Muse to Ivan Tourgueniev, Charles Gounod, George Sand and Alfred de Musset, Pauline Viardot was an actress, mezzo-soprano – her sister was diva Maria Malibran – and more importantly, the composer of several operettas, including this opéra comique inspired by Perrault’s fairy tale. In this version, Cinderella’s father, a former convict, has become an upstart grocer known as the Baron of Pictordu. A light-hearted and quirky production, a parody and whimsical.
First performed in the salons of Mlle Mathilde de Nogueiras, Paris, April 23rd, 1904
Orchestration by Didier Puntos
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.
As a student in Éric Tappy’s class at the Geneva Conservatory of Music, Alexandre Diakoff was awarded first-prize for singing. He often plays character roles, which include Amida in L’Ormindo, Simone in La finta semplice, Don Magnifico in La Cenerentola, Bartolo in Il barbiere di Siviglia, Bruschino padre in Il signor Bruschino, Slook in La cambiale di matrimonio, Benoît in La bohème, Doctor Grenvil in La Traviata, the doctor in Chostakovitch’s Le Nez, Amantio di Nicolao and Maestro Spinelloccio in Gianni Schicchi. As an oratorio singer, he has performed the greatest works of the repertoire.
His performances at the Opéra de Lausanne include: the ogre in Le chat botté (2009), the title role in Monsieur Choufleuri (2012), the King, the Drunkard, the Lamplighter and the Signalman in Le Petit Prince (2014), Don Magnifico in La Cenerentola (2015), Doolittle in My fair Lady (2015), Hortensius in La fille du régiment (2016), Horatio in Hamlet (2017), l’homme-singe and le marabout in Les Zoocrates (2017), Pietro in Simon Boccanegra (2018).
After studying law, Alexandra Dobos-Rodriguez studied at the Toulouse Conservatory and at the HEMU in Lausanne, under Leontina Vaduva. She has performed Eurydice in Gluck’s opera, Venus in Orphée aux Enfers, Pamina in Die Zauberflöte, Madame Lidoine in Dialogues des Carmélites and Countess Almaviva in Le nozze di Figaro. She performed at the gala honouring the 30 years of Leontina Vaduva’s career in Bucarest. She has received coaching from Jean-François Gardeil pour French mélodie and from Helmut Deutsch for Lied.
In the summer of 2017, she was chosen to take part in the Excellenz-Labor-Gesang, a two-week workshop directed by Hedwig Fassbender, René Massis, Enza Ferrari and Fausto Nardi. She is a recipient of the Pour-cent culturel Migros Foundation.
For the first time ever at the Opéra de Lausanne. Jean Miannay began singing opera at the Conservatoire de Nantes in Natasha Siehoff’s class. After two years, he went on to study musicology in Lille and joined Françoise Semellaz’ class. During those years, Jean performed roles such as Tamino in Mozart’s La flûte enchantée, Pelléas in Pelléas et Mélisande by Debussy, Basilio in Le Nozze di Figaro by Mozart.
In 2017, he took part in the International Opera Festival of Belle-Île en Mer, and joined Brigitte Balleys’ class at the Haute Ecole de Musique in Lausanne, where he is currently enrolled. He is a Colette Mosetti foundation award-winner in 2018. He sang the role of the Prince in Pauline Viardot’s Cinderella at the Opéra de Lausanne. Winner of the 26th Clermont-Ferrand International Singing Competition in 2019 for the role of Beppe, he also won the Grand Prix du Concours Raymond Duffaut at the Opéra du Grand Avignon.
Born in Milan, the French-Italian mezzo-soprano Béatrice Nani studied in Lausanne with Brigitte Balleys and currently studying with Marie-Ange Todorovitch. Passionate about theatre, she trained with Gaëlle Bourgeois and Fiona Chauvin in Paris and received invaluable advice from Thierry Pillon, Jean-Yves Ruf and Shin Iglesias.
On stage, she sings in Yvain’s Bouche à Bouche at the Théâtre Déjazet in Paris as well as in Bottesini’s Requiem at Victoria Hall. She created the role of Ella Maillart in Le ruisseau noir by Guy-François Leuenberger at the Théâtre du Grütli in Geneva and performed Loïs (Kiss me Kate by Cole Porter) at the Théâtre du Galpon in Geneva. In July 2020, she will be the Marquise de Berkenfield (La fille du régiment) at the Festival Opus Opéra in Nice. She also performs with the young pianist Emilie Roulet in their their duo, Battements d’Elles.
At the Opéra de Lausanne: Louise played in La vie parisienne (2016), Cricri and Lupita in Le chanteur de Mexico (2017), Armelinde in Cendrillon by Pauline Viardot (2018) the role of Duchesse Totoche in Les chevaliers de la Table ronde d’Hervé (2019).
Ada Élodie Tuca began her career at the Maîtrise de l’Opéra de Lyon where she performed Juliet in Le petit Ramoneur, conducted by Alan Woodbridge and directed by Nino d’Introna, and the 15-year old girl in Lulu by Berg with Kazushi Ono and Peter Stein. Student of Leontina Vaduva, she earned a Master’s in interpretation at the HEMU in 2018. It was there that she took part in masterclasses with John Fiore, Gary Magby, Helmut Deutsch, Martin Katz and Luisa Castellani, and played Rossignol in L’enfant et les sortilèges, under the direction of Benjamin Levy, the Queen of the Night in La flûte enchantée and Mme Herz in Der Schauspieldirektor, reprised at the Théâtre de Bonlieu in Annecy. At the beginning of 2018, she made her debut as Olympia in Les Contes d’Hoffmann at the Opéra de Fribourg under the direction of Olivier Desbordes, Benjamin Moreau and Laurent Gendre.
At the Opéra de Lausanne: Phi-Phi (2014), La veuve joyeuse (2014), La vie parisienne (2016).
After studying the piano at length, Anne Sophie Petit discovered singing at the Maîtrise de Sainte-Anne d’Auray in Brittany. At the same time as obtaining her Master’s degree in anglophone language and civilization, she obtained her Diploma in Music Studies (Singing) at the Paris regional conservatory before joining Stephan MacLeod’s class at Lausanne’s University of Music, where she is currently studying a Master’s degree course in solo performance. She has interpreted roles such as the Queen of the Night in Die Zauberflöte, Sister Constance in Dialogues of the Carmelites and Susanna in Le nozze di Figaro. She regularly performs with the group Gli Angeli Genève, singing the solo soprano part in Mass in C minor as well as some of Mozart’s concert arias. More recently, she sang non-religious cantatas by Rameau at the Utrecht Early Music Festival. At the Opéra de Lausanne: Musetta in La Bohème (2017), and La Fée in Cendrillon (2018).
After getting his degree in musicology at the La Sorbonne, Louis Zaitoun studied singing with professors like Pierre Catala, Gary Magby, Leontina Vaduva, Christine Schweitzer, and Piero Visconti and in master classes with Sylvia Sass, Nadine Denize, Giacomo Aragall, David Jones and Jean Paul Fouchécourt. He joined the Chœur de l’Armée Française before being accepted into the HEMU where he obtained his master’s with honours. He won second prize at the Béziers Opera Competition and a performance award at the Accademia Belcanto International Competition in Graz. He is currently specializing at the University of Music in Bern as a master soloist, and at the opera studio at the Opéra de Lyon. His lyric tenor voice allows him to tackle a wide repertoire: he has performed main roles as well as in operettas like La Vie Parisienne and Chilperic by Hervé, and in belcanto productions like Rita by Donizetti, or more dramatic productions like Tosca, La bohème, Rigoletto and Manru.
He recently played Don José in Carmen at Victoria Hall in Geneva and at the Stravinsky auditorium in Montreux.
At the Opéra de Lausanne: the son in Les mamelles de Tirésias (2016), the Brazilian in La vie parisienne (2016).
Licensed concert pianist, with a degree in composition and accompaniment, Didier Puntos is a regular guest of the Debussy String Quartet, the Orchestre National de Lyon and the Orchestre de la Suisse romande. He is active both in France and abroad. In 1986, he became the choirmaster for the Atelier Lyrique of the Opéra de Lyon and has worked with the likes of Patrice Caurier, Moshe Leiser and Benjamin Knobil on La Périchole, Die Fledermaus and Così fan tutte at the Théâtre des Champs-Élysées and the Opéra de Paris.
As a composer, he has created a ballet, L’ombre des jumeaux, an opera, L’enfant dans l’ombre, vocal works, and chamber music and piano pieces. His discography includes a complete collection of André Messager’s melodies. Between 2003 and 2008, he was the musical director for the Passeggiata vocal ensemble.
At the Opéra de Lausanne: L’enfant et les sortilèges (2010 and 2015).
Gilles Rico holds a doctorate in medieval philosophy from Oxford University. He learned opera production by assisting Patrice Caurier, Moshe Leiser, Joël Pommerat, Tom Cairns, Dmitri Tcherniakov, Jérôme Deschamps, Andreas Homoki, David McVicar and Katie Mitchell.
Last season, he directed the world premiere of Maria Republica by François Paris at the Angers-Nantes Opéra, for which he was awarded the 2016 French Critics Awards. He also directed Un dîner avec Jacques, a show about Offenbach produced by the Opéra Comique and the Musée d’Orsay, Tistou les pouces verts by Henri Sauguet at the Opéra de Rouen and Die Entführung aus dem Serail at the Philharmonie in Paris. He wrote the libretto of La Princesse légère by Violetta Cruz commissioned by the Opéra Comique in Paris.
Current projects: Maria Republica at the Teatro Real, the premiere of Lohengrin by Sciarrino at the Angers-Nantes Opéra and the world premiere of Les rois mages, for which he will write the libretto and that he will also direct, in Madrid then Buenos Aires.
A graduate of the École Nationale Supérieure des Arts et Techniques du Théâtre de Lyon, Bruno de Lavenère has designed sets for opera, dance and theatre. In 2014, the Professional Union of theatre, music and dance critics awarded him the prize for best creator of stage objects in the opera category for his stage design of Doctor Atomic in Strasbourg. He has worked with Richard Brunel, Frédéric Roels, Lucinda Childs, Jean-Louis Grinda, Renée Auphan, Gilles Rico, Julien Ostini, Jean-Romain Vesperini, Waut Koeken and Max Emanuel Cencic.
His most recent creations include Il Trovatore in Lille and in Luxembourg, Don Giovanni, Così fan Tutte and Norma in Rouen, Quai Ouest, Farnace, La vie Parisienne and Cav/Pag in Strasbourg, The Sleeping Beauty in Basel, La belle Hélène at the Grand Théâtre de Genève, Maria Republica andLittle Nemo in Nantes, as well as Mozart et Salieri in Lyon. For the 2017-18 season, he has worked on productions of Philémon et Baucis in Tours, Norma in Mascate, Siegfried and Faust in Saint-Étienne, Carmen in Hong Kong, La Bohème at the Bolshoï in Moscow and Nabucco in Saint-Petersburg.
At the Opéra de Lausanne: Siroe (2016), La vie parisienne (2016), La donna del lago (2018).
Karolina Luisoni studied fashion at the Cracow College of Art and Fashion Design (SAPU), Poland. She pursued her education in the field of costumes and textiles at the University of Huddersfield, England. In 2013, her final project “Doctor Faustus” received a special award from Sir Patrick Stewart and an award from the Northern Society of Costumes and Textiles. In 2015 she won an international costume competition organised by Luc Besson, for his movie, “Valerian and the City of a Thousand Planets”.
In 2019 her costume “Mephistopheles” has been exhibited in the Historical State Museum in Moscow as a part of the “INNOVATIVE COSTUME OF THE 21st CENTURY: NEXT GENERATION” exposition. From 2015 she has been working at the costume department of the Lausanne Opera where she has been designing and supervising costume making for the new productions. In 2017, she was the costume assistant for the production of Don Giovanni and designed the costumes for Cendrillon in 2018.
After training as an electrician, Denis Foucart ventured into the world of events and designed the lighting for many events around the world, including Jean Michel Jarre’s concert, produced in Egpyt to usher in the year 2000. From 2000 to 2003, he was hired as the lighting director for the international tours of musicals Notre dame de Paris and Roméo et Juliette. At the end of 2003, he became the lighting director of the Béjart Ballet Lausanne, and designed his first lighting for ballets with Zarathoustra, La vie du danseur and Le tour du monde en 80 minutes.
For the Festival Avenches Opéra, he designed the lighting for La bohème and Nabucco. Head electrician at the Opéra de Lausanne since 2008, he took over the lighting on Pierre et le loup, Die Zauberflöte, La veuve joyeuse, L’enfant et les sortilèges and designed the lighting for Phi-Phi (Route Lyrique 2014), La Belle de Cadix (Route Lyrique 2016), and for the all-age opera, Amahl et les visiteurs du soir, in 2017, Cendrillon in 2018. His lastest creation Les chevaliers de la Table ronde (Route Lyrique 2019).