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; and Mimi at Covent Garden.
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.
After studying at the Hanns Eisler Conservatory in Berlin, David Hermann won First Prize in the Competition for Stage Direction and Set Design in musical theatre in Graz, Austria. In 2018, he was named Best Director at the International Opera Awards for his Krenek trilogy (Der Diktator, Das geheime Königreich, Schwergewicht, oder Die Ehre der Nation) staged at the Frankfurt Opera, where he also directed Warten auf heute in 2022, a triptych consisting of Frank Martin’s Six Monologues de Jedermann along with Schönberg’s Erwartung and Von heute auf morgen. His repertoire ranges from baroque to the 21st century: Monteverdi and Lully at the Opéra de Nancy; Charpentier’s Médée in Frankfurt, Mozart’s Ascanio in Alba at the Salzburg Festival; Così fan tutte at the Opéra du Rhin; Die Entführung aus dem Serail and La traviata in Zurich, Copenhagen, Montpellier and Luxembourg; Rigoletto in Düsseldorf; Macbeth at the Aalto Theater in Essen; Lohengrin in Nuremberg; Das Rheingold in Karlsruhe; Parsifal in Nuremberg; Boris Godunov and Les Troyens in Karlsruhe; Honegger’s La Dame de pique and Jeanne au bûcher in Basel; Iolanta in Nancy M Janáček’s De la maison des morts in Frankfurt; L’Affaire Makropoulos at the Deutsche Oper in Berlin; Massenet’s Cendrillon in Nancy and Klagenfurt; Ravel’s L’Heure espagnole and De Falla’s La vida breve in Frankfurt. His staging of Otto Nicolai’s Lustigen Weiber von Windsor in Lausanne won him the Prix de la Critique Française. In the contemporary field, he has notably directed Xenakis’ Oresteia and Lachenmann’s Das Mädchen mit den Schwefelhölzern at the Deutsche Oper Berlin; Chaya Czernowin’s Pnima at the Lucerne Festival; Anno Schreier’s Dommage qu’elle soit une putain in Düsseldorf; Yatsutaki Inamori’s Wir aus Glas at the Munich Biennale; and Pilar Jurado’s La página en blanco at the Teatro Real in Madrid. In 2022/23, David Hermann is directing Tannhäuser at the Opéra de Lyon, Fidelio at the Deutsche Oper Berlin, Falstaff at the Staatstheater Nuremberg, as well as two world premieres: Dogville by Gordon Kampe at the Aalto Theater Essen and ImDickicht by Isabel Mundry at the Schwetzinger SWR Festspiele.
At the Opéra de Lausanne: Die lustigen Weiber von Windsor (2014) and Ariadne aus Naxos (2019).
Trained as a conductor at the Hochschule der Künste in Zurich, after studying cello, musicology and conducting at the conservatories of Munich, Karlsruhe and Shanghai, Corinna Niemeyer is the artistic and musical director of the Orchestre de Chambre du Luxembourg. She develops innovative programmes, such as the 2022/23 season where she proposes a dialogue between the “sounds of nature” conveyed by Les Élémens from baroque composer Jean-Féry Rebel and the modern work, Canticus Arcticus by Rautavaara; an exploration of the musical relationship between Robert Schumann’s major works and those of his contemporary Louise Farenc; and the performance of Ligeti’s Mysteries of the Macabre. She began the season with a new production of Britten’s Rape of Lucretia at Covent Garden and distinguished herself by conducting the Royal Liverpool Philharmonic, Ensemble Modern, Hallé Orchestra and Saarländisches Staatsorchester. Recently she has made notable debuts with the Danish National Symphony Orchestra, the Kammerakademie Podsdam, the MDR Symphony Orchestra Leipzig and the Beethoven Orchestra Bonn. In terms of opera, she wielded her conductor’s baton in Lille with the orchestra Les Siècles in Ravel’s L’Enfant et les sortilèges; in Metz with Le Comte Ory and at the Grand Théâtre de la Ville de Luxembourg in Viktor Ullmann’s Der Kaiser von Atlantis and the world premiere of Eugene Birman’s En vertu de….
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. Her roles include: Kabanicha (Katja Kabanova) at the Komische Oper Berlin and the Marquise de Berkenfield (La Fille du régiment) at the Théâtre des Champs-Élysées.
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.
At the Opéra de Lausanne: My Fair Lady (2022).
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 trained at the CRR of Reims, then at the CRR of the 1st arrondissement of Paris, at the CRR of Avignon and finally at the HEMU, where she has just completed her master’s degree with Jeanne-Michèle Charbonnet. She won Second Prize at the Léopold Bellan International Music Competition and Third Prize (operetta category) as well as the Audience Prize at the Concours International de Bézier. She has already had the opportunity to interpret Philomèle in Le roi l’a dit by Delibes at the Opéra d’Avignon, Princess Laoula in Chabrier’s L’Étoile at the Opéra d’Avignon, Suzanna in Mozart’s Le nozze di Figaro at the Théâtre de Pézenas, and finally Despina in Così fan tutte in a co-production by HEMU, HEM Geneva and Opéra de Fribourg.
At the Opéra de Lausanne: L’elisir d’amore (2022) and My Fair Lady (2022).
Julia Deit-Ferrand sings the title role of La Cenerentola in a version for four soloists at the Grand Théâtre de Genève, as well as the colossal role of La Mezzo in Der goldene Drache by Péter Eötvös. She played Cherubino (Le nozze di Figaro), Berta (Il barbiere di Siviglia) at the Nouvel Opéra Fribourg; Dwarf/Animal in Marius-Felix Lange’s Snow White; as well as Chérubin in the world premiere of Sholololo! In musicals, she has played the roles of Sally Bowles in Cabaret; Fantine in Les Misérables; and Hattie in Kiss Me, Kate. She has performed with the Orchestre Pau Pays de Béarn, the Ensemble Contrechamps, the Sinfonietta de Lausanne, the Orchestre de Chambre Fribourgeois, under the baton of conductors such as Leonardo García Alarcón, Pierre Bleuse, John Fiore, Gabriella Teychenné, Lucie Leguay, Sebastiano Rolli, Fayçal Karoui, Margaux Blanchard and Jonas Descottes. She has developed her project Kéfir kéfir for voice and synthesizers. Julia won the young audience prize and the prize for the best contemporary interpretation in the Concours Kattenburg in Lausanne, and is a laureate of the Fritz Bach Foundation. She won Third Prize in the Concours Léopold Bellan in Paris and was a finalist in the Voix Nouvelles competition in 2018. She holds a Master’s degree in sociology from the Université Sorbonne Nouvelle (Paris III) and a Master’s degree as a soloist from the Haute école de musique de Lausanne (class of Jeanne-Michèle Charbonnet). Julia Deit-Ferrand is an Adami grant holder.
At the Opéra de Lausanne: Le domino noir (2023).
After getting two Master’s degrees in Musical Writing and in Musicology in Geneva, Benoît Capt completed his singing training thanks to several scholarships (Leenaards, Migros, Mosetti and Marescotti), first with Marga Liskutin and Gilles Cachemaille in Geneva, then with Hans-Joachim Beyer and Phillip Moll in Leipzig, and finally with Gary Magby in Lausanne. He won several international competitions (Lyon, Marmande, Toulouse, Dortmund, Graz, Weiden) and received the Circle of Friends of the OSR Prize in 2008. He performs regularly in concerts and recitals and founded the Lied et Mélodie association in Geneva. At the Lausanne Opera, he interprets the title role in Telemann’s Pimpinone (2010), Papageno in Die Zauberflöte (2010 and 2015), Wagner in Faust (2016), and Schaunard in La Bohème (2017).
Aslam was born on the island of La Réunion, where he lived until he was nineteen. He started playing the violin at the age of six and began singing variety music at sixteen. In 2010 he moved to Tours, where he set up a professional project and was hired as a singer in a circus. In 2016, he is introduced to opera singing and joins Jean-François Rouchon’s class in Cergy. After a year of training, he decides to become professional and to familiarize himself with the world of opera. During the year 2020, he won the 1st prize of the Voix des Outre-mer competition, obtained his DEM in opera singing and joined Leontina Vaduva’s class at the Haute École de Musique de Lausanne. He will take his first solo role in September 2021 as Guglielmo in Così fan tutte, produced by the HEMU and the Opéra de Fribourg and also performed at the Opéra de Lausanne.
At the Opéra de Lausanne: L’auberge du Cheval Blanc (2021), Werther (2022), L’elisir d’amore (2022), My fair Lady (2022).
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).
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, John Sorel in Menotti’s Le Consul as well as various roles in contemporary opera creations.
At the Opéra de Lausanne: La Belle de Cadix (2016), Les contes d’Hoffmann (2019).
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).
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).
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)