L’auberge du Cheval blanc

Director of the Tours opera and regional symphony orchestra from 1999 to 2016, Jean-Yves Ossonce was invited to conduct numerous operas in a wide repertoire with orchestras in Europe, on the other side of the Atlantic, in South Korea and in China. He has recorded, among other things, works by Magnard, Massenet and Ropartz. His work was awarded in 2008 and 2014 by the Syndicat de la Critique Musicale et Dramatique with the prize for best lyric performance in the region. In recognition of his career, he received the 2016 Grand Prix de la Presse Musicale Internationale. He is a knight of the Legion of Honour.

At the Opéra de Lausanne: Così fan tutte (2006), Monsieur de Pourceaugnac (2007), Madama Butterfly (2009), L’Aiglon (2013), and Faust (2016).

Gilles Rico studied Medieval Music and Philosophy at Oxford. Along with his career in academia, he directed operas and collaborated with directors such as Patrice Caurier and Moshe Leiser, Joël Pommerat, Dmitri Tcherniakov, Jérôme Deschamps, and Katie Mitchell. He recently directed the world premiere of Maria Republica by François Paris at Angers-Nantes Opéra, a show which received a Critics’ Prize. He also staged Dining with Jacques, a show based on Offenbach and produced by the Opéra Comique and the Musée d’Orsay, as well as Tistou of the Green Thumbs by Henri Sauguet in Rouen, Die Entführung aus dem Serail at the Philharmonie de Paris, and Les Petites Noces, inspired by Mozart, at the Opéra de Rouen and the Théâtre des Champs-Élysées. Rico is currently working on the creation of Hémon by Zad Moultaka at the Opéra du Rhin in Strasbourg, Così Fan Tutte with the English Touring Opera, as well as on a project around Rameau at the Bolshoi Theatre. At the Opéra de Lausanne, he is working on Cendrillon (2018).

After studying political science and piano, Fabienne Conrad made her debut in the title role of La Traviata. Since then, she has sung on many European stages roles such as the Contessa (Le nozze di Figaro), Juliette (Romeo and Juliet), Donna Anna (Don Giovanni), Mimì (La bohème), Micaëla (Carmen), Princess Marie de Gonzague (Cinq-Mars), as well as the title roles of Lucia di Lammermoor, Manon, Mirelle and Madama Butterfly. She has also collaborated with Jesús López Cobos, Cyril Diederich, Myung-Wung Chun, Robert Carsen and Vincent Boussard. Fabienne Conrad has been invited by Alain Duault for a series of recitals ” Maria Callas, une passion, un destin “, in partnership with Radio Classique, and has also sung during the show ” Musiques en fête ” live on France 3 and France Musique. In the pipeline: the roles of Liù (Turandot), Pamina (Die Zauberflöte) or the title role of Tosca.

Julien Dran discovered singing thanks to his parents, who were opera singers themselves. He studied at the Conservatoire de Bordeaux and the CNIPAL national opera centre in Marseille, after which he was quickly working in more important roles such as Le comte Almaviva (Il barbiere di Siviglia), Ferrando (Così fan tutte), Fenton (Falstaff), and Tebaldo (I Capuleti e i Montecchi). In 2013, he won the Julián Gayarre International Singing Competition in Pamplona, chaired by Teresa Berganza. He has performed in France and other countries in Les pêcheurs de perles, in the title-role in Fra Diavolo (Auber), as Lindoro (L’Italiana in Algeri), and as Bénédict (Béatrice et Bénédict). His plans include taking on parts in Robert le Diable at La Monnaie, Il duca di Mantova (Rigoletto) in Massy, and the title-role in Faust by Gounod. He will sing the part of the viceroy of Naples in the world premiere of The Satin Slipper (Paul Claudel) at the Opéra Bastille in 2021.

At the Opéra de Lausanne : Paris in La belle Hélène (2019)

Patrick Rocca is an actor and lyrical singer. He has appeared several times in front of the cameras of Georges Lautner and Bertrand Tavernier, as well as in several films and television series, including Baron Noir, Candice Renoir, Crimes parfaits and most recently in Garder ton nom directed by Vincent Duquesne. As a singer, he was Javert in Les Misérables then Albin in La cage aux folles at the Théâtre Mogador. He plays Eisenstein (Die Fledermaus), Jupiter (Orpheus in Hell), Agamemnon (La belle Hélène) and General Boum (The Grand Duchess of Gerolstein).

At the Opéra de Lausanne: Calchas in La belle Hélène (2008), Ribeira’s Don Andrès in La Périchole (2009), Baron Popoff in La veuve joyeuse (2014) and Baron Gondremarck in La vie parisienne (2016).

He has also participated in numerous movie shoots in recent years, including Republican Gangsters, Candice Renoir, Caïn, Tomorrow is Ours, and Garder Ton Nom, directed by Vincent Duquesne.

Mathias Vidal graduated from the Paris Conservatory in 2003, after studying musicology in Nice. He has been celebrated for his performance in numerous baroque operas, such as those of Monteverdi, Purcell, Rameau , Lully, Cavalli, or Campra. Vidal offers interpretations of the Light Music repertoire, the great works of the romantics and bel cantos, as well as twentieth century and contemporary works. He has recently appeared in title roles including: Orlando Paladino (Haydn), The Count Ory (Rossini), Cinq-Mars and Faust (Gounod), and Der Zwerg (Zemlinsky).

Clémentine Bourgoin began by learning to play the cello before she studied singing and drama. She has performed in French and European opera houses, notably in Hervé’s trilogy of operettas directed by Pierre-André Weitz: The Knights of the Round Table, Mam’zelle Nitouche, and soon V’lan Dans l’Oeil at the Opéra de Bordeaux in 2021. She has recently sung La Pastourelle and the bat in Ravel’s The Child and the Spells at the Opéra de Limoges, and La Princesse in the chamber opera of Olivier Py L’Amour Vainqueur, currently touring internationally and in Lausanne in January 2022.

Julien Dran discovered singing thanks to his parents, who were opera singers themselves. He studied at the Conservatoire de Bordeaux and the CNIPAL national opera centre in Marseille, after which he was quickly working in more important roles such as Le comte Almaviva (Il barbiere di Siviglia), Ferrando (Così fan tutte), Fenton (Falstaff), and Tebaldo (I Capuleti e i Montecchi). In 2013, he won the Julián Gayarre International Singing Competition in Pamplona, chaired by Teresa Berganza. He has performed in France and other countries in Les pêcheurs de perles, in the title-role in Fra Diavolo (Auber), as Lindoro (L’Italiana in Algeri), and as Bénédict (Béatrice et Bénédict). His plans include taking on parts in Robert le Diable at La Monnaie, Il duca di Mantova (Rigoletto) in Massy, and the title-role in Faust by Gounod. He will sing the part of the viceroy of Naples in the world premiere of The Satin Slipper (Paul Claudel) at the Opéra Bastille in 2021.

At the Opéra de Lausanne : Paris in La belle Hélène (2019)

Guillaume Paire then studied at the Haute Ecole de Musique de Genève in the class of Gilles Cachemaille and then perfected his skills with Sherman Lowe in Venice. He joined the Academy of the Festival of Aix en Provence and the Rencontres Lyriques de Genève.

Member of the Rouen Opera Company from 2010 to 2012, he is Papageno in Die Zauberflöte directed by W. Kentridge.

He made his debut at the Théâtre de la Monnaie in Brussels as the Gendarme in Les Mamelles de Tiresias by Francis Poulenc.  He played The Director in the same work under the direction of Daniel Kawka at the Opéra de Lausanne.

During the 20/21 season, Guillaume will present his first musical one-man show LE BLUES DU PERROQUET at the Opéra d’Avignon and at the Opéra de Saint-Etienne.

After graduating with a Bachelor’s degree in the Italian Language in 2014, Laurène Paternò joined Lausanne’s University of Music in Stephan MacLeod’s class; in 2017, she also enrolled in the Master’s degree course there as a solo performer. As part of her course, she participated in a musical creation performed in Rio de Janeiro during the opening week of the 2016 Olympic Games. She won the 1st place prize at the Concours du Kattenburg.  She sang in the roles of Sister Blanche of the Agony of Christ in Dialogues of the Carmelites and Susanna in Le nozze di Figaro, the latter conducted by Leonardo Garcìa Alarcón. Both operas were produced by the University of Music of Lausanne. In 2019, she sings in the roles of Sofiya and Yelena in Laïka, le chien de l’espace of Russell Hepplewhite, an opera for kids at the Nouvel Opéra of Fribourg. She performed in concert, accompanied by the group Gli Angeli Genève, l’Orchestre de Chambre de Lausanne and l’Orchestre de Chambre Fribourgeois, in a sacred and operatic repertoire.

In an Opéra de Lausanne production in Bhutan, at the inauguration of the Royal Textile Academy of Bhutan in 2018, she sang Serpina in La serva padrona, and in 2019 Mélusine in Les Chevaliers de la Table ronde of Hervé. She was to play the role of Giannetta in L’elisir d’amore in 2020.

For the first time ever at the Opéra de Lausanne. Jean Miannay began singing opera at the Conservatoire de Nantes in Natasha Siehoff’s class. After two years, he went on to study musicology in Lille and joined Françoise Semellaz’ class. During those years, Jean performed roles such as Tamino in Mozart’s La flûte enchantée, Pelléas in Pelléas et Mélisande by Debussy, Basilio in Le Nozze di Figaro by Mozart.

In 2017, he took part in the International Opera Festival of Belle-Île en Mer, and joined Brigitte Balleys’ class at the Haute Ecole de Musique in Lausanne, where he is currently enrolled. He is a Colette Mosetti foundation award-winner in 2018. He sang the role of the Prince in Pauline Viardot’s Cinderella at the Opéra de Lausanne. Winner of the 26th Clermont-Ferrand International Singing Competition in 2019 for the role of Beppe, he also won the Grand Prix du Concours Raymond Duffaut at the Opéra du Grand Avignon.

Yuki Tsurusaki joined the Haute École de Musique de Lausanne in the class of Hiroko Kawamichi, where she obtained her Master’s degree. She won the Mosetti grant in 2014, as well as the Virginia Zeani competition in Turin, the Leopold Bellan competition in Paris, the Lavaur competition in Toulouse, and she recently won the first prize at the Vienne en Voix competition in Vivonne. She plays the role of La Gazelle in Les Zoocrates, by Thierry Besançon, as well as in Die Fledermaus, staged by Adriano Sinivia and under the baton of Frank Beermann, both at the Opéra de Lausanne. She also performed the roles of Micaëla and Frasquita in Carmen de Bizet, having prepared the roles with Béatrice Uria-Monzon and Antoine Palloc. This season, we will have the pleasure of hearing her sing at the Opéra de Lausanne in Benatzky’s The White Horse Inn.

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.

Director of the Tours opera and regional symphony orchestra from 1999 to 2016, Jean-Yves Ossonce was invited to conduct numerous operas in a wide repertoire with orchestras in Europe, on the other side of the Atlantic, in South Korea and in China. He has recorded, among other things, works by Magnard, Massenet and Ropartz. His work was awarded in 2008 and 2014 by the Syndicat de la Critique Musicale et Dramatique with the prize for best lyric performance in the region. In recognition of his career, he received the 2016 Grand Prix de la Presse Musicale Internationale. He is a knight of the Legion of Honour.

At the Opéra de Lausanne: Così fan tutte (2006), Monsieur de Pourceaugnac (2007), Madama Butterfly (2009), L’Aiglon (2013), and Faust (2016).

Karolina Luisoni studied fashion at the Cracow College of Art and Fashion Design (SAPU), Poland. She pursued her education in the field of costumes and textiles at the University of Huddersfield, England. In 2013, her final project “Doctor Faustus” received a special award from Sir Patrick Stewart and an award from the Northern Society of Costumes and Textiles. In 2015 she won an international costume competition organised by Luc Besson, for his movie, “Valerian and the City of a Thousand Planets”. 

In 2019 her costume “Mephistopheles” has been exhibited in the Historical State Museum in Moscow as a part of the “INNOVATIVE COSTUME OF THE 21st CENTURY: NEXT GENERATION” exposition. From 2015 she has been working at the costume department of the Lausanne Opera where she has been designing and supervising costume making for the new productions. In 2017, she was the costume assistant for the production of Don Giovanni and designed the costumes for Cendrillon in 2018.

A graduate of the École Nationale Supérieure des Arts et Techniques du Théâtre de Lyon, Bruno de Lavenère has designed sets for opera, dance and theatre. In 2014, the Professional Union of theatre, music and dance critics awarded him the prize for best creator of stage objects in the opera category for his stage design of Doctor Atomic in Strasbourg. He has worked with Richard Brunel, Frédéric Roels, Lucinda Childs, Jean-Louis Grinda, Renée Auphan, Gilles Rico, Julien Ostini, Jean-Romain Vesperini, Waut Koeken and Max Emanuel Cencic.

His most recent creations include Il Trovatore in Lille and in Luxembourg, Don Giovanni, Così fan Tutte and Norma in Rouen, Quai Ouest, Farnace, La vie Parisienne and Cav/Pag in Strasbourg, The Sleeping Beauty in Basel, La belle Hélène at the Grand Théâtre de Genève, Maria Republica andLittle Nemo in Nantes, as well as Mozart et Salieri in Lyon. For the 2017-18 season, he has worked on productions of Philémon et Baucis in Tours, Norma in Mascate, Siegfried and Faust in Saint-Étienne, Carmen in Hong Kong, La Bohème at the Bolshoï in Moscow and Nabucco in Saint-Petersburg.

At the Opéra de Lausanne: Siroe (2016), La vie parisienne (2016), La donna del lago (2018).

In recent years in Europe, David Debrinay has mainly created lighting in theater, dance and opera for Lucinda Childs, Max-Emmanuel Cencic, Jakob Peter-Messer, Nicola Raab, Jean Lacornerie, Laurent Brethome, Jean-Claude Berutti, Alejandro Cerrudo, Davy Brun or Jonah Bokaer.

In 2018, David Debrinay created LAM, a lighting design studio of which he is the artistic director. With this studio, he designs lighting worlds in the field of luxury events by collaborating with Hermès, the Louis Vuitton Foundation, Jonathon Beck (New York), K2 and WB (Shanghai) or Once (Beirut).

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).