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On May 10, 1871, the “Casino-Théâtre de Lausanne” was inaugurated at the Pré-Georgette ending years of talks for a new venue in Lausanne. Today, the Opéra de Lausanne wants to celebrate 150 years of abundant lyrical, theatrical and musical productions with an exceptional vocal gala concert. Italian opera has always held a prominent place in the repertoire in Lausanne – The Barber of Seville, La Traviata and Don Pasquale were on the bill in the first season!
Thus, it is with the most beautiful pages of this repertoire, sometimes never heard on our stage, that the Opéra de Lausanne wishes to pay tribute to its history.
Meet four wonderful singers with an established international career during this exceptional commemorative concert!
After a first prize in piano, the Franco-German soprano Camille Schnoor studied vocal arts in Paris. She won First Prize, Audience Prize and the Orchestra Prize at the International Vokal genial 2013 Competition in Munich. As a member of the Aachen Opera Company, she sings, among others, the title role in Luisa Miller, Agathe (Der Freischütz), Maria (West side story), Marenka (La fiancée vendue) as well as the main role in Au monde, the latest opera by Philippe Boesmans. Since 2016, Camille Schnoor has been a member of the cast of the Staatstheater am Gärtnerplatz in Munich, where she plays Julie in Liliom, a creation by Johanna Doderer, Die erste Dame (Die Zauberflöte), Donna Elvira (Don Giovanni), Mimì (La bohème), as well as Hanna Glawari (The Merry Widow). In 2018, she makes her highly acclaimed debut as Cio-Cio-San (Madama Butterfly) in Limoges and Rouen. In concert, she sang Le poème de l’amour et de la mer (Chausson), Verdi’s Requiem, Poulenc’s Gloria and Mahler’s Second Symphony. In the pipeline: the role of Hilda (Sigurd) in Nancy, Strauss’ Vier letzte Lieder in Rouen and Marguerite (Faust) and the title role of Rusalka in Limoges.
After a flute diploma, Marina Viotti tried her hand at jazz, gospel, heavy metal and, with a diploma of high literary studies (hypokhâgnes) in her pocket, moved to Vienna to begin studying opera singing with Heidi Brunner in 2011. In 2013, she joins Brigitte Balleys’ class at the HEMU, where she obtains a master’s degree as a soloist. She then perfected her skills in belcanto with Raúl Gimenez in Barcelona. Elected in 2019 “Best young singer of the year” at the International Opera Awards, she won numerous prizes in different competitions: finalist of the Operalia competition in 2018, 3rd prize of the Geneva Competition in 2016, 1st prize of the Kattenburg competition in Lausanne in 2017, international belcanto prize at the Rossini Festival in Wildbad in 2015.
Her important operatic roles include: Rosina (Il barbiere di Siviglia) at the Bolshoi, Mélibéa (Il viaggio a Reims) and Nicklausse/La Muse (Les contes d’Hoffmann) at the Liceu in Barcelona; Arsace (Aureliano in Palmira) and Isabella (L’Italiana in Algeri) at the Rossini Festival in Wildbad and then at the Lucerne Theatre, where she also sang the Grand Duchess of Gerolstein and Elisabetta (Marie Stuart); Stéphano (Romeo and Juliet) at La Scala, Rosina and Olga (Eugene Onegin) at the Rhine Opera; Maddalena (Rigoletto) at the Opernhaus in Zurich and at the Bayerische Staatsoper in Munich. She was also a member of the Young Soloists of the Grand Théâtre de Genève for two years. Eager to explore other avenues and to bring genres and people together, Marina Viotti creates projects that call upon the lyrical repertoire as well as cabaret, jazz and song.
At the Opéra de Lausanne: Die Zauberflöte (2015), Amahl et les visiteurs du soir (2017), “Music has no borders” (2020 – concert).
After a degree in philosophy in Warsaw, Tadeusz Szlenkier studied music at Yale. In 2005, he won First Prize at the Klassik-Mania International Competition in Vienna. From 2010 to 2017, he collaborates with Opera Nova in Bydgoszcz and sang Enzo Grimaldo (La Gioconda), Tamino (Die Zauberflöte), Barinkay (Der Zigeunerbaron) and Alfred (Die Fledermaus). In addition, he performs the roles of Gustavo (Un ballo in maschera), Leicester (Maria Stuarda), il Duca di Mantova (Rigoletto), Jontek (Moniuszko’s Halka), Stefan (Moniuszko’s The Haunted Manor), Pinkerton (Madama Butterfly) and Turiddu (Cavalleria rusticana). He created the role of the Shepherd (Szymanowski’s King Roger) in the United States, sang Idomeneo in Lima and participated in the world premiere of Eros i Psyche from Róz˙ycki at the Polish National Opera. Recently, he sang Don José (Carmen) at the Wroclaw Opera, Kuragin (Prokofiev’s War and Peace) as well as Pinkerton (Madama Butterfly), Ismael (Nabucco), Sinodal (The demon), the Chevalier des Grieux (Manon) and the title role of Don Carlos in Nürnberg. In concert, he sings Verdi’s Requiem, Beethoven’s Ninth Symphony and Mozart’s Requiem.
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).
After studying at the Conservatory in Milan, Roberto Rizzi Brignoli was put in charge of musical services at la Scala, where he has regularly worked with Riccardo Muti. It was there that he directedLucrezia Borgia and Adriana Lecouvreur which propelled him onto to the international scene. His artistic work focuses mainly on Italian and French opera repertoires, and on classical, romantic and contemporary symphony repertoires. He has directed orchestras around the world in the most prestigious theatres and festivals of Europe, America and Asia. In 2010, he made his debut at the Metropolitan Opera.
Current projects: Il barbiere di Siviglia in Marseille, Simon Boccanegra in Dijon, Nabucco in Berlin and Lille, Il Turco in Italia in Hamburg, and concerts in France.
At the Opéra de Lausanne: Lucia di Lammermoor (2007), Il Trovatore (2009), Norma (2011), Tosca (2013), Luisa Miller (2014), La fille du régiment (2016).