In the school of love, the learning curve is steep: Don Alfonso teaches that a faithful woman is “as rare as a phoenix”. This is what he is bent on proving Ferrando, Dorabella’s fiancé, and Guglielmo, Fiordiligi’s fiancé. The lesson of this imbroglio is simple: “The happy man looks at the bright side of everything!”
First performed in Burgtheater, Vienne, January 26th, 1790
Editions Bärenreiter-Verlag, Kassel
Born in Moldova, Valentina Nafornita is one of the most beloved sopranos of her generation. Shortly after graduating from the National University of Music of Bucharest in Romania, Nafornita won the BBC Cardiff Singer of the World competition and began her international career. As a member of the young ensemble of the Vienna State Opera, she was able to develop an extensive repertoire, including Musetta of La Bohème, Susanna of The Marriage of Figaro, Pamina of The Magic Flute, Norina of Don Pasquale, Zerlina of Don Giovanni, Adina of L’Elisir d’Amore, Najade of Ariadne in Naxos, Clorinda of La Cenerentola, and even Oscar of Un Ballo in Maschera. In 2020-21, she will perform the leading role of Micaëla in Carmen at the Opéra National de Paris. Nafornita regularly works with prestigious conductors such as Gustavo Dudamel, Ádám Fischer, Louis Langrée, Jesús López-Cobos, Franz Welser-Möst, and Simone Young. She played Fiordiligi (Così Fan Tutte) in 2019 and Adina (L’Elisir d’Amore) in 2022 at the Opéra de Lausanne.
Joel Prieto studied at the Manhattan School of Music, the Atelier Lyrique de l’Opéra de Paris, then in a project for young singers at the Salzburg Festival. He gained international recognition as an ensemble member of the Deutsche Oper Berlin and through his involvement in the zarzuela Luisa Fernanda alongside Plácido Domingo, at the Theater an der Wien. He has performed with conductors Fabio Luisi, Roberto Abbado, Zubin Mehta, Adam Fischer, and worked with directors David McVicar, Robert Carsen and Claus Guth. He was awarded first prize at the Operalia competition and has performed in concert and recital at the Salzburg Festival, the Maestranza in Sevilla and at Wigmore Hall. He has sung alongside Anna Netrebko and Erwin Schrott.
More recently, he played the title-role in Béatrice et Bénédict by Berlioz at the Capitole in Toulouse and Belmonte in Die Entführung aus dem Serail for his debut at the Los Angeles Opera.
After several years of musical studies and a degree in agricultural engineering in Paris, Stéphanie Guérin enrolled at the Haute école de musique in Geneva where she is currently pursuing a soloist master’s in Maria Diaconu’s class. She has taken part in many master classes in France, England and Germany. Since 2016, she has worked with the Cantatio ensemble from Geneva directed by John Duxbury and has performed in a production of King Arthur at Victoria Hall.
She recently performed with the HEM’s baroque orchestra directed by Leonardo García Alarcón in a program dedicated to Bach; she played Katherine in the musical Kiss me Kate, conducted by Nader Abbassi and directed by Christain Räth, and performed Mozart’s Requiem with the Namu Chamber Choir, also conducted by Leonardo García Alarcón. She has performed duets with pianist Julien Coll. It was with him that she won the 10th Lied & Mélodie de Gordes competition, resulting in her being hired for two concerts the following season. She recently won the 2018-19 Mosetti scholarship, as well as the Cercle romand Richard Wagner scholarship, which made it possible for her to go to Bayreuth this summer (2018).
Current projects: Ruggiero in Alcina with the Hamburg Hochschule, under the direction of Willem Wentzel in a production by Philipp Himmelmann.
Canadian bass-baritone Robert Gleadow has continued to make his mark in opera and on concert stages around the world since graduating from the Jette Parker Young Artist Program of the Royal Opera House Covent Garden and the Canadian Opera Company Ensemble Studio. Gleadow’s performances at the Houston Grand Opera as Talbot in Donizetti’s Maria Stuarda alongside Joyce DiDonato and under the direction of Patrick Summers have been characterised as “never lacking in conviction or genuine interest.” Most of his engagements are dedicated to Mozart, a repertoire for which he is widely acclaimed. His past performances at the Auckland Opera, the Paris Opera and the Amsterdam Gebouw Concert, the Opéra de Lausanne, and the Bremen Music Festival are among his best. Critics readily recognise in him a full physical commitment to his roles and a magnetic theatricality, especially as he demonstrates a powerful, expressive and fluent vocality.
Bruno de Simone studied singing under Sesto Bruscantini. He gained recognition performing the dramma giocoso genre and opéra bouffe, taking part in the greatest works of Galuppi, Pergolesi, Paisiello, Cimarosa and especially Rossini, of which he has already played 17 roles, earning him a Rossini d’Or in 2007. He has sung the main roles of operas by Mozart, Donizetti, and Puccini, and played Falstaff in Verdi’s opera, Michonnet in Adriana Lecouvreur and Kyoto in Iris by Mascagni. He has performed in Europe, the United States and Japan with conductors such as Riccardo Chailly, Daniele Gatti and Zubin Mehta, in productions by Giancarlo Cobelli, Hugo De Ana and David McVicar.
He recently performed in Il barbiere di Siviglia in Monte-Carlo and Geneva, L’elisir d’amore in Florence, Il viaggio a Reims in Rome, Che originali! by Mayr, at the Donizetti Festival in Bergamo.
At the Opéra de Lausanne: Dulcamara in L’elisir d’amore (1998), Bartolo in Il barbiere di Siviglia (2014).
Graduated from the School of Singing of Madrid, she studied with Miguel Zanetti, Wolgam Rieger, Isabel Penagos, Victoria of Los Angeles, Montserrat Caballé, Dolora Zajick. She sings in all the important Spanish theatres : Teatro Real, Teatro de la Zarzuela (with more than 20 main roles), National Auditorium, Campoamor Theater in Oviedo, Liceu in Barcelona, Teatro de la Maestranza in Seville, Baluarte Theater in Pamplona, Santander Palace Festivals, Palau de la Música in Barcelona, Opera of A Coruña, etc. Abroad, she has performed in Vienna, Bratislava, Paris, Lisbon, Rome, Naples or Mexico.
Her most recent operatic commitments have been : Carmen, I due Foscari, Così fan tutte, Il barbiere di Siviglia, Resurrection of Christ by Grundman, Mavra de Stravinsky, La Grande-Duchesse de Gérolstein, Les contes d’Hoffmann, La vera costanza, Don Giovanni, Il tutore burlato by Martin and Soler, Die Tote Stadt and Iphigénie in Tauride. She is also in great demand for the oratory and has a great discography.
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.
Joshua Weilerstein is the artistic director of the Orchestre de Chambre de Lausanne and has a successful career as a guest conductor throughout Europe and the United States. His enthusiasm for a wide range of repertoires is combined with an ambition to bring new audiences into concert halls. He created Sticky Notes, a classical music podcast for experienced and new music lovers alike.
Awarded the Audience Prize at the 2009 Malko Competition, he has since then established strong ties to the Oslo Philharmonic, the Danish National Symphony Orchestra, the Stockholm Philharmonic, and the Swedish Chamber Orchestra. He has also directed the Royal Concertgebouw Orchestra, the Rotterdam Philharmonic, the Czech Philharmonic, the SWR Stuttgart, the NDR Hannover, the Orchestre national de Lyon, the BBC Symphony and the London Philharmonic Orchestra.
Trained as an actor, director and educator, Jean Liermier has directed the Théâtre de Carouge-Atelier in Geneva since 2008, one of the leading theatres in French-speaking Switzerland. For theatre, he has mainly directed plays from the classical repertoire, such as La vie que je t’ai donnée by Pirandello or Cyrano de Bergerac, with actor Gilles Privat performing the title-role. For opera, he has directed The Bear by Walton for the Opéra Décentralisé in Neuchâtel, Die Zauberflöte by Mozart for the Opéra de Marseille, Cantates profanes, une petite chronique, an assembly of Bach’s cantatas for the Opéra national du Rhin and Le nozze di Figaro for the Lorraine and Caen operas, reprised in Nancy and Rennes. In 2009, he directed L’enfant et les sortilèges for the Atelier Lyrique de l’Opéra de Paris, reprised at the Teatro Real in Madrid and the Bilbao Opera.
At the Opéra de Lausanne: My Fair Lady (2015, reprised at the Opéra de Marseille).
Rudy Sabounghi works both in theatre and opera. He has worked with directors Klaus Michael Grüber, Jacques Lasalle, Luc Bondy, Jean-Claude Berutti, Jean-Louis Grinda, Christian Schiaretti, Luca Ronconi, Deborah Warner, Arnaud Desplechin and with choreographers Anne Teresa De Keersmaeker and Lucinda Childs.
His most recent creations and costumes include Père by Strinberg, at La Comédie, Lucia di Lammermoor at the New National Theatre in Tokyo, Verklärte Nacht at the Opéra de Paris, L’heureux élu at the Hamburger Kammerspiele and Carmen at the Capitole in Toulouse. He is a regular teacher at important drama schools like the ENSATT in Lyon and the TNS in Strasbourg.
Current projects : a creation at the Théâtre national de Bruxelles with Fabrice Murgia, Don Giovanniwith Jean-Claude Berutti and a project with Arnaud Despleich at the Comédie-Française.
At the Opéra de Lausanne: Le nozze di Figaro (1986), La Traviata (2015).
He 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. 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 and Carmen at the Avenches Opera Festival. Recently, he created the choreography for My Fair Lady at the Opéra de Marseille, and for Un Ballo in Maschera for the Opéra de Nancy, Opera Zuid and Angers-Nantes Opéra. He currently devotes himself to the creation of choreographies, plays and stage productions.
At the Opéra de Lausanne, Jean-Philippe Guilois has worked as assistant director or choreographer for Alcina (2011), My Fair Lady (2015), La vie parisienne (2016), Don Giovanni (2017), Cosi Fan Tutte (2018) and Les chevaliers de la Table ronde (2019).
After training as an electrical technician in Neuchâtel, Jean-Philippe Roy attended the Théâtre de Carouge where he worked on the lighting for several plays. He became an independent lighting designer in 1978 and used his own lighting creations for François Rochaix in Mort à Venise, Pelléas et Mélisande, Idomeneo, Tristan und Isolde, Così fan tutte, The rake’s progress and La Fête des Vignerons in 1999. He also worked with Claude Stratz at the Comédie de Genève for eight years and worked on a regular basis with Jean Liermier. He worked with him on Le Jeu de l’Amour et du Hasard, Le nozze di Figaro, Antigone and Le Malade Imaginaire. He also did the lighting for Mon Faust at the Théâtre de Carouge, Le Théâtre Sauvage at the Théâtre de Vidy, Othello at the Théâtre Saint Gervais, The Long Christmas Dinner by Hindemith at the Festival Les Jardins Musicaux.
His lighting designs at the Opéra de Lausanne include: The rape of Lucretia (1985), La bohème(2003) and My Fair Lady (2015).