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Known today in particular for his big operas such as Robert le Diable, Les Huguenots and Le Prophète, he also composed mélodies, Lieder and the musical dramaGli amori di Teolinda. A real rarity, the vocal composition and virtuous and strange marriage between soprano voice and… clarinet make this piece shine. Inspired by the talents of two of his friends (the clarinettist Heinrich Baermann and his companion, the singer Helen Harlas), Meyerbeer imagines with virtuosity a purely melodic romantic exchange. Teolinda the shepherdess is in love with Armidoro, who never appears. However, the clarinet, as panpipes, takes and amplifies the dream of love in seductive solos. Desire only increases, to reach peaks of virtuosity in the final flourishes which chaotically fill the scene.
Part 1 – Giacomo Meyerbeer (1791-1864)
Gli amori di Teolinda
Cantata for voice, concert clarinet and choirs
Libretto by Giuseppe Rossi 1st release 1816
Éditions G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin
Part 2 – Ludwig van Beethoven (1770-1827)
Musik zu einem Ritterballet WoO 1 for orchestra
Wolfgang Amadeus Mozart (1756-1791)
Ah, lo previdi ! – Ah, t’invola agli occhi miei – Deh, non varcar quell’onda
Recitative, Air and Cavatine for soprano and orchestra, KV 272
Libretto by Vittorio Amedeo Cigna-Santi, excerpt from « Andromeda »
Thamos, roi d’Égypte, KV 345 Orchestral excerpts
Ludwig van Beethoven (1770-1827)
Air Ah ! Perfido, Op. 65
The Dutch soprano has been leading a brilliant international career in opera and concert for several years now, inviting her to the main stages of the world – Scala in Milan, Festival d’Aix-en-Provence, Mostly Mozart Festival in New York, Salzburg Festival, Edinburgh Festival… Among her current engagements, we can mention: Madame Herz in Mozart’s Schauspieldirektor, Marguerite de Valois in Les Huguenots and projects around Elizabeth I of England and bel canto at La Monnaie in Brussels, a stage version of Bach’s St. John Passion at Châtelet, Mahler’s Fourth Symphony and Strauss Lieder with the Hague Residence Orchestra, Beethoven’s Ninth Symphony with the Munich Philharmonic, excerpts from Così fan tutte (Fiordiligi) in concert version at the Schlosstheater in Potsdam, as well as Handel’s Il delirio amoroso with the Spanish National Orchestra in Madrid.
At the Opéra de Lausanne: Lucia de Lammermoor (2017) and Gli amori di Teolinda by Meyerbeer (2019).
Principal clarinettist of the Lausanne Chamber Orchestra, Davide Bandieri was taught by Dario Goracci at the Istituto Superiore di studi musicali Pietro Mascagni in Livorno from which he graduated in 1997. He completed his education with Fabrizio Meloni and Karl Heinz Steffens, then on the Mythos course at the Fondazione Arturo Toscanini with Alessandro Carbonare. In 2002, he won first prize at the triennial chamber music competition at the International Piano Academy ‘Incontri col Maestro’ in Imola. From 2004 to 2011, he played solo E-flat clarinet with the Orquesta Sinfônica de Madrid. Since 2012, he has been first solo clarinet with the Lausanne Chamber Orchestra, and first clarinet with the Camerata Strumentale orchestra in Prato (Tuscany). He has worked with numerous orchestras and prestigious conductors such as Claudio Abbado, Riccardo Muti, Daniel Harding, Giuseppe Sinopoli, Kent Nagano, Gianluigi Gelmetti and Bruno Bartoletti. He is also very active in the creation of contemporary music.
Diego Fasolis began his career as a concert organist before turning to conducting. A regular guest at the Salzburg Festival, he conducts Beethoven’s Ninth Symphony at the Musikverein with the Vienna Concentus Musicus and the Arnold Schönberg Choir. La Scala entrusts him with the creation of an orchestra playing on period instruments, which he then conducts in Handel’s Il trionfo del Tempo e del Disinganno. In Milan, he also conducted Tamerlano with Plácido Domingo. With over 120 CDs released by major international labels such as EMI-Virgin, Naïve, Universal Music and Warner Classics, Diego Fasolis has received numerous awards for his commitment to rediscovering the operatic repertoire: the Disco d’Oro, the Grand Prix du Disque for his work on Handel and Vivaldi, and the Echo Klassik for Leonardo Vinci’s opera Artaserse. In 2014 and 2015, he was nominated for two Grammy Awards for the triumphant “Mission” project with works by Agostino Steffani and the “Saint Petersburg” project with Cecilia Bartoli. To mark the 250th anniversary of Beethoven’s death, he recorded Beethoven’s Pastoral Symphony with I Barocchisti in Lugano for Arte. In 2019, Diego Fasolis was named Conductor of the Year at the International Opera Awards. Recent and future engagements include Bach’s St. John Passion in Stuttgart, Donizetti’s Anna Bolena in Lugano, Reggio Emilia, Modena and Piacenza, and Vivaldi’s Tamerlano at La Fenice.
At the Opéra de Lausanne: Faramondo (2009), Rinaldo (2011), Farnace (2011), L’Artaserse (2012), Dorilla in Tempe (2014), Die Zauberflöte (2015), Ariodante (2016), La clemenza di Tito (2018), Orphée et Eurydice (2019), Meyerbeer’s Gli amori di Teolinda (2019), Alcina (2022), I Barocchisti (Il trionfo del Tempo e del Disinganno) (2023) and Norma (2023)
Diego Fasolis began his career as a concert organist before turning to conducting. A regular guest at the Salzburg Festival, he conducts Beethoven’s Ninth Symphony at the Musikverein with the Vienna Concentus Musicus and the Arnold Schönberg Choir. La Scala entrusts him with the creation of an orchestra playing on period instruments, which he then conducts in Handel’s Il trionfo del Tempo e del Disinganno. In Milan, he also conducted Tamerlano with Plácido Domingo. With over 120 CDs released by major international labels such as EMI-Virgin, Naïve, Universal Music and Warner Classics, Diego Fasolis has received numerous awards for his commitment to rediscovering the operatic repertoire: the Disco d’Oro, the Grand Prix du Disque for his work on Handel and Vivaldi, and the Echo Klassik for Leonardo Vinci’s opera Artaserse. In 2014 and 2015, he was nominated for two Grammy Awards for the triumphant “Mission” project with works by Agostino Steffani and the “Saint Petersburg” project with Cecilia Bartoli. To mark the 250th anniversary of Beethoven’s death, he recorded Beethoven’s Pastoral Symphony with I Barocchisti in Lugano for Arte. In 2019, Diego Fasolis was named Conductor of the Year at the International Opera Awards. Recent and future engagements include Bach’s St. John Passion in Stuttgart, Donizetti’s Anna Bolena in Lugano, Reggio Emilia, Modena and Piacenza, and Vivaldi’s Tamerlano at La Fenice.
At the Opéra de Lausanne: Faramondo (2009), Rinaldo (2011), Farnace (2011), L’Artaserse (2012), Dorilla in Tempe (2014), Die Zauberflöte (2015), Ariodante (2016), La clemenza di Tito (2018), Orphée et Eurydice (2019), Meyerbeer’s Gli amori di Teolinda (2019), Alcina (2022), I Barocchisti (Il trionfo del Tempo e del Disinganno) (2023) and Norma (2023)
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.
Jean-Philippe Clerc is currently working as a vocal coach and pianist at the Opéra de Lausanne as well as for the singing classes and the Atelier lyrique of the Haute École de Musique de Lausanne. In parallel to his institutional commitments, he prepares numerous singers for their operatic roles or oratorio concerts and regularly performs as an accompanist throughout Europe and Asia. After obtaining his piano diploma at the Geneva Conservatory, he studied with Esther Yellin at the Neuhaus Foundation. Passionate about singing, which he studied with Frédéric Gindraux, he naturally turned to accompanying and coaching singers in various music schools as well as at the opera houses of Fribourg, Reims, the Grand Théâtre de Genève and the Avenches Opera Festival. For several years, Jean-Philippe Clerc has also been conducting. As maestro al cembalo, he conducted Handel’s Alcina and Così fan tutte in Sion, as well as Pergolesi’s La serva padrona, directed by Éric Vigié in a production of the Opéra de Lausanne on tour in Bhutan. In the summer of 2021, he conducted Christiné’s operetta Dédé as part of the Opéra de Lausanne’s Route Lyrique. He has been entrusted with the preparation and direction of the Opéra de Lausanne choir on various projects such as Mam’zelle Nitouche by Hervé or Gli amori di Teolinda by Meyerbeer.