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Winner of the Rome Grand Prix, youngest member of the Institut de France, professor of composition at the Conservatoire de Paris (where he trained Chausson, Pierné and Schmitt), Jules Massenet found his place in the history books as a skilful creator of melodies appealing to the public. Unwilling to revolutionise his art, he wrote some 20 operas that all seem fairly similar – but since they sound so good, no one tends to complain! While Manon and Werther are often cited, Thaïs (and its sublime Méditation, cherished by violinists) should not be forgotten and nor should Cendrillon, whose naturally fairytale character is ideally suited to his generous and… deliciously sweet penmanship. Composed between 1894 and 1895, based on a libretto by Henri Cain inspired by Charles Perrault’s fairy tale, it premiered on 24 May 1899 at the Opéra-Comique and enjoyed a dazzling debut, with no less than 50 performances in the first season alone. Massenet was quite simply at the peak of his career.
First performance on May 24, 1899 at the Opéra Comique, Paris
Published by Heugel & Cie represented by Atlantis Musikbuch-Verlag AG, Zürich
Born in Armenia, Ruzan Mantashyan studied piano at the Komitas Conservatory in Yerevan at the age of seven. A few years later, she began to study singing at the same institution with Valey Harutyunov. She then went on to study at the Accademia di Belcanto of Mirella Freni in Modena, and then with Hedwig Fassbender at the Frankfurt Conservatory, where she obtained her Master’s degree in 2014, after which she joined the Atelier lyrique de l’Opéra de Paris for two years. Ruzan was a finalist in the Francisco Viñas Competition in Barcelona where she won the special prize. She also won the Toti dal Monte Competition for Musetta (La bohème) and performed this role in Treviso, Bolzano, Fermo and Ferrara. Her engagements have enabled her to play the roles of Susanna (Le nozze di Figaro) in Modena; Servilia (La clemenza di Tito) in Reggio Emilia; Echo (Ariadne auf Naxos) at the Berlin Konzerthaus, the Opéra Bastille and the Glyndebourne Festival; the Child (L’Enfant et les sortilèges) at the Komische Oper Berlin; Fiordiligi (Così fan tutte) in Paris-Creteil, Lille, the Staatsoper Munich and Seoul; Micaëla (Carmen) in Montpellier and Hamburg; Xenia (Boris Godounov) at the Opéra de Paris. She gave a particularly noteworthy performance as Mimi (La bohème) and Marguerite (Faust) in Geneva. Ruzan has also appeared as Tatiana (Eugene Onegin) at the Hamburg Staatsoper; Cleofide (Handel’s Poro, Redell’Indie) at the Komische Oper; Mimi at the Bayerische Staatsoper in Munich; as well as Fiordiligi and Mimi in Zurich. She also sang at the Peralada Festival in a duet with Juan Diego Flórez. Recent engagements have included playing Natacha Rostova (War and Peace) in Geneva; Tatiana in Liège; Fiordiligi in Zurich; Tatiana and Alice Ford (Falstaff) at the Komische Oper; and Rachel (La Juive) at the Grand Théâtre de Genève. Her roles for the 2022/23 season and beyond include: Tatiana in Hamburg, Wiener Staatsoper and Komische Oper; Donna Elvira (Don Giovanni) at Glyndebourne and Zurich; Mimi at Covent Garden and Tokyo, Tatiana at the Wiener Staatsoper eand the Komische Oper, Donna Elvira at Zurich…
After studying singing at the CRR in Paris, then at the CNSM in Paris (Yves Sotin’s class), Ambroisine Bré won several distinctions in 2017: four prizes in the “Mozart de l’Opéra” awards at the Théâtre des Champs-Élysées, the Grand Prix for a voice-piano duet at the Concours Nadia & Lili Boulanger with pianist Qiaochu Li; and was also named the “Révélation Classiques de l’Adami” and a laureate of the Royaumont Foundation. In 2019, she was nominated in the revelation category at the Victoires de la musique classique. Her career took off under the baton of Christophe Rousset, Marc Minkowski, Laurence Equilbey, Hervé Niquet, Eivind Gullberg Jensen, Vincent Dumestre, Leonardo García Alarcón, and Thomas Hengelbrock. She has performed on several major European stages – the Wiener Staatsoper, Theater an der Wien, Prague National Theatre, Luxembourg Philharmonic, Berlin Staatsoper, Opéra de Lille, Opéra de Bordeaux, Opéra national du Rhin, La Monnaie in Brussels, Festival de La Chaise-Dieu, Festival de Beaune – in roles such as Lazuli (L’Etoile de Chabrier); Cherubino (Le nozze di Figaro); Zerlina (Don Giovanni); Sesto (La clemenza di Tito); Dorabella (Così fan tutte); Flora (La traviata); Mercédès (Carmen); the Mother, the Dragonfly and the Chinese Cup (L’Enfant et les sortilèges); and Urbain (Les Huguenots). In 2022/23, she can be heard in Mallika (Lakmé) at the Opéra-Comique; Rossini’s La Petite Messe solennelle at Les Invalides; Dorothée (Cendrillon) at the Opéra de Limoges; Virtue and Ottavia (L’incoronazione di Poppea) at the Opéra royal de Versailles (production of the Festival d’Aix-en-Provence); and the title role of Grétry’s Andromaque at the Opéra de Saint-Etienne. At the beginning of 2022, she published her first solo disc of melodies and opera arias with the new generation of French artists and recorded Climène (Egisto) with Le Poème harmonique and Vincent Dumestre; and Galathée (Acis et Galathée by Lully) with Les Talens Lyriques and Christophe Rousset.
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).
Corinna Niemeyer was appointed Music Director of the Luxembourg Chamber Orchestra in September 2020. Her enthusiasm for presenting music in innovative ways is reflected in her activities, which span the stylistic spectrum from conducting ensembles playing period instruments to presenting world premieres, opera, interdisciplinary projects and the great symphonic repertoire. His raw creativity and infectious desire to share his passion are a hit with audiences. Asserting herself ever more forcefully on the operatic stage, she began the season conducting the UK premiere of George Benjamin’s Picture a day like this at Covent Garden. This followed her pit debut at the Linbury Theatre in autumn 2022 in Oliver Mear’s new production of Britten’s Rape of Lucretia, co-produced with Britten Pears Arts. The 2023/24 season will see her conduct Purcell’s The Fairy Queen in St. Gallen. Her thirst for innovation is reflected in the programs she conducts at the head of the Orchestre de Chambre du Luxembourg, which this season features works by Haydn, Mozart, Berlioz (Les Nuits d’été with Ian Bostridge) and Ligeti (Mysteries of the Macabre). On the orchestral scene, he has conducted (or will be conducting) the Orchestre de Paris, the Royal Philharmonic Liverpool, the Orchestre national d’Île-de-France, the MDR Sinfonieorchester, the Heidelberg Philharmonic, the Beethoven Orchestra Bonn and the Tenerife Symphony Orchestra. She also regularly conducts Les Siècles and Ensemble Modern. In 2022, she made her debut at the Opéra de Lille conducting Les Siècles in Ravel’s L’Enfant et les sortilèges. She has also conducted Le nozze di Figaro at the Cologne Opera, Le Comte Ory at the Opéra de Metz and, on the same evening at the Grand Théâtre de la Ville de Luxembourg, Viktor Ullmann’s one-act opera Der Kaiser von Atlantis and the world premiere of Eugene Birman’s En vertu de…, dedicated to the European Convention on Human Rights.
After studying at the CNSM in Paris in Jane Berbié’s class and then at the Ecole d’art lyrique de l’Opéra de Paris, Doris Lamprecht quickly established her stage and vocal presence in a very wide repertoire. As comfortable in Italian and French as she is in German, she has successfully performed in works by Verdi (Rigoletto in Strasbourg, La traviata in Orange); Offenbach (Les Brigands at the Opéra Bastille, La Belle Hélène in Zurich under the direction of Nikolaus Harnoncourt, La Périchole in Marseille, La Vie parisienne in Tours); Mozart (Die Zauberflöte in Aix-en-Provence, Lyon and Orange); and Berg (Lulu in Metz). Her roles have been marked by numerous roles such as The Witch (Hänsel und Gretel); Juno (Platée) and Brigitta (Die tote Stadt) at the Opéra de Paris; Dame Martha (Faust) in Amsterdam and Paris; Gertrude (Hamlet), Marcellina (Le Nozze di Figaro); Larina (Eugene Onegin) in Strasbourg, Geneva, Nice and Munich; Madame de Croissy (Dialogues des Carmélites) in Nantes and Angers; Madame de la Haltière (Cendrillon) at the Liceu in Barcelona, in Nancy and at the Komische Oper in Berlin, Mrs Pichard and Sister Opportune (Les Mousquetaires au couvent) at the Opéra-Comique, Hedwige (Guillaume Tell) in Geneva, Public Opinion (Orphée aux Enfers) in Nancy and Montpellier, Jacqueline (Le Médecin malgré lui) in Geneva; Mrs Tschang (Der Kreidekreis by Klabund) at the Opéra de Lyon; Countess Stasa Kokozow (Der Graf von Luxemburg by Lehár) in Düsseldorf; Larina (Eugène Onéguine) at the Opéra de Strasbourg and in Marseille; Mary (Der fliegende Holländer) in Nantes, Angers and Rennes; the Countess de Coigny (Andrea Chénier) in Toulon, Kabanicha (Katja Kabanova) at the Komische Oper Berlin and the Marquise de Berkenfield (La Fille du régiment) at the Théâtre des Champs-Élysées, Zia (Il trittico) in Karlsruhe. Projects for the 2023/24 season and beyond: La Marquise (Les Brigands) at the Opéra de Paris and Mamma Lucia (Cavalleria rusticana) at Saint-Étienne.
A graduate of the Royal Academy of London, Nicolas Cavallier successfully began his career in roles from operas by Mozart (Figaro, Don Giovanni, Don Alfonso) and Rossini (Selim, Mustafa, Alidoro). The evolution of his voice subsequently led Nicolas Cavallier to perform a wider repertoire (Mephistopheles in Faust, Don Quixote, Nilakhanta in Lakmé, the four Devils in Les Contes d’Hoffmann, Friar Laurence in Romeo and Juliet, Arkel in Pelléas et Mélisande, the Marquis de la Force in Dialogues des Carmélites, Philippe II in Don Carlos, Zaccaria in Nabucco, Scarpia in Tosca, the Dutchman in Der Fliegende Höllander, Henrich der Vogel in Lohengrin, Orest in Elektra…). Appearing on many national and international stages, he has collaborated with conductors such as Michel Plasson, Myung-Whun Chung, Armin Jordan, Marc Minkowski, Evelino Pido, Alberto Zedda, Emmanuel Krivine, Philippe Jordan, Colin Davis, John Eliot Gardiner and Pinchas Steinberg, as well as with directors Wajdi Mouawad, Stanislas Nordey, Olivier Py, Robert Wilson, David Hermann and Johannes Erath. Recent performances include Don Inigo Gomez in L’Heure espagnole with the London Symphony Orchestra and François-Xavier Roth in London, the four Devils (Les Contes d’Hoffmann) and the title role in Rubinstein’s Demon at the Opéra de Bordeaux, the title role in Don Quichotte in Tours, Walter Furst (Guillaume Tell) and The High Priest (Samson et Dalila) at the Chorégies d’Orange, The Sacristan (Tosca), Don Balthazar (Le Soulier de Satin), Phorbas and Le Veilleur (Œdipe) at the Opéra de Paris, the Marquis de la Force (Dialogues des Carmélites) at the Théâtre des Champs-Élysées, Caen, Bologna and recently at the Zurich Opera, Don Alfonso (Così fan tutte) at the Opéra national du Rhin, Saint-Bris (Les Huguenots) at La Monnaie in Brussels, and Narbal (Les Troyens) at the Cologne Opera, Le Grand Prêtre (Samson et Dalila) at the Chorégies d’Orange and in Avignon, Le Hollandais in Massy and Méphistophélès in Saint-Étienne, Reims, Limoges and Vichy, L’Heure espagnole at London (with the London Symphony and François-Xavier Roth) and at the Opéra-Comique (under the direction of Louis Langrée).
At the Opéra de Lausanne: My Fair Lady (2022) and Orphée aux Enfers (2023).
Anne Sophie Petit holds a Master’s degree as a soloist from the Haute école de musique de Lausanne, in Stephan MacLeod’s class. She is a Young Talent of the Académie Musicale Philippe Jaroussky in 2019/20, a laureate of the Royaumont Foundation and a member of the Studio de l’Opéra de Lyon (2020/21). She won the Geneva Mahler Competition in 2020 along with pianist Marcell Vigh. She made her stage debut at the Opéra de Lausanne in 2017 as Musetta (La bohème). She has performed on stages such as the Opéra de Rouen, the Théâtre des Champs-Élysées and the Concertgebouw in Amsterdam, where she made her debut as Queen of the Night. She has collaborated with ensembles such as Gli Angeli Genève, Les Ambassadeurs – La Grande Ecurie, Le Concert de la Loge, the Orchestre du XVIIIe Siècle and the Ensemble Correspondance.
At the Opéra de Lausanne: La bohème (2017), Cendrillon (2018), Les Chevaliers de la Table ronde (Route Lyrique 2019) and Pinocchio (2023).
Aurélie Brémond obtained her Master’s degree from the Haute école de musique de Lausanne with Jeanne-Michèle Charbonnet in June 2022. She is a prizewinner in several international competitions: the Concours international de Mâcon-Symphonies d’automne, the Concours international de Béziers, and the Concours Leopold Bellan. Her stage credits include Philomèle in Delibes’ Le Roi l’a dit and Princess Laoula in Chabrier’s L’Étoile at Opéra d’Avignon, Despina in Mozart’s Così fan tutte at Opéra de Lausanne and Nouvel Opéra de Fribourg, and Giannetta in Donizetti’s L’elisir d’amore at Opéra de Lausanne.
At the Opéra de Lausanne: L’elisir d’amore (2022), My Fair Lady (2022) and Pauline Viardot’s Cendrillon (2023).
Mezzo-soprano Julia Deit-Ferrand trained at the Haute école de musique de Lausanne, where she obtained a soloist’s master’s degree from Jeanne-Michèle Charbonnet and a master’s degree in interpretation from Hiroko Kawamichi. At the Grand Théâtre de Genève, she performed the title role in a French adaptation of La Cenerentola, the Mezzo in Der goldene Drache by Péter Eötvös, and Bianca in the young audience creation Rosa Bianca to music by Donizetti. She played Cherubino (Le nozze di Figaro) under the direction of Leonardo García Alarcón and, at the Nouvel Opéra Fribourg, Berta (Il barbiere di Siviglia), Le Nain Chouquette and Un Animal (Snow White by Marius-Felix Lange), as well as Chérubin (Sholololo!). In the musical comedy repertoire, she plays Sally Bowles in Cabaret, Fantine in Les Misérables and Hattie in Kiss Me, Kate. She puts contemporary creation and performative art forms at the heart of her research, and practices sassy, a style born of urban dance with Lausanne choreographer Daya Jones. She created Laissez durer la nuit, a project based on traditional Turkish and Greek songs and baroque pieces. She performs at L’Arsenic in Lausanne in Louis Bonard’s performance L’Apocalypse, with music by Nicholas Stücklin. She won the young audience prize and the prize for best contemporary interpretation at the Kattenburg competition, and is a laureate of the Fritz Bach Foundation. She won 3rd prize at the Concours international Léopold Bellan in Paris and was a finalist in the Voix Nouvelles competition in Switzerland in 2018. She holds a master’s degree in sociology from the Université Sorbonne Nouvelle (Paris III). This season, she has just made her debut at Opéra du Rhin in Simon Steen-Andersen’s Don Giovanni’s Inferno (world premiere), as part of the Musica festival, and at Opéra d’Avignon in Die Zauberflöte (Papagena). Future projects include the title role in Handel’s Lotario, Cherubino and a world premiere role.
At Opéra de Lausanne: Le Domino noir (2023)
After gaining masters degrees in music composition and musicology in Geneva, Benoît Capt trained as a singer at the HMT Mendelssohn in Leipzig (concert masters), then at the HEMU in Lausanne with Gary Magby (soloist masters). Winner of several international competitions (Lyon, Dortmund, Weiden, Marmande, Toulouse), in 2008 he received the Prix du Cercle des Amis de l’OSR. For the past twenty years, he has performed in opera and concert in a repertoire ranging from Baroque to contemporary music, under conductors such as Theodor Guschlbauer, Stefano Ranzani, Hervé Niquet, Arie van Beek, Frank Beermann, Roberto Rizzi-Brignoli, Leonardo Garcia-Alarcon, Jean-Yves Ossonce and Diego Fasiolis. His recital partners include pianists such as Phillip Moll, Eric Schneider, Alexis Golovine and Michel Dalberto.
At the Opéra de Lausanne: The Telephone (2006), Carmen (2008), L’Enfant et les Sortilèges (2010), Pimpinone (2010), Die Zauberflöte (2010 and 2015), Die Lustigen Weiber (2014), Le Petit Prince (2015), Faust (2016), La Bohème (2017), Simon Boccanegra (2018) and Le petit Chaperon rouge (2021).
Born on the island of La Réunion, Aslam Safla began studying the violin at the age of six, and began singing pop at sixteen. In 2010, he moved to Tours and began a professional career as a singer in American folk, country and bluegrass bands, as well as in a circus. In 2016, he was introduced to opera singing and entered Jean-François Rouchon’s class at the Conservatoire de Cergy-Pontoise.
He then decided to go professional in the world of opera. He devotes his time to gaining experience in this practice, through opera workshops, summer academies and masterclasses. In January 2020, he won 1st prize in the Voix des Outre-mer competition and joined Leontina Vaduva’s class at the Haute école de musique de Lausanne in September 2020.
At the Opéra de Lausanne: L’Auberge du Cheval-Blanc (2021), Werther (2022), L’elisir d’amore (2022), My Fair Lady (2022), Le Domino noir (2023) and Orphée aux Enfers (2023).
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).
Born in Lebanon, Mohamed pursued his musical studies in Switzerland at the Geneva and Lausanne music schools with Marcin Habela and Stephan MacLeod. He made his debut at the Lausanne Opera as Ramirez in La Belle de Cadiz by Francis Lopez. Among the roles he has played on stage: Count Almaviva in Mozart’s Le nozze di Figaro, Belcore in Donizetti’s L’elisir d’amore as well as various roles in contemporary opera creations.
At the Opéra de Lausanne: La Belle de Cadix (2016), La bohème (2017), Les Contes d’Hoffmann (2019), Doña Francisquita (2020) and Davel (2023)
The Opéra de Lausanne Choir is young, made up of students of singing from Lausanne’s University of Music and the Geneva HEM, and professional singers. Its members are selected by audition and periodically reheard. For each opera, they are distributed depending on their voice and/or aptitudes. Thanks mainly to their talent on stage, supported by an infectious enthusiasm, they are highly appreciated by all the theatre directors invited. For a few years the choir has benefitted from preparation by several experienced choir masters from different backgrounds, chosen depending on the works being sung and their specific interest.
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).
Après sa formation de costumier à la Hochschule der Künste de Berlin, Axel Aust a effectué plusieurs assistanats au Berliner Ensemble (direction artistique de Claus Peymann) et à la Schaubühne (direction artis-tique de Thomas Ostermeier). Ses premières créations per sonnelles ont été présentées aux Sophiensäle de Berlin, au Nationaltheater de Weimar – notamment pour Achim Freyer (La Damnation de Faust de Berlioz) –, à l’Opéra de Varsovie et à l’Opéra de Los Angeles. Depuis sa collaboration avec Alain Ollivier (Les Félins m’aiment bien d’Olivia Rosen- thal au Théâtre Gérard Philippe de Saint-Denis), il fait la navette entre l’Allemagne et la France, où il collabore régulièrement avec les metteurs en scène et scénographes suivants: Laurent Gutmann (entre autres sur Plateau S de Oriza Hirata au Théâtre national de Strasbourg), Gloria Paris (Les Amoureux de Carlo Goldoni et C’est pas pour me vanter d’après Eugène Labiche au Théâtre du Nord à Lille), Pierre Guillois (entre autres sur La Botte secrète de Claude Terrasse au Théâtre de l’Athénée-Louis Jouvet à Paris), Dominique Pitoiset (entre autres sur Orphée et Eurydice de Gluck à l’Atelier Lyrique de l’Opéra de Paris et Salomé à l’Opéra de Bordeaux), Richard Brunel (Le nozze di Figaro au Festival d’Aix-en-Provence et La traviata au Stadttheater de Klagenfurt), David Hermann (Cendrillon de Massenet à l’Opéra de Nancy) et Cesare Lievi (Elektra au Stadttheater de Klagenfurt). À l’Opéra de Berne, il a créé les costumes de Don Carlos et I Capuleti e i Montecchi pendant la saison 2021/22 et ceux de Sycorax, Guillaume Tell et Next to normal durant la saison 2022/23. Au cours de la saison 2023/24, il créera les costumes de La Cage aux folles aux Bühnen Bern.
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).
Jean-Philippe Guilois entered the National School of the Paris Opera in 1997 and then joined the Rudra Béjart School, with which he participated in several shows and international tours. He made his first professional experience with the Compagnie Buissonnière in Parce que je t’aime, presented at the Théâtre de Vidy-Lausanne. While multiplying his contracts as a dancer, he was introduced to the world of opera as a stage manager, and then became assistant director for La bohème, Nabucco, Carmen and Madame Butterfly at the Avenches Opera Festival, L’Aiglon and La Traviata at the Opéra de Marseille, Armide and Cendrillon at the Opéra de Nancy, Falstaff at the Opéra de Montpellier. Recently, he created the choreographies of My fair Lady at the Opéra de Marseille, Un ballo in maschera at the Opéra de Nancy and Tannhäuser at the Opéra national de Lyon. He currently devotes himself to the creation of choreographies, plays and stage productions.
At the Opéra de Lausanne: Alcina (2011), My fair Lady (2015), La vie parisienne (2016), Don Giovanni (2017), Così fan tutte (2018), Les chevaliers de la Table ronde (Route Lyrique 2019), L’auberge du Cheval Blanc (2019) and Dédé (Route Lyrique 2021), My Fair Lady (2022) and Davel (2023)