Das Berliner Requiem (1928) by Kurt Weill, based on poetry by Bertolt Brecht, provides evidence of the composer’s commitment to the new medium represented by the radio. A non-religious requiem, this ‘short cantata’ is designed for people who live in large cities and seeks to stimulate their ability to remember.
The desire to mix genres, cultures and people in a momentum of peace marks the Chichester Psalms (1965) that Leonard Bernstein composed for the Southern Cathedrals Festival. This eclectic work presents an arrangement of extracts from the book of Psalmsin Hebrew.
The secular and spiritual forms also mix in Gloria (1974) by John Rutter. A symphonic piece described by the composer as “inflamed, spiritual and jubilant”, the work evokes Poulenc, Stravinsky and Gregorian chants all at the same time.
Deprofundis (1980) is a very personal piece by Arvo Pärt that bears the mark of the composer’s flight from the Soviet regime. Based on the words of Psalm189, the piece is impregnated with a refined liturgical drama, characteristic of the composer.
Kurt Weill (1900-1950)
Das Berliner Requiem pour ténor, baryton, chœur d’hommes et formation instrumentale
Leonard Bernstein (1918-1990)
Chichester Psalms pour chœur mixte, garçon soprano, percussions, harpe et orgue
Arvo Pärt (1935)
De Profundis pour chœur d’hommes, percussions et orgue
John Rutter (1945)
Gloria pour chœur mixte, cuivres, percussions et orgue
Trained at the Aix-en-Provence Conservatory, where he made his debut under the baton of Darius Milhaud, Patrick Marie Aubert won first prize in orchestral conducting in the class of Pierre Villette. He also received a prize in singing and in opera, as well as in chamber music. He taught choral singing before becoming the director of the Léo Delibes Conservatory in Clichy, artistic director of the vocal ensemble Vox Hominis, musical director of the Divertimento orchestra and conductor of the Choirs of the Opéra de Nantes, and director of the Choir of the French Army until 2000.
He participated for nearly twenty years in major national events and conducted numerous concerts in France and abroad. He was the conductor of the Choir du Capitole de Toulouse from 2003 to 2009, then director of the Choir of the Opéra national de Paris from 2009 to 2014. He has collaborated with the conductors Maurizio Arena, Serge Baudo, Roberto Benzi, Marc Minkowski, Evelino Pidò, Michel Plasson, Georges Prêtre, Yutaka Sado, Jeffrey Tate, as well as with the directors Robert Carsen, Georges Lavaudant, Jorge Lavelli, Laurent Pelly, Pier Luigi Pizzi, Olivier Py, Robert Wilson. He will direct the choir on Orfeo ed Euridice (2019) at the Opéra de Lausanne, and will be the conductor for the exceptional concert of the Choir of the Opéra de Lausanne in February 2020.
The Opéra de Lausanne Choir is a core group of about forty chorists who are, for the most part, students from singing or professional specialisation classes at the Lausanne Conservatory or other conservatories in Western Switzerland. Chorists are selected by audition and periodically reviewed. Choir directors are chosen from among the most experienced and vary for each performance.
The Opéra de Lausanne Choir is regularly hired by orchestras and festivals in Switzerland and abroad: Création by Haydn (December 2003 – conductor Jerzy Semkow) and Stabat Mater by Rossini (February 2006 – conductor Corrado Rovaris) as a part of the Lausanne Chamber Orchestra season, Roland by Lully (concert version) at the Amsterdam Concertgebouw, at the Opéra de Montpellier and the Palais des Beaux-Arts in Bruxelles (January 2004 – Talens Lyriques orchestra – conductor Christophe Rousset), Die Entführung aus dem Serail concert version at the Théâtre des Champs-Élysées (January 2005), La grotta di Trofonio (concert version) at the Théâtre de Poissy (March 2005 – Talens Lyriques, conductor Christophe Rousset), Nocturnes by Debussy at the 2007 Montreux Septembre musical (RSO Berlin – conductor Marek Janowski).
In 2008 and 2010 the choir performed as part of the OCL season under the baton of Christian Zacharias: Te Deum by Bruckner (February 2008), Les Noces by Stravinski (December 2008, also in Saint-Gall) and Beethoven’s IXe Symphony (April 2010).
The Choir has also been on many tours with Opéra de Lausanne productions: Opéra de Vichy (Rigoletto in 2005, Il Turco in Italia in 2006, La veuve joyeuse in 2007, Carmen in 2008, Amelia al ballo in 2008 under the direction of Arie Van Beek and La Traviata in 2009 conducted by Roberto Rizzi Brignoli), Opéra Comique (Amelia al ballo by Menotti in March 2007). In October 2008, the Opéra de Lausanne and its choir toured Japan for five performances of Carmen.
The Opéra de Lausanne Choir is featured on several CDs: Le Nez by Chostakovitch, Roland by Lully and La grotta di Trofonio by Salieri. The Choir was also involved in televised performances on RTS of La fille de Madame Angot, La Belle Hélène and, for the reopening of the Opéra, L’elisir d’amore.