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 performs today in the most important international theaters. He has performed with great success as the Chevalier des Grieux (Manon) at the Paris Opera, in Valencia and at the Vienna Staatsoper, as well as Raimbaut in Robert le Diable and Nabucco at Covent Garden, as the Chevalier de la Force (Dialogues des Carmélites) at the Accademia Nazionale di Santa Cecilia, and as Macduff (Macbeth) at the Théâtre des Champs-Élysées. He performed at the Vienna Staatsoper in La Traviata, La bohème, Faust and Werther, as well as in Lakmé in Toulon, Un ballo in maschera in Munich, Thaïs in Sao Paulo, Béatrice et Bénédict at the Matsumoto Festival, Lucia di Lammermoor in Avignon. Jean-François Borras replaced Jonas Kaufmann in the title role of Werther at the Metropolitan Opera and will return for La bohème, Rigoletto, Werther and Thaïs. He sings under the direction of Alain Guingal, Evelino Pidò, Daniel Oren, Patrick Fournillier, Daniele Calegari, Fabrizio Carminati, and Michel Plasson.
At the Opéra de Lausanne: Die Fledermaus (2018) and Les contes d’Hoffmann (2019).
Born in Rodgau, Germany, baritone Björn Bürger studied singing and received prizes at the Frankfurt Conservatory in the class of Hedwig Fassbender. He attended master classes by Kurt Moll, Helmut Deutsch and Christoph Pregardien. At the beginning of his young career, he performed Argante (Rinaldo) at the Handel Festival in Karlsruhe and Osmin (Zaïde) on tour in Germany. He was a member of Oper Frankfurt from 2013 to 2018. In parallel, he made his debut at the Opéra de Paris as Papageno (Die Zauberflöte) in a production by Robert Carsen) and in the title role of Don Giovanni at the Oslo Opera House. He has also performed the roles of Papageno and Figaro (Il barbiere di Siviglia) at the Glyndebourne Festival; Falke (Die Fledermaus) in Munich (conducted by Kirill Petrenko) and in Lausanne; Figaro at the Semperoper Dresden and in StuttgartWolfram (Tannhäuser) in Amsterdam, Posa (Don Carlos) in Stuttgart; Don Giovanni and Count Almaviva (Le nozze di Figaro) at La Monnaie in Brussels; Lescaut in Hamburg. He recently appeared as Andrei Bolkonsky (War and Peace) in Geneva, Papageno, Falke and Count Almaviva in Stuttgart; the Barber (Die schweigsame Frau) in Munich; and Guglielmo (Guillaume Tell) in Strasbourg, Belcore (L’elisir d’amore) and Figaro in Stuttgart, Falke in Hamburg, Frédéric (Lakmé) and Gaveston/Fremdling (Lessons in Love and Violence by George Benjamin) in Zurich, and Heerrufer (Lohengrin) in Amsterdam. Among his roles for the 2023/24 season and beyond: Pelléas in Geneva, Lescaut (Manon) in Turin, Frank/Fritz (Die tote Stadt) in Zurich, Count Almaviva in Amsterdam. Björn Bürger is a laureate of the Yehudi Menuhin Foundation (Live Music Now).
At the Opéra de Lausanne: Die Fledermaus (2018).
Lausanne-based soprano Marie Lys trained at the Haute école de musique de Lausanne and then at the Royal College of Music in London. First prize winner at the Cesti Baroque Opera Competition (2018) and the Vincenzo Bellini Belcanto Competition (2017), she has collaborated with renowned conductors such as Diego Fasolis, Christophe Rousset, Fabio Biondi, Leonardo García Alarcón, Emmanuelle Haïm and Michel Corboz. She has also performed with orchestras such as Europa Galante, Les Talens Lyriques, Sinfonia Varsovia, The English Concert, the Orchestre de Chambre de Lausanne, the Cameristi della Scala and Les Musiciens du Prince-Monaco. She has sung the roles of Ginevra (Ariodante) and Adelaide (Lotario) at the Handel Festival in Göttingen, Dorinda (Orlando) at the Castell Festival in Peralada, Servilia (La clemenza di Tito), Yniold (Pelléas et Mélisande) and Clorinda (La Cenerentola) at the Grand Théâtre de Genève, and recently replaced Cecilia Bartoli at the last minute in the title role of Handel’s Alcina at the Maggio Musicale Fiorentino. She has played the role of Bellezza in Handel’s Il trionfo del tempo e del disinganno alongside Biondi in Granada, and the title role in Donizetti’s Betly for the Chopin and His Europe Festival in Warsaw. She will soon appear in Vivaldi’s Tamerlano during an Italian tour conducted by Ottavio Dantone, as well as in Lully’s Thésée at the Theater an der Wien, at the Bozar in Brussels and at the Théâtre des Champs-Élysées under the baton of Christophe Rousset. Marie was supported in her debut by the Migros Culture Percentage and the Leenaards, Dénéréaz, Colette Mosetti and Friedl Wald, Samling, Drake Calleja Trust and Josephine Baker Trust foundations.
At the Opéra de Lausanne: Orlando paladino (2017), La sonnambula (2018), Die Fledermaus (2018), Orpheus and Eurydice (2019), Alcina (2022) and Candide (2022).
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 conservatories of Grenoble and Nevers, as well as with Vivianne Zlomke-Dallinges, disciple of Rudolf Knoll, in Geneva. He also studied harmony and counterpoint with François Lusignan, in parallel with classical accordion studies at the André Thépaz Institute in Chambéry. In 2010, he joined the choirs of the Lausanne Opera and the Avenches Opera Festival. Regularly solicited as a soloist or chorister in various oratorio concerts in the Rhône-Alpes region and in Switzerland, he sings under the direction of Michel Corboz, Celso Antunes, Laurent Touche, Emmanuel Krivine, David Reiland, Arie van Beek, Philippe Bérand and Jesús López Cobos. He interprets Menelaus in La belle Hélène, Beppe in Rita ou le mari battu, a brother of Anna in The Seven Deadly Sins by Kurt Weill.
At the Opéra de Lausanne: Un ballo in maschera (2010), Les mousquetaires au couvent (2013), Die lustige Wittwe (2014), La Traviata (2015), My fair Lady (2015), La fille du régiment (2016), Lucia di Lammermoor (2017) and La belle Hélène (2019).
Yuki Tsurusaki received her vocal training from Hiroko Kawamichi at the Haute école de musique de Lausanne. From an early age, she has loved the stage: practicing the piano as well as dance, she is an artist equally at ease in both the danced and sung repertoires. Keen to touch her audience, she attaches great importance to interpretation and her relationship with the body, which she has developed in particular with Armand Deladoëy and Enmando. She won the Mosetti scholarship during her studies, as well as first prizes at the Vienne en Voix and Léopold Bellan competitions in Paris. In the operatic repertoire, she sings the roles of Lucy in Menotti’s The Telephone, Miles in The Turn of The Screw, Micaëla and Frasquita in Carmen, as well as creations such as Il gatto con gli stivali by Rinaldo Bellucci at the Turin Opera. She performs at various festivals in Japan, Russia and the United States. She is currently perfecting her vocal skills with the likes of Ludovic Tézier, Béatrice Uria-Monzon, Antoine Palloc and Nadine Denize.
At the Opéra de Lausanne: Les Zoocrates by Thierry Besançon (2017), Die Fledermaus (2018), Dédé (Route Lyrique 2021), Le Petit Chaperon rouge by Guy-François Leuenberger (2021), L’Auberge du Cheval-Blanc (2021), Orphée aux Enfers (2023).
The actress Shin Iglesias graduated from the Conservatoire de Lausanne with a first prize from the jury. She is also a prizewinner of the Migros Cultural Percentage. She has performed in more than sixty productions in Switzerland and abroad, under the direction of Denis Maillefer, Massimo Furlan, Vincent Bonillo, Ariane Moret, Matthias Urban, Gérard Diggelmann, Sandra Gaudin, Gianni Schneider, Christian Denisart, Adriano Sinivia and Emilio Sagi. Her passion for contemporary art led her to collaborate for two years with Christian Egger at Galerie C Neuchâtel/Paris. She participates as a reader in various artistic events, as well as in singing performances. She lends her voice to various documentaries of the RTS, the HEAD and the Printemps de la Poésie, and takes part in several short films; she is notably directed by Bruno Deville in the series Double vie.
At the Opéra de Lausanne : Le Chanteur de Mexico (2017) and Die Fledermaus (2018).
The works of Richard Wagner are an essential part of Frank Beermann’s repertoire. His performances of Tristan und Isolde, Tannhäuser, Lohengrin and Der fliegende Holländer as part of the “Minden Wagner” projects have been enthusiastically received by the local and international press. During the years 2015-2019, Frank Beermann conducted no fewer than 36 performances of the four operas in the famous Tetralogy. In recent years, he has devoted himself more intensively to the great symphonic works of Richard Strauss, Gustav Mahler and, in particular, Anton Bruckner. He was soon able to add the “completed” 9th Symphony, including its reconstructed 4th movement, to his repertoire. Over the past ten years, he has conducted complete cycles of symphonic works by Beethoven, Brahms, Schubert, Schumann, Mahler (with the exception of the Eighth) and Strauss, as well as the complete Mozart piano concertos with Matthias Kirschnereit and the Bamberger Sinfonikern; he is currently working on the complete Mozart symphonies in a new concert series for the Hamm Klassiksommer, with performances spread over several years. From 2007 to 2016, Frank Beermann was Generalmusik-direktor of the Chemnitz Theater and Principal Conductor of the Robert-Schumann-Philharmonie. Recent engagements include debuts at the helm of the Athens National Orchestra and London Philharmonia, as well as in the pits of Essen’s Aalto-Musiktheater and Stuttgart’s Staatstheater. In January 2020, he made his highly successful debut at the Capitole de Toulouse, where he conducted a new production of Parsifal. A new production of Elektra brings him back to the same venue in June 2021, with the same success. His plans for the 2023/24 season include Parsifal in Minden and Die Frau ohne Schatten in Toulouse.
At Opéra de Lausanne:
Die lustigen Weiber von Windsor (2014), La bohème (2017), Die Fledermaus (2018), Ariadne auf Naxos (2019) et Le nozze di Figaro (2021).
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.
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.
Adriano Sinivia graduated in scenography from the Academy of Fine Arts in Venice and then went to Paris to study at the Annie Fratellini and Marcel Marceau circus and mimodrama schools. His creations of Mezz’ora di luna and Una delle ultime sere di Carnovale for the Venice Biennale launched his career as a performer and creator. The Paris Opera entrusted him with his first opera production with Stradella by César Franck. This was followed by Les contes d’Hoffmann, Falstaff, Carmen, La petite Renarde rusée, Les Saltimbanques, L’auberge du Cheval Blanc, La cambiale di matrimonio, Il signor Bruschino and many others, in numerous opera houses. Recently, he directed L’elisir d’amore at the Opéra National de Bordeaux and at the Théâtre Antique for the Chorégies d’Orange.
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 at the University of Naples. Passionate about music, he participated in various research groups before embarking on a theatrical adventure in France and Italy. As a video creator, he has made promotional trailers for advertising, documentaries on architecture and theater, and creations for dance. At the same time, he continues his research in the field of graphic arts and to create sets and costumes for plays, contemporary circus shows and operas, in collaboration with various artists and directors. His work with the latter has developed in a team spirit, which has allowed the realization of projects where different artistic forms have found their place, with often surprising results.
At the Opéra de Lausanne: Monsieur de Pourceaugnac (2007), L’elisir d’amore (2012), Il barbiere di Siviglia (2009 / also as Ambrogio in 2014), La Cenerentola (2015) and Die Fledermaus (2018).
With over 200 productions to his credit, Fabrice Kebour is recognized as one of the most prolific lighting designers of his generation. His career began in New York, where he very soon signed his own lighting designs. First steps, first successes: he won the United Scenic Artist competition, with the opportunity to assist the most renowned lighting designers in the United States for two years. The last twenty years mark the consecration of his work. He has lit Giorgio Barberio Corsetti’s productions at the Comédie Française for Il cappello di paglia di Firenze, at La Scala in Milan for Macbeth and Turandot, and at the Mariinsky for Don Carlo. He has also been designing David Pountney’s lighting for many years, notably for La forza del destino at the Wiener Staatsoper, Die Zauberflöte in Bregenz and Philip Glass’ world premiere Spuren der Verirrten inaugurating the new opera house in Linz. He also designed the lighting for the world premiere of Berenice and La bohème directed by Claus Guth at the Paris Opera. Among his latest creations, let us note: Il viaggio, Dante by Pascal Dusapin in a staging by Claus Guth for the Aix-en-Provence Festival, as well as Il trittico by Puccini directed by Christof Loy for the Salzburg Festival.
At the Opéra de Lausanne: Il barbiere di Siviglia (2009 / 2014), L’elisir d’amore (2012), Le petit Prince (2014), Die Lustige Weiber von Windsor (2014), Die Fledermaus (2018) and Ariadne auf Naxos (2019).
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.