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
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.
Canadian-born Marie-Eve Munger won 1st prize for opera at the Marmande Competition. She made her debut at the Opéra de Metz in the roles of Ophelia (Hamlet) and Nannetta (Falstaff), and took part in the premiere of Pastorale at the Théâtre du Châtelet, where she went on to star in Villa-Lobos’ Magdalena in 2010. Her career launched in the USA and Europe, she made her debut at La Scala in Milan and at the Festival d’Aix-en-Provence in Vierte Madg (Elektra, directed by Patrice Chéreau), a role she reprised at the Liceu in Barcelona and at the BBC Proms in London, conducted by Semyon Bychkov. She was Lakmé in Saint-Étienne and in concert in Munich, Isabelle (Le Pré aux Clercs by Ferdinand Hérold), Princess Elsbeth (Fantasio) and Musette in “Bohème notre jeunesse” at the Opéra Comique. More recently, she was Ophélie in Nantes and Rennes, Countess Adèle (Le Comte Ory) and Donna Elvira (Don Giovanni) in Toulon, and La Fée (Cendrillon) at the Chicago Lyric Opera. Attached to the contemporary repertoire, she took part in the premiere of Guillaume Vincent’s The Second Woman at the Théâtre des Bouffes du Nord, and played La Fée in Philippe Boesmans’ Pinocchio in Aix-en-Provence, La Monnaie de Munt and Dijon. At the Festival Musica in Strasbourg, she can be heard in a work by Mauro Lanza, and in Judith et le Cantique de Pâques by Honegger in Utrecht. More recently, she has appeared as Le Rossignol (Die Vögel by Walter Braun-fels) in Strasbourg, Tytania (A Midsummer Night’s Dream) in Lille, La Reine de la Nuit in Strasbourg, La Fée et Arlette (Die Fledermaus) in Limoges, Adina (L’elisir d’amore) at the Florentine Opera (USA). Other projects include the title role in Auber’s Manon Lescaut at the Teatro Regio in Turin and Blondchen (Die Entführung aus dem Serail) in Saint-Étienne.
At Opéra de Lausanne: My Fair Lady (2015), Ariadne auf Naxos (2019) and Le Domino noir (2023)
David Hermann studied at the Hochschule für Musik Hanns Eisler in Berlin and was assistant to Hans Neuenfels. In 2000, he won the Graz International Competition for Stage Direction and Scenography. In 2018, his Krenek trilogy at the Frankfurt Opera won him the Rediscovery Award and “Best Director” at the International Opera Awards in London. Recent productions include the world premiere of Gordon Kampe’s Dogville at Essen’s Aalto Theater, Die Frau ohne Schatten and Das Lied von der Erde at Stuttgart Opera, Tannhäuser at Opéra de Lyon, Fidelio at Berlin’s Deutsche Oper, Falstaff at Nuremberg Staatstheater and Opéra de Montpellier, Così fan tutte at Opéra du Rhin, Lohengrin at Staatstheater Nuremberg, I Capuleti e i Montecchi at Theater Bern, a mixture of short works by Frank Martin and Schönberg entitled “Warten Auf Heute” at Opéra Frankfurt, Massenet’s Cendrillon at Opéra de Lorraine and Theater Klagenfurt, and the world premiere of Anno Schreier’s ‘Tis Pity She’s a Whore at Deutsche Oper am Rhein. David Hermann also directed Ascanio in Alba at the Salzburger Festspiele, Médée, Orfeo, Il combattimento di Tancredi e Clorinda, Il ritorno d’Ulisse in patria, L’Heure espagnole and La vida breve at the Frankfurt Opera, Jeanne d’Arc au bûcher, La bohème and La Dame de pique at Theater Basel, Les Troyens and Boris Godounov at Staatstheater Karlsruhe, Falstaff, Le nozze di Figaro and Eugène Onéguine at Theater Luzern, Macbeth at Essen’s Aalto Theater, Chaya Czernowin’s Pnima at the Lucerne Festival, Rigoletto at Deutsche Oper am Rhein, Die Zauberflöte at Opéra des Flandres, Il turco in Italia at Amsterdam Opera, Iolanta at Opéra de Lorraine and Pilar Jurado’s La página en blanco at Madrid’s Teatro Real. Highlights of his 2023/24 season include new productions of Parsifal at the Staatstheater Nuremberg and Così fan tutte at the Musiktheater im Revier in Gelsenkirchen, as well as a world premiere as part of the Schwetzinger Festspiele.
At Opéra Lausanne: Die lustigen Weiber von Windsor (2014) and Ariadne auf Naxos (2019).
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.
After completing his vocal studies at the Lausanne Conservatory and the Guildhall School in London, François Piolino, a Swiss tenor born in Basel, obtained a Premier Prix at the Conservatoire National Supérieur de Paris. He has been working on his voice for many years with the tenor Guy Flechter. A first career in baroque music, mainly with William Christie, allowed him to acquire a solid foundation for the rest of his career, which was oriented towards opera. Specialized in character roles, he travels the world, performing on the greatest stages: Royal Opera House Covent Garden, Paris Opera, Staatsoper Berlin, Amsterdam, La Monnaie, Glyndebourne Festival, Théâtre des Champs-Elysées, Opéras National Lyon, Opéra National de Lorraine (Nancy), Opéra National du Rhin, Aix-en-Provence Festival, Grand Théâtre de Genève. Among the roles he has performed are Don Basilio (Le nozze di Figaro), Goro (Butterfly), Caius (Falstaff), Pang (Turandot), and Monsieur Triquet (Eugene Onegin), not to mention Billy Budd’s Novice, in which he has been particularly successful at the Opéra Bastille. Thanks to his perfect command of German, François Piolino is very comfortable in roles such as the Jews (Salome), Mr. Mole (Capriccio), Scaramuccio (Ariadne auf Naxos), or Monostatos (Die Zauberflöte), one of his favorite roles which he has sung more than 80 times throughout the world. Future engagements include Salome at the Théâtre des Champs-Élysées, Falstaff in Montpellier, Die Fledermaus in Nantes, Angers and Avignon, as well as concerts with L’Heure espagnole in Tel Aviv.
At the Opéra de Lausanne: Scaramuccio (Ariadne auf Naxos) 2019.
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, the Duke of Mantua in Les Brigands, Alfredo in La traviata and Le Veilleur de nuit in La None sanglante from Gounod.
At the Opéra de Lausanne: Pan y toros (2009), La Fille de Madame Angot (2010), Rinaldo (2011), L’Aiglon (2013), Manon (2014), Amahl et les visiteurs du soir (2017), La donna del lago (2018), Anna Bolena (2019) and Ariadne auf Naxos (2019).
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.
The Swiss baritone studied at the Haute Ecole de Musique de Lausanne in the class of Frédéric Gindraux, before moving to London to work with Prof. Rudolf Piernay at the Guildhall School of Music and Drama, where he obtained an Artist Diploma with distinction. He also worked with Dame Felicity Lott, François Le Roux, Eugene Asti and Graham Johnson, whom he assisted in his latest book on the life of Francis Poulenc, “Poulenc: The Life in the Songs”, published by Liveright. He sings several roles for the Opéra de Lausanne, including the title role in Christiné’s operetta Dédé, Melchior in Menotti’s Amahl et les Visiteurs du Soir, Maximilian in Bernstein’s Candide, and Urbain in Offenbach’s La Vie Parisienne. He also creates recitals for children and a workshop during the Lausanne Youth Olympic Games in 2020. He is also heard singing Weill’s Berliner Requiem during the exceptional concert of the Opera Choir. He has worked for the LSO (London Symphony Orchestra) on several occasions (Discovery Day on the music of Michael Tippett, soloist for Haydn’s Nelson Mass or curator of a recital in the series “Future: the musical voices of our time”), the BBC (“Immersion in the music of Detlev Glanert”) or the Wigmore Hall (study groups on the vocal music of Schumann, Ravel, a recital of contemporary music and a recital of French melodies). He is part of the French Song Exchange between the Wigmore Hall and the Salle Cortot in Paris, where he has the chance to make his debut in 2019 and return regularly to perform. The singer, a Samling Foundation Artist, is awarded the title of Ambassador of Melody by the Oxford Lieder Festival for the year 2020. He enters the concert placement of the Migros Culture Percentage, of which he is also a scholarship holder, as well as the Friedl-Wald and Colette Mosetti foundations. He participated in the final of the prestigious Kathleen Ferrier Competition in London and was also a finalist of the Young Classical Artist Trust in 2022. He won the English Song Prize in 2020, Second Prize and Audience Prize at the Kattenburg Competition in 2019, Third Prize and all Special Prizes in 2022, and Second Prize at the Somerset Song Prize. Future engagements include SongStudio 2023 at Carnegie Hall in New York with Renée Fleming, a recital series in England and Canada with pianist Cole Knutson for the Oxford Lieder Festival, the role of Maximilian in Bernstein’s Candide at the Opéra de Lausanne, and a revival of My Fair Lady.
At the Opéra de Lausanne: My fair Lady (2015), La Belle de Cadix (Route Lyrique 2016), L’Orfeo (2016), La vie parisienne (2016), Amahl et les visiteurs du soir (2017), Les chevaliers de la table ronde (Route Lyrique 2019), Dédé (Route Lyrique 2021) and Candide (2022).
Born in Lausanne, Raphaël Hardmeyer began his musical career with the violin, then the viola. After obtaining a master’s degree in law, he began to study singing at the Lausanne Conservatory. Three years later, he joined Gilles Cachemaille’s class at the Haute école de musique de Genève. During the 2019/20 season, he can be seen in Philip Glass’ Einstein on the Beach at the Grand Théâtre de Genève and Die Walkyrie (in concert version) in Evian. In 2020, he benefits from the OperaLab.ch program set up by the Grand Théâtre de Genève and the Hautes Écoles de Genève. This season, he performs in a staged version of Messiah at the Théâtre du Jorat and in Die Zauberflöte at the Gstaad Menuhin Festival, under the direction of Christophe Rousset.
At the Opéra de Lausanne: Ariadne auf Naxos (2019), Semiramide (2022), L’elisir d’amore (2022), Candide (2022).
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).
The works of Richard Wagner are an essential part of Frank Beermann’s repertoire. His performances of Tristan und Isolde, Tannhäuser, Lohengrin and Der fliegende Holländer as part of the “Minden Wagner” projects have been enthusiastically received by the local and international press. During the years 2015-2019, Frank Beermann conducted no fewer than 36 performances of the four operas in the famous Tetralogy. In recent years, he has devoted himself more intensively to the great symphonic works of Richard Strauss, Gustav Mahler and, in particular, Anton Bruckner. He was soon able to add the “completed” 9th Symphony, including its reconstructed 4th movement, to his repertoire. Over the past ten years, he has conducted complete cycles of symphonic works by Beethoven, Brahms, Schubert, Schumann, Mahler (with the exception of the Eighth) and Strauss, as well as the complete Mozart piano concertos with Matthias Kirschnereit and the Bamberger Sinfonikern; he is currently working on the complete Mozart symphonies in a new concert series for the Hamm Klassiksommer, with performances spread over several years. From 2007 to 2016, Frank Beermann was Generalmusik-direktor of the Chemnitz Theater and Principal Conductor of the Robert-Schumann-Philharmonie. Recent engagements include debuts at the helm of the Athens National Orchestra and London Philharmonia, as well as in the pits of Essen’s Aalto-Musiktheater and Stuttgart’s Staatstheater. In January 2020, he made his highly successful debut at the Capitole de Toulouse, where he conducted a new production of Parsifal. A new production of Elektra brings him back to the same venue in June 2021, with the same success. His plans for the 2023/24 season include Parsifal in Minden and Die Frau ohne Schatten in Toulouse.
At Opéra de Lausanne:
Die lustigen Weiber von Windsor (2014), La bohème (2017), Die Fledermaus (2018), Ariadne auf Naxos (2019) et Le nozze di Figaro (2021).
Born in Innsbruck, Paul Zoller first worked as an architect, after studying at the Hochschule für angewandte Kunst in Vienna, the University of Michigan and the Hochschule der Künste in Berlin. After winning numerous prizes, he founded the “the poor boys enterprise” group of architects. He then turned to directing, which he studied with Erich Wonder at the Akademie der bildenden Künste in Vienna. He has since worked with numerous directors – Andreas Homoki, Lorenzo Fioroni, Vera Nermirovna, Philipp Himmelmann, Thilo Reinhardt, David Hermann, Jetzke Mijens- ken, Julia Hölscher, as well as choreographers Mario Schroeder and Helene Blackburn – and has performed on the stages of the Deutsche Oper and Komische Oper in Berlin, the Opernhaus in Zurich, the Festival d’Aix-en-Provence, the BAM in New York, the Edinburgh Festival, the Opéra-Comique in Paris, the Semperoper in Dresden, the Staatsoper in Hamburg, the Royal Opera in Copenhagen, Oper Köln, Oper am Rhein in Düsseldorf, Theater Basel, Opera Graz, Residenztheater Munich, Opéra national de Lorraine, Opéra de Lausanne, Aalto-Theater Es- sen, Opernhaus Dortmund, Luzerner Theater and Hebbeltheater Berlin. In addition to his work as a director, he is also active in the field of performance art and installations. He has been nominated twice for the Faustpreis (2012 and 2014). In 2024, he received the Opera! Award for Best Scenic Designer.
At the Opéra de Lausanne: Ariadne aus Naxos (2019).
With over 200 productions to his credit, Fabrice Kebour is recognized as one of the most prolific lighting designers of his generation. His career began in New York, where he very soon signed his own lighting designs. First steps, first successes: he won the United Scenic Artist competition, with the opportunity to assist the most renowned lighting designers in the United States for two years. The last twenty years mark the consecration of his work. He has lit Giorgio Barberio Corsetti’s productions at the Comédie Française for Il cappello di paglia di Firenze, at La Scala in Milan for Macbeth and Turandot, and at the Mariinsky for Don Carlo. He has also been designing David Pountney’s lighting for many years, notably for La forza del destino at the Wiener Staatsoper, Die Zauberflöte in Bregenz and Philip Glass’ world premiere Spuren der Verirrten inaugurating the new opera house in Linz. He also designed the lighting for the world premiere of Berenice and La bohème directed by Claus Guth at the Paris Opera. Among his latest creations, let us note: Il viaggio, Dante by Pascal Dusapin in a staging by Claus Guth for the Aix-en-Provence Festival, as well as Il trittico by Puccini directed by Christof Loy for the Salzburg Festival.
At the Opéra de Lausanne: Il barbiere di Siviglia (2009 / 2014), L’elisir d’amore (2012), Le petit Prince (2014), Die Lustige Weiber von Windsor (2014), Die Fledermaus (2018) and Ariadne auf Naxos (2019).
