While leaving a masked ball, Eisenstein forces his friend Falke to go home in his bat costume. What happens in the mind of a man who is humiliated in such a fashion? Understandably, he will not stop until he is revenged for the insult he has received.
First performed in Theater an der Wien, Vienna, 5th April 1874
Éditions Schott Music, représentées par Atlantis Musikbuch-Verlag AG, Zurich
Born in Germany, Stephan Genz has received several international awards, including the “Gramophone Award” in London. He has given recitals at Wigmore Hall in London, at the Concertgebouw in Amsterdam, the Philharmonia in Cologne, at the Monnaie in Bruxelles, in Paris, Tokyo, at the Schubertiades in Feldkirch/Hohenems, in various festivals (Edinburgh, Maggio Musicale Fiorentino, Verbier), in France (Aix-en-Provence, Paris, Nantes, Lyon), and on tours in the USA, Japan and South America. He has performed in concerts directed by Myung-Whun Chung, Daniel Harding, Thomas Hengelbrock, Jesús López-Cobos, Jan Latham-Koenig, Fabio Luisi, Georges Prêtre, Giuseppe Sinopoli, René Jacobs and Helmuth Rilling, Jacques Mercier, Kent Nagano, Nikolaus Harnoncourt, Kurt Masur. Alongside these, he has been involved in productions at the Deutsche Oper Berlin, the Palais Garnier and the Théâtre du Châtelet in Paris, Strasbourg, Aix en Provence, la Scala, the Hamburg Opera, the Grand Théâtre in Geneva, the Opéra de Monte-Carlo, at the Bolchoï in Moscow. He has done many recordings including Die tote Stadt by Korngold, Fauré’s Requiem, Harlekin in Ariadne auf Naxos and Capriccio by Strauss.
At the Opéra de Lausanne: Harlekin in Ariadne auf Naxos (1998).
Eleonore Marguerre has won awards at the Marcello Viotti Competition (2008), the Leyla Gencer Competition (2006), the Boris Christoff Competition (2009) and the Competizione dell’Opera (2004).
She was recently heard performing Natascha in War and Peace at the Nuremberg Opera, Agathe in Der Freischütz at the Leipzig Opera, the title role in Manon and Saffi in Le baron tzigane at the Grand Théâtre de Genève, the title role in Arabella at Dortmund and Wiesbaden, le Renard (Lisak) in La petite renarde rusée at La Monnaie, the 1st Lady in Die Zauberflöte at the Opéra de Paris, directed by Philippe Jordan, Naïade in a concert version of Ariadne auf Naxos directed by Iván Fischer in Berlin and in Beethoven’s IXe Symphonie in Heidelberg. She has also performed Arminda in La finta giardiniera in Glyndebourne, Glanert’s Cahiers de Nijinsky in Bordeaux, Violetta in La Traviata in Tours and Dortmund, Agathe in Der Freischütz at the Domstufen Festival in Erfurt, Donna Anna in Don Giovanni, Marguerite in Faust and Armida in Rinaldo, all three in Dortmund, Die Zauberflöte on tour directed by Iván Fischer in Budapest, Amsterdam, London and Berlin.
Current projects : La Traviata at Nuremberg Opera, Elisabeth in the world premiere of Frankenstein at La Monnaie Bruxelles, Manon in Nuremberg.
Winner of the Pour-cent culturel Migros in 2012 and 2013 and third prize at the International Competition of Chamber Music in Lyon in 2013, Lamia Beuque has a Masters degree from the HEMU, where she studied under Brigitte Balleys.
She made her opera debut as Lazuli in L’étoile by Chabrier and Orlofski in Die Fledermaus. She performed Mirabelle in the Aventures du roi Pausole and Kuchtik in Rusalka at the Grand Théâtre de Genève in 2012. She was a member of the Opéra Studio of the Opéra de Strasbourg from 2013 to 2015, where she played various roles such as Fidalma in Il matrimonio segreto and Mazet in La Colombe. During the 2014-2015 season, she made her debut in the operas of Rossini playing the title-role in La Cenerentola at the Opera de Tenerife and Rosina in the Barbiere di Siviglia at the Florence Opera. She recently played Lola in Cavalleria Rusticana at the Opéra national du Rhin, Adalgisa in Norma and Siebel in Faust at the Opera de Tenerife. Most recently, she performed Nicklausse in Les contes d’Hoffmann at the Opéra de Fribourg.
At the Opéra de Lausanne: Annio in La Clemenza di Tito (2018).
Jean-François Borras is currently performing in the biggest international theatres. He has successfully sung the Chevalier des Grieux at the Opéra de Paris, in Valencia and at the Vienna State Opera, Raimbaut in Robert le Diable and Ismaele in Nabucco at Covent Garden, the Chevalier de la Force at Accademia Nazionale di Santa Cecilia, and Macduff at the Théâtre des Champs-Elysées. He has performed at the Vienna State Opera in La Traviata, La Bohème, Faust and Werther, in Lakmé in Toulon, Un ballo in maschera in Munich, Thaïs in São Paulo, Béatrice et Bénédict at the Matsumoto Festival, and Lucia di Lammermoor in Avignon. Jean-François Borras replaced Jonas Kaufmann in the title-role of Werther at the Metropolitan Opera, returning there for La Bohème, Rigoletto, Werther and Thaïs. He has sung with conductors such as Alain Guingal, Evelino Pidò, Patrick Fournillier, Daniele Calegari, Fabrizio Carminati, Michel Plasson, Alain Altinoglu, Stéphane Denève, Roberto Abbado, Daniele Gatti, Roberto Rizzi Brignoli, Riccardo Frizza, Emmanuel Villaume and Dan Ettinger.
At the Opéra de Lausanne: Alfred in Die Fledermaus (2018).
As cast member of the Frankfurt Opera from 2013 to 2018, Björn Bürger has performed Masetto inDon Giovanni, Harlequin in Ariadne auf Naxos, Bengtsson in Die Gespenstersonate, the title-role in Owen Wingrave by Britten, Schaunard in La bohème, Papageno in Die Zauberflöte, Dandini in La Cenerentola, and Astolfo in Orlando Furioso, Pelléas, Georg in Der Mieter, Conte Almaviva in Le Nozze di Figaro, Frank and Fritz in Die tote Stadt by Korngold, Don Bucefalo in Le cantatrici villane.
During this period, he made his debut at the Opéra national de Paris as Papageno in a production of Die Zauberflöte staged by Robert Carsen, and as Don Giovanni at Oslo National Opera. He has also sung Figaro in Il Barbiere di Siviglia at Glyndebourne Festival, Falke in Die Fledermaus in Munich, under the direction of Kirill Petrenko. More recently, he played Billy Budd in Frankfurt, Figaro in Il barbiere di Siviglia at the Semperoper in Dresden and in Stuttgart.
He has won awards from the Yehui Menuhin Foundation and the Frankfurt Polytechnical Society, as well as first prize at the Bundeswettbewerb Gesang Berlin competition.
Current projects: Wolfram in Tannhäuser in Amsterdam, Papageno in Glyndebourne, the title-role in Don Giovanni and the Conte in Le nozze di Figaro at La Monnaie in Bruxelles, Guglielmo in Cosi fan tutte at the Opéra du Rhin Strasbourg.
Winner of the first prize at the 2018 Cesti Baroque Opera Competition and the 2017 Belcanto Vincenzo Bellini competition, the soprano Marie Lys has sung with conductors such as Michel Corboz, Laurence Cummings, Giampaolo Bisanti and Daniel Reuss. After studying at the University of Music in Lausanne, she went to the Royal College of Music in London where she obtained a Master’s degree with distinction and a certificate in opera. In opera, she has sung in roles including Cleopatra (Giulio Cesare) at Bury Court Opera, Adelaide (Lotario) at the Göttingen Handel Festival, Dalinda (Ariodante) at the London Handel Festival and Asteria (Tamerlano) at the Buxton Festival. With the Abchordis Ensemble she won first prize at the Göttinger Reihe Historischer Musik competition, then released two recordings with Sony DHM. She was grateful for the support received from Pour-cent culturel Migros and the foundations Samling, Leenaards, Dénéréaz, Colette Mosetti, Friedl Wald, and Drake Calleja Trust.
At the Opéra de Lausanne: Eurilla in Orlando Paladino (2017), Lisa in La Sonnambula (2018), Adèle in Die Fledermaus (2018), and Amour in Orphée et Eurydice (2019).
Jean-François Vinciguerra studied drama at ENSATT, lyric art at the Conservatoire de Paris with Michel Roux and at the Opéra de Paris school of lyric art with Michel Sénéchal. He perfected his technique with Denise Dupleix and Lionel Sarrazin. At the Opéra Bastille, he interpreted Wagner in Faust; at the Opéra Comique, Bartolo in Barbiere di Siviglia and Baron Popoff in Die lustige Witwe. He has also performed in Salome, Lucrezia Borgia, L’elisir d’amore, La damnation de Faust, Les contes d’Hoffmann, in particular, and on many stages throughout Europe and at major festivals. As an actor and director, he was a huge success at the Théâtre du Petit Montparnasse with his show dedicated to Jean Yanne, On n’arrête pas la connerie. At the Opéra de Lausanne: Pickering in My Fair Lady (2015), and Frank in Die Fledermaus (2018).
Pier-Yves Têtu studied singing with Paul Guigue at the Grenoble and Nevers conservatories, with Vivianne Zlomke-Dallinges, a disciple of Rudolf Knoll, and learned alot from many different choir masters. He also studied harmony and counterpoint with François Lusignan, alongside his study of classical accordeon at the Institut André Thépaz in Chambéry. In 2010 he joined the Opéra de Lausanne and the Festival Avenches Opéra choirs.
A frequently demanded soloist and chorist for various oratorio concerts in the Rhône-Alps region and in Switzerland, he has performed under the direction of Michel Corboz, Celso Antunes, Laurent Touche, Emmanuel Krivine, David Reiland, Arie Van Beek, Philippe Bérand and Jesús Lopez-Cobos. He performed King Menelaus in La belle Hélène, Beppe in Rita ou le mari battu, one of Anna’s brothers in Les sept péchés capitaux by Kurt Weill.
At the Opéra de Lausanne : il servo in Un ballo in maschera (2010), Rigobert in Les mousquetaires au couvent (2013), Pristchitch in La veuve joyeuse (2014), Giuseppe in La Traviata (2015), Jamie in My fair Lady (2015), the notary in La fille du régiment (2016), Normanno in Lucia di Lammermoor (2017).
Yuki Tsurusaki graduated with a Master’s degree from the Lausanne University of Music in 2016, after studying in Hiroko Kawamichi’s class. She received the Colette Mosetti Foundation scholarship in 2014 and won the Virgina Zeani competition in Turin and the Leopold Bellan competition in Paris. She has performed in religious works such as the Stabat Mater by Dvorak or La Petite Messe Solennelleby Rossini. However, she prefers opera and has performed in Ravel’s L’enfant et les sortilèges at the salle Métropole in Lausanne, in The Turn of the Screw by Benjamin Britten, or in The Telephone by Menotti as Lucy.
In concert, she has sung in Tokyo in 2017 and 2018 and made her American debut at Carnegie Hall with the New York City Opera. She has also been invited to perform in a series of concerts in Russia. She will soon be heard in Hiroshima.
At the Opéra de Lausanne: the Gazelle in Les Zoocrates by Thierry Besançon (2017).
Actress Shin Iglesias graduated from the Conservatory of Lausanne with the Grand Prize of the Jury award. She has played in over sixty plays under the direction of Denis Maillefer, Massimo Furlan, Andrea Novicov, Anne-Cécile Moser, “duet” Nicolas Rossier and Geneviève Pasquier, Sandra Gaudin, Philippe Soltermann, Jacques Roman, Gérard Diggelmann, Darius Peyamiras, Vincent Bonillo. She has worked as an assistant director alongside Gianni Schneider on plays by Mayenburg at the Théâtre de Vidy.
Her roles include the title-role in Bérénice by Racine, Puck in Le Songe d’une Nuit d’Été by Shakespeare, Varia in La Cerisaie by Tchekhov, Macha in Les Trois Sœurs by Tchekhov, La Petite in Le Voyage en Suisse by Antoine Jaccoud, La Comtesse Geschwitz in Lulu by Frank Wedekind, Frieda in Le château by Kafka and Mephistopheles in Faust by Goethe. She recently played in George Orwell’s La Ferme des Animaux staged by Christian Denisart on a music by Lee Maddeford.
At the Opéra de Lausanne : Assistant Director for Le chanteur de Mexico (2017).
Frank Beermann was the musical director of the Opéra de Chemnitz and main conductor at the Robert-Schumann-Philharmonie from 2007 to 2016. He is a regular guest of the Deutsche Oper in Berlin, the Bayerische Staatsoper in Munich, the Liceu in Barcelona, the Teatro Municipal in Santiago de Chile, the Stockholm, Helsinki, Marseille operas and the Semperoper in Dresden. He has directed numerous works by Wagner, Strauss and Mahler including Parsifal and Arabella, as well as Le nozze di Figaro, La Traviata, Die Rose vom Liebesgarten and Il Templario by Otto Nicolai.
His discography includes over twenty five titles and has earned him the 2011 Pizzicato Excellentia Luxembourg Award. He received the 2015 Rediscovery Award from ECHO Prize for his recording of Meyerbeer’s Vasco de Gama. His recent and upcoming engagements include Der Ring des Niebelungen in Minden, Tristan und Isolde at the Aalto Theater in Essen, La dame de pique in Stuttgart, his debut with the Orchestre Symphonique de Mulhouse, and concerts with the Athens National Orchestra and the London Philharmonic Orchestra.
At the Opéra de Lausanne: Die lustigen Weiber von Windsor (2014), La bohème (2017).
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.
Jacques Blanc studied the piano at the Conservatoire National de Marseille, and orchestra conducting with Jésus Etcheverry. He began as a singing master then became choir master at the Nantes and Strasbourg Operas. He supported Jeffrey Tate and George Prêtre, before becoming a conductor himself in Bordeaux, Montpellier, Limoges, Nice and Nantes. Between 1986 and 1988 he was director of vocal studies at the CNIPAL national opera centre in Marseille. From 1999 to 2010, he became the permanent chorus master and director of vocal studies of the Opéra National de Bordeaux, and contributed to performances such as Turandot, Carmen and La Bohème. He now devotes himself to conducting and the study of repertoire with young singers to guide them in their careers. He recently conducted La Traviata while on tour with the Opéra en Plein Air. At the Opéra de Lausanne: Die Zauberflöte (1991) assisting Armin Jordan; Phi-Phi (2014) and La belle de Cadix (2016) as conductor; Manon (2014), Die lustige Witwe (2014), My Fair Lady (2015), Les mamelles de Tirésias (2016), La vie parisienne (2016), La Bohème, Hamlet and Lucia di Lammermoor (2017), Die Fledermaus (2018) as chorus master.
Having graduated in scenography from the Academy of Fine Arts in Venice, Adriano Sinivia went to Paris to study in the circus schools and mime school of Annie Fratellini and Marcel Marceau. His work directing Mezz’ora di luna and Una delle ultime sere di Carnovale for the Venice Biennale launched his career as interpreter and creator. His first job directing opera was at the Opéra de Paris with Stradella by César Franck, followed by Les contes d’Hoffmann, Falstaff, Carmen, The Cunning Little Vixen, Les saltimbanques, White Horse Inn, La cambiale di matrimonio, Il signor Bruschino and many others, at numerous opera houses. Recently, for the theatre, he directed L’emberlificoteur by Carlo Goldoni, Arloc by Serge Kribus, New York City by David Mamet, and The Green Bird by Carlo Gozzi. He is currently participating in several productions as an actor.
At the Opéra de Lausanne: Monsieur de Pourceaugnac (2007), Il barbiere di Siviglia (2009 and 2014), L’elisir d’amore (2012), La Cenerentola (2015), and Die Fledermaus (2018).
Enzo Iorio studied architecture in Naples. He pursued training in costume, makeup, interior design and set design, in Europe, as well as in India and Africa. Passionate about music, he took part in different research groups before getting into theatre both in France and Italy. As a videographer, he has worked on advertisements and documentaries about architecture and theatre, and on video creations for dance. Alongside this work, he pursued his research in graphic arts and went to live in Paris, where he began designing sets and costumes for plays, the circus and opera, in partnership with various artists and directors. He has worked for years with Adriano Sinivia, who he produced two operettas with for the Capitole de Toulouse, Les saltimbanques and L’Auberge du Cheval blanc.
At the Opéra de Lausanne: Monsieur de Pourceaugnac (2007), Il barbiere di Siviglia (2009), L’elisir d’amore (2012), Il barbiere di Siviglia, also in the role of Ambrogio (2014), La Cenerentola (2015).
Fabrice Kebour is one of the most prolific lighting designers of his generation. Over the past twenty years, his work has been presented in Europe, Japan, the USA, the Middle East and Canada. He has designed the lighting in the most prestigious theatres such as the Comédie Française, the Opéra National de Paris, the Wiener Staatsoper, the Bregenzer Festpiele, the Teatro Alla Scala, the Verona Arenas and the Théâtre Royal de la Monnaie. In 2006, he was in charge of lighting for the Olympic opening ceremonies and the closing ceremony for the Asian games of Doha, and took part in Light steaks, an international exhibit organized in 2011 by the Quadrennial of Performance Design and Space which looked at lighting designers who have impacted their generation. He was nominated for the Molière for best lighting designer for Camille C in 2005, Baby Doll in 2009 and Pluie d’Enfer in 2011.
At the Opéra de Lausanne : Il barbiere di Siviglia (2009 and 2014), L’elisir d’amore (2012), Die Lustigen Weiber von Windsor (2014,) the world premiere of Le Petit Prince (2014).
Originally from Vietnam and Laos, Konethong Vongpraseuth grew up in France. He is a self-taught hip-hop dancer and choreographer. As a child, he developed an interest in art, through painting, drawing and graffiti, then fell in love with dance and co-founded the professional company S’poart with friends, inspired by very diverse forms of dance (mainly hip-hop).
An expert in acrobatics, burlesque, theatre, magic and circus arts, he was a member of the Montreal Cirque Éloïze for 9 years, and travelled the world for over 1000 performances from 2009 onwards. Always keen to learn, he has worked with the greatest contemporary choreographers in different companies.