte Lieder by Strauss in Nancy, and performed with the Royal Philharmonic Orchestra of Stockholm. She also played the overseer and Chysothemis in Elektra at the Opéra de Lyon. Recently she starred as Ariadne auf Naxos at the Oper Frankfurt.
For the first time at the Opéra de Lausanne.
Michael Konig has performed at the Paris, Hamburg, Frankfurt, Berlin and Munich Operas, at the Liceu in Barcelona and the Teatro real in Madrid. He also made his debut at la Scala in Der Freischütz. Il played Florestan in Fidelio, the title-role in Lohengrin, Siegmund in Die Walküre, Erik in Der fliegende Holländer, the emperor in Die Frau ohne Schatten, Bacchus in Ariadne auf Naxos, Jim Mahony in Rise and Fall of the City of Mahagonny, Andreï Khovansky in La Khovanchtchina, Grigori in Boris Godounov and Sergueï in Lady Macbeth de Mtsensk by Chostakovitch.
He has performed with the most well-known orchestras around the world and with conductors such as Christian Thielemann, Andris Nelsons, Daniele Gatti, Seiji Ozawa, Daniel Barenboim, Vladimir Jurowski, Gennadi Rozhdesventsky, Hartmut Hänchen, Kent Nagano, Sebastian Weigle and Sylvain Cambreling.
Winner of the Wirth Scholarship, Marie-Ève Munger earned her Master’s degree at the Schulich School of Music in Montréal and won the 1st prize in opera at the Marmande International Competition. After debuting as Ophélie in Hamlet at the Opéra de Metz then at the Minnesota Opera, she played Juliette in Roméo et Juliette at the Intermountain Opera, Nannetta in Falstaff in Metz, Ilia in Idomeneo at the Florentine Opera, the 4th maid in Elektra at the Aix-en-Provence Festival, at la Scala and at the BBC Proms in London, the title-role in Lakmé at the Opéra de Saint-Étienne, Princesse Elsbeth in Fantasio at the Opéra Comique, the fairy in Pinocchio in Aix-en- Provence, at La Monnaie and in Dijon.
She recently played le Feu in L’enfant et les sortilèges with the Chicago Symphony and Lakmé with the Bayerischer Rundfunk Orchestra.
Current projects: Rigoletto at the Minnesota Opera, Roméo et Juliette in Montreal, La bohème at the Opéra Comique, Cendrillon at the Chicago Lyric Opera.
At the Opéra de Lausanne: Eliza in My Fair Lady (2015).
David Hermann studied at the Hochschule fur Musik Hanns Eisler in Berlin and won first prize at the international competition for stage direction and design in Graz in 2000. His work includes Das Rheingold and Les Troyens at the Badisches Staatstheater Karlsruhe, L’affaire Makropoulos by Janacek, Das Mädchen mit dem Schwefelhölzern by Lachenmann and Oresteia by Xenakis at the Deutsche Oper in Berlin, a trilogy by Ernst Krenek and De la maison des morts at the Frankfurt Opera, Die Entführung aus dem Serail and La Traviata at the Zurich Opera, Die Zauberflöte and Simon Boccanegra for the Vlaamse Opera, Ariadne auf Naxos at the Semperoper Dresden.
More recently, he directed two world premieres by Yasutaki Inamori at the Munich Biennale and by Anno Schreier at the Deutsche Oper am Rhein.
At the Opéra de Lausanne: Die lustigen Weiber von Windsor (2014).
For the first time at the Opéra de Lausanne.
First prize winner at the Bucarest Opera Grand Prix and the Aalto Theater in Essen, Deirdre Angenent has also won awards at the Leyla Gencer Competition in Istanbul, the Elizabeth Connell Prize in Sydney, the ‘s-Hertogenbosch International Vocal Competition and a scholarship from the Wagner Society in the Netherlands.
She has performed in Antigone with the Opera Triofon in the Netherlands, Tannhäuser with the Bucheon Philharmonic Orchestra in Seoul, Beethoven’s IXe Symphonie with the Antwerp Symphony Orchestra at the Festival de la Chaise-Dieu, directed by Jan Willem de Vriend, the Vier Letzte Liederby Strauss at the Concertgebouw in Amsterdam and Dido and Æneas.
More recently, she played Gertrud in Hänsel und Gretel at the Opéra de Nancy, Judith in Barbe-Bleueby Bartok at the Aalto Theater in Essen, Vitellia in La clemenza di Tito with the Orchestra of the 18th century, directed by Kenneth Montgomery.
Current projects: Waldtaube in les Gurrelieder, Fenena in Nabucco, Sieglinde in Die Walküre at Essen.
Trained in Stuttgart, Oliver Zwarg has cultivated a special relationship with the opera of this city and has also perfomed in the Berlin, Dresden, Munich, Hamburg, Garmstadt, Chemnitz and Cologne operas, where he was a huge hit as Alberich in Siegfried, reprised at the Universal Exhibit in Shangaï in 2010. His repertoire includes the roles of Barak, Jochanaan and Orest from the operas of Richard Strauss, Amfortas, Kurwenal, Wotan and der Holländer from Wagner, Figaro, Leporello and Papageno from Mozart, Amonasro and Iago from Verdi, Wozzeck from Berg, Scarpia from Puccini and Golaud from Debussy, which led to several nominations as 2007 artist of the year by the magazine Opernwelt.
He has also graced the stages of operahouses in Barcelona, Madrid, Copenhagen, Toulouse, Bordeaux, Lille, Liège and Amsterdam, and at the Salzburg, Lucern, Edinburgh, Ludwigsburg, Budapest and Vienna Festivals. He has worked under the direction of Sir Simon Rattle, Daniele Gatti, Adam Fischer, Philippe Jordan, Lothar Zagrosek, Ingo Metzmacher, Markus Stenz and Paul McCreesh, and with directors Calixto Bieito, Stefan Herheim, Peter Konwitschny, Nikolaus Lehnhoff, Robert Carsen, Achim Freyer, Kasper Holten and Jossi Wieler.
At the Opéra de Lausanne: Herr Fluth in Die lustigen Weiber von Windsor (2014).
For the first time at the Opéra de Lausanne.
In 2017-2018 Johnathan McCullough participated in Opera Philadelphia’s Emerging Artists programme. He sang Mr Greatorex in the world premiere of Elizabeth Cree by Kevin Puts and Mark Campbell, as well as Moralès in a new production of Carmen. Soon after his successful debut as Oromasès in a new production of Rameau’s Zoroastre conducted by Christian Curnyn, he returned to the Komische Oper Berlin for a new Calixto Bieito production of Schreker’s Die Gezeichneten.
He played the role of Hawkins Fuller in Fellow Travellers at the Lyric Opera of Chicago and spent the summer of 2018 as a Filene Young Artist at Wolf Trap Opera singing Brother in The Seven Deadly Sins and Marullo in Rigoletto. In concert, he has sung in Carmina Burana with the Boise Philharmonic and with the Nationale Chorale at David Geffen Hall at Lincoln Center.
In 2018-2019, he will be returning to the Boise Philharmonic for Messiah as well as performing as Demetrius in A Midsummer Night’s Dream at Opera Philadelphia.
For the first time at the Opéra de Lausanne.
François Piolino studied at the Conservatoire de Lausanne, the Guildhall School of Music & Drama in London and the Conservatoire de Paris. He began his career with Les Arts Florissants. He has been a regular performer at Covent Garden in London, the Opéra de Paris, the Théâtre des Champs-Élysées, at La Monnaie in Brussels, La Scala in Milan, the Opernhaus Zürich, Dutch National Opera in Amsterdam and the Glyndebourne Festival, among others.
In particular he sang Valzacchi in Der Rosenkavalier, Monsieur Taupe in Capriccio, Hérisson de Porc-Épic and Tapioca in L’Étoile, Remendado in Carmen, La théière, L’arithmétique and La rainette inL’enfant et les sortilèges, Torquemada in L’heure espagnole, Frick in La vie parisienne, L’aumônier in Dialogues des Carmélites, Schmidt in Werther, the servants in Les contes d’Hoffmann, Guillot in Manon, Monostatos in Die Zauberflöte, Pedrillo in Die Entführung aus dem Serail, Monsieur Triquet in Eugene Onegin, Goro in Madama Butterfly, and Pang in Turandot.
Lover of music, languages and history, Daniel Golossov studied piano, chamber music, singing and choral direction, in Nice and at the Giuseppe Verdi Conservatory in Milan, as well as linguistics at the Sorbonne. First prize winner of the Paris CNR singing award, he perfected his vocal technique in Milan with Bonaldo Giaiotti at the Laboratorio Lirico Europeo, then at the Zurich Opernstudio.
His many performances include a wide variety of roles, such as Timur in Turandot, Figaro in Le nozze di Figaro, Don Alfonso in Così fan tutte, Colline in La bohème, Ferrando in Il Trovatore, Sparafucile in Rigoletto, il Commendatore in Don Giovanni, Ramfis in Aida and Raimondo in Lucia di Lammermoor.He has performed in Cyrano de Bergerac by Alfano and Le joueur by Prokofiev at La Scala, Don Carlo, La fedeltà premiata and Gianni Schicchi at the Zurich Opera, La serva padrona in Lugano, the title role in Don Giovanni in Cologne and at the Sankt Margarethen Festival, Fidelio at the Anhaltisches Theater in Dessau. He has worked with Nello Santi, Patrick Fournillier, Bruno Amaducci, Maurizio Barbacini, Roberto Rizzi Brignoli, Matteo Beltrami, Daniel Barenboim and Lorin Maazel.
At the Opéra de Lausanne: Angelotti in Tosca (2013), Bartolo in Le nozze di Figaro (2013), Nilakantha in Lakmé (2013), Wurm in Luisa Miller (2014), Orbazzano in Tancredi (2015), the Ghost of the King in Hamlet (2017), the lion in Les Zoocrates (2017), Publio in La clemenza di Tito (2018), Duglas d’Angus in La donna del lago (2018).
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).
Julie Martin du Theil graduated from the Lausanne Conservatory and won a scholarship from the Leenaards Foundation. After her debut at the Opéra de Lausanne in 2010, she joined the cast of the Magdeburg Opera, where she played the most important roles of her repertoire: Susanna in theNozze di Figaro, Pamina in Die Zauberflöte, Sandrina in La finta giardiniera, Sophie in Der Rosenkavalier, Gretel in Hänsel und Gretel, Oscar in Un ballo in maschera, Frau Fluth and Anna Reich in Die lustigen Weiber von Windsor, Baronness Freimann in Der Wildschütz, Olympia in the Contes d’Hoffmann, Tytania in A Midsummer Night’s Dream, Despina in Così fan tutte, Zerlina in Don Giovanni, Adèle in Die Fledermaus, Gabrielle in La vie parisienne, Valencienne in Die lustige Witwe and Sophie in Werther.
Contemporary music is also important to her and she took part in the the German premiere of the opera The Trial by Philip Glass, and the world premiere of the opera Spiel im Sand as part of the Impuls Festival. She has also performed at the Deutsche Oper in Berlin, the Semperoper in Dresden, the Opéra de Halle and at the Theater Winterthur.
Current projects: Norina in Don Pasquale and Musetta in La bohème.
At the Opéra de Lausanne: Papagena in Die Zauberflöte (2010), the Princess and the Widower bat in L’enfant et les sortilèges (2010).
For the first time at the Opéra de Lausanne.
Rira Kim started singing at the age of 11 with the Busan Metropolitan Junior Chorus in South Korea. She began her studies in music at the Pusan National University, then studied with Gaël de Kerret in Versailles in France, obtaining a Diploma in Music Studies as well as a diploma for further training to perfect her art. In 2016, she won the first prize both in the Opera category of the Concours International de Chant Robert Massard and in the competition Les Clés d’Or. In 2018, she also won 3rd prize at the Concorso Internazionale Isabella Colbran Rossini.
She made her debut at the Opéra National de Bordeaux as Clara in La vie parisienne, conducted by Marc Minkowski. She also sang in Dvorak’s Stabat Mater at the Festival Eufonia in 2017 and in Petite messe solennelle by Rossini, conducted by Salvatore Caputo while touring with the Choir of the Opéra National de Bordeaux. In 2018, Rira Kim joined the Opernstudio at the Bern University of the Arts.
Myriam Bouhzada joined the Maîtrise de Notre-Dame de Paris, and the Geneva University of Music where she graduated with a Bachelor’s in Stuart Patterson’s class and a Master’s in teaching in Nathalie Stutzmann’s class. Alongside her studies, she sang in the Opéra de Lausanne choir.
She has since been heard performing Johannes-Passion by Bach, Haendel’s Messiah and, more recently, the Oratorio de Noël by Camille Saint-Saëns at Victoria Hall in Geneva, accompanied by the OCG. She has also performed Beethoven’s XIe Symphonie in Salvador de Bahia, in Brazil, with the Juvenil de Neojiba orchestra, the first female role in The Medium by Menotti and Mrs Noah in Noye’s Fludde by Britten, with the Geneva Chamber Orchestra conducted by Arie Van Beek.
At the Opéra de Lausanne: a maid in Simon Boccanegra (2018).
For the first time at the Opéra de Lausanne.
After studying singing with Maria Stader and at the International Opera Studio in Zurich, Andreas Jaeggi worked with several German troupes as resident artist. He has been invited to perform on stage in numerous locations around the world: the Opéra de Paris (Salome, Werther, Billy Budd, Madama Butterfly), the Opéra national du Rhin (The Makropulos Affair, Salome, Das Liebesverbot, From the House of the Dead), La Fenice (The Makropulos Affair), Dutch National Opera in Amsterdam (Die Fledermaus), the Grand Théâtre de Genève (Mahagonny, The Fiery Angel, The Seven Deadly Sins), the Deutsche Oper am Rhein (Der fliegende Holländer, The Bartered Bride) and Theater Basel (Falstaff, Les contes d’Hoffmann).
Andreas Jaeggi regularly performs concerts and recitals. Since 1976, he has been part of Compagnie Alain Germain and has contributed to most of their creations. Andreas Jaeggi also studied Fine Arts in Basle and pursues his career as an opera singer at the same time as working as a painter and sculptor.
After studying tourism administration and philosophy, and Latin languages in Salzburg and Lisbon, Martin C. Turba’s passion for theatre and music led him to the Schubertiade in Vorarlberg, one of the most prestigious chamber music festivals in Europe, where he became the associate director. In 2000 and 2015, he was chosen by the Austrian government to create the Austrian cultural programme for the Universal Exhibits of Hanover and Milan. He directed the Bad Ischl Festival from 1999 to 2004 and the Schönbrunn Palace Theatre from 2004 to 2010. Since 2004, he has also taught at the Graz University of Music and Theatre and has led a wonderful career as an actor playing roles like the butler in Ariadne auf Naxos at the Opéra Royal de Wallonie, the Opéra de Bordeaux and the Opéra de Toulon.
Born in Switzerland, Joël Terrin studied in Lausanne with Frédéric Gindraux, then in London with Rudolf Piernay. He also works with Dame Felicity Lott, Eugene Asti and Francois Le Roux. At the Opéra de Lausanne, he performs as a soloist and creates recitals for children as well as workshops during the Lausanne Youth Olympic Games 2020. In London, he works for the London Symphony Orchestra, the BBC and the Wigmore Hall, as a soloist, recital curator, and in vocal music study groups. He is part of the French Song Exchange between Wigmore Hall and Salle Cortot in Paris, where he had the chance to make his debut in 2019. Joël Terrin is an artist of the Samling Foundation, and receives the title of Melody Ambassador for the Oxford Lieder Festival in 2020. He is a scholarship holder of the Migros Culture Percentage Foundations, Friedl-Wald and Colette Mosetti. He won the English Song Prize in 2020, Second Prize and Audience Prize at the Kattenburg Competition in 2019, as well as the Second Prize at the Somerset Song Prize. Current works include recitals at Wigmore Hall, Aldeburgh and the Oxford Lieder Festival.
At the Opéra de Lausanne : a Cockney in My fair Lady (2015), Juanito in La belle de Cadix (2016), a Spirito in L’Orfeo (2016), Gontran, Urbain and Alfred in La vie parisienne (2016), Melchior in Amahl et les visiteurs du soir (2017) and Lancelot in Les chevaliers de la table ronde (2019).
Born in Lausanne, Raphaël Hardmeyer obtained a master’s degree in law before studying singing in Geneva with Gilles Cachemaille and Alexander Mayr. He was a finalist in the Geneva Lied Mahler competition. On stage, he performs the roles of Charles V (Ascanio de Saint-Saëns) in Geneva, Figaro (Le nozze di Figaro), Masetto and the Commander (Don Giovanni) and Herr Fluth (Die lustigen Weiber von Windsor) in Hamburg. Current works include a contemporary creation as part of Opéralab, a collaboration between the Grand Théâtre and the HEM in Geneva.
At the Opéra de Lausanne: Lakai in Ariadne auf Naxos (2019)
Born in Bogota, Fernando Cuellar trained in his native city before joining the troupe of Young Opera Artists of Colombia. He then continued his training in Geneva and Bern with Gilles Cachemaille.
As a soloist, he has performed with the Orchestre du Conservatoire de musique de Genève, the Orchestre du Conservatoire supérieur de Paris, the Théâtre du Passage in Neuchâtel, the Théâtre de Colombier, the Théâtre L’Heure bleue in La Chaux-de-Fonds, the Théâtre de Bienne, as well as at the Lausanne and Geneva opera houses. He sings under conductors such as Will Cruthfield, Gergely Madaras, Yves Senn, Andrei Feher, Franco Trinca and Gabriel Garrido.
At the Opéra de Lausanne: Un notaro in La Sonnambula (2018) ein Offizer in Ariadne auf Naxos (2019).
Frank Beermann was the musical director of the Opéra de Chemnitz and main conductor at the Robert-Schumann-Philharmonie from 2007 to 2016. He is a regular guest of the Deutsche Oper in Berlin, the Bayerische Staatsoper in Munich, the Liceu in Barcelona, the Teatro Municipal in Santiago de Chile, the Stockholm, Helsinki, Marseille operas and the Semperoper in Dresden. He has directed numerous works by Wagner, Strauss and Mahler including Parsifal and Arabella, as well as Le nozze di Figaro, La Traviata, Die Rose vom Liebesgarten and Il Templario by Otto Nicolai.
His discography includes over twenty five titles and has earned him the 2011 Pizzicato Excellentia Luxembourg Award. He received the 2015 Rediscovery Award from ECHO Prize for his recording of Meyerbeer’s Vasco de Gama. His recent and upcoming engagements include Der Ring des Niebelungen in Minden, Tristan und Isolde at the Aalto Theater in Essen, La dame de pique in Stuttgart, his debut with the Orchestre Symphonique de Mulhouse, and concerts with the Athens National Orchestra and the London Philharmonic Orchestra.
At the Opéra de Lausanne: Die lustigen Weiber von Windsor (2014), La bohème (2017).
Michaela Barth studied fashion design at the Hochschule der Künste in Berlin. She started off as a costume assistant for Herbert Murauer, Philipp Stölzl, Marcel Keller and Wilhelmine Bauer, before getting hired by the Stuttgart Theatre. Until 2005, she created the costumes for Ratten at the Obdachlosentheater in Berlin and for the Aufbruch, a show performed in the Tegel prison. She also created the costumes for several of Armin Petras’ productions, and since 2000, she has regularly worked with Michael Thalheimer. Amongst those she has worked with are Hans Neuenfels, Volker Lechtenbrink, Johannes Schütz, Yvonne Groneberg, Katrin Hentschel and Holk Freytag, who she worked with for La Cruche cassée by Kleist at the Bad Hersfelder Festival, Enrico Lübbe for Emilia Galotti by Lessing at the Leipzig Theatre and Urfaust by Goethe for the opening of the Chemniz theatre festival, where she also designed the set for the first time.
For opera, she has designed the costumes for Rigoletto, La forza del destino, A Midsummer Night’s Dream, Die Meistersinger von Nürnberg, Otello, Les Troyens, in partnership with David Hermann, Karoline Gruber, Katharina Wagner, Christof Loy, and Michael Thalheimer. She has also designed costumes for advertisements and video clips.
Current projects: Le Songe d’une nuit d’été at the Young Vic Theatre in London, Antigone at the Residenztheater in Munich, Le Malade imaginaire at the Schaubühne in Berlin and La Cruche casséeby Kleist at the Hamburg Theatre.
Fabrice Kebour is one of the most prolific lighting designers of his generation. Over the past twenty years, his work has been presented in Europe, Japan, the USA, the Middle East and Canada. He has designed the lighting in the most prestigious theatres such as the Comédie Française, the Opéra National de Paris, the Wiener Staatsoper, the Bregenzer Festpiele, the Teatro Alla Scala, the Verona Arenas and the Théâtre Royal de la Monnaie. In 2006, he was in charge of lighting for the Olympic opening ceremonies and the closing ceremony for the Asian games of Doha, and took part in Light steaks, an international exhibit organized in 2011 by the Quadrennial of Performance Design and Space which looked at lighting designers who have impacted their generation. He was nominated for the Molière for best lighting designer for Camille C in 2005, Baby Doll in 2009 and Pluie d’Enfer in 2011.
At the Opéra de Lausanne : Il barbiere di Siviglia (2009 and 2014), L’elisir d’amore (2012), Die Lustigen Weiber von Windsor (2014,) the world premiere of Le Petit Prince (2014).
