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was the title the opera was originally intended to bear, and it summed up the plot perfectly. However, Angèle wearing a black domino leaves the convent incognito to savour the pleasures of this world one last time, before entering holy orders for good. When she arrives at the ball, she has no idea that a horseman, claiming to have seen her before, is going to court her. The black domino tries to remain faithful to her vows, fleeing both the ball and her feelings. But it is already past midnight and Angèle is caught up in her destiny. During the course of a crazy night, she has to hide, disguise herself, change her plans…to finally, by a happy coincidence, changing her vocation. The story sometimes turns into a farce, without ever losing its depth; a skilful balance that Auber’s score, filled with sophistication and mischief, underlines wonderfully. It is not surprising that Le domino noir has become Auber’s greatest success and one of the most emblematic comic operas of the French Romantic repertoire.
This show was awarded the Grand Prix for the best French lyrical show in 2018 by the Professional Association of Theatre, Music and Dance Critics.
First performance at the Opéra Comique de Paris,
2 December 1837
Opéra Royal de Wallonie-Liège Edition
After studying music and philosophy, Laurent Campellone won first prize in the European Community’s international competition for young conductors in 2001. Appointed Music Director of the Saint-Étienne Opera and Symphony Orchestra in 2004, for more than ten years he spearheaded a policy to rediscover the 19th century French lyrical repertoire, conducting rare works by Massenet (Sapho, Le Jongleur de Notre-Dame, Ariane, Le Mage), Gounod (La Reine de Saba, Polyeucte), and Lalo (Le Roi d’Ys), Saint-Saëns (Les Barbares). He was invited to conduct the French Romantic repertoire, comic opera and the great opera repertoire at the Bolshoi, the Deutsche Oper in Berlin, the operas of Marseille, Toulon, Nantes, Angers, Bordeaux, Bogotá, Madison, as well as at the Berlioz and La Chaise-Dieu festivals. He also performs in concert with the Bavarian Broadcasting Symphony Orchestra, the Orchestre de chambre de Paris, the Orchestres nationaux du Capitole de Toulouse et des Pays de la Loire, the Orchestres philharmoniques de Nice, de Radio France, de Malaisie. His recording “Offenbach colorature” won the 2019 Diapason d’or prize and was awarded a Diamant by Opéra Magazine, a Choc by Classica and is included in the Gramophone magazine selection. Since September 2020, Laurent Campellone has been the General Director of the Opéra de Tours, where he has recreated Grétry’s La Caravane du Caire, in collaboration with the Opéra Royal de Versailles. At the Opéra Comique, he conducted Les Mousquetaires au Couvent, Fantasio and Madame Favart.
At the Opéra de Lausanne : Werther (2022)
Valérie Lesort is a director, visual artist, author and actor. In 2012, her interdisciplinarity gave birth to Monsieur Herck Tévé, a short program for Canal+, which she wrote and directed with Christian Hecq. In 2016, they signed the adaptation and staging of Jules Verne’s Twenty Thousand Leagues Under the Sea at the Comédie-Française (Molière for visual creation and critics’ prize). In 2018, Lesort and Hecq directed Le Domino noir at the Opéra de Liège and the Opéra Comique (grand prix de la critique). Valérie writes, directs and performs in Le Cabaret horrifique at the Opéra Comique. In 2019, she signs the adaptation, the scenography and the direction of Petite balade aux enfers, adapted from Orpheus and Eurydice by Gluck. The duo directed Cavalli’s Ercole amante at the Opéra Comique in 2019 (Grand Prix de la critique). In 2020, they will adapt and direct La Mouche by George Langelaan at the Théâtre des Bouffes du Nord. Valérie also plays in the play. They won three Molières. Valérie received the SACD prize – new talent in theater 2020. She directs and signs the set design of the show Marilyn, ma grand-mère et moi at the Théâtre du Petit Saint-Martin in 2020. The same year, Christian and Valérie directed Le Bourgeois gentilhomme by Molière at the Comédie-Française. In solo this time, Valérie signs the direction of La Périchole by Offenbach at the Opéra Comique in 2022. The duo’s latest creation, Gulliver’s Journey, adapted by Valérie, was created and revived in 2022 at the Théâtre de l’Athénée, and is currently touring throughout France. She plays the role of the Empress. The show won two Molières (for the direction and the visuals).
In 2008, Christian Hecq left the Philippe Genty company to join the Comédie-Française, becoming a member in 2013. After receiving the Molière for male revelation in 2000, he won the Molière for best actor in 2011 for his role in Feydeau’s Un Fil à la patte and, in 2016, the Molière for visual creation, with Valérie Lesort, for Twenty Thousand Leagues Under the Sea. In cinema, he has worked with Jaco Van Dormael, Albert Dupontel, Chantal Akerman, Cécile Telerman, Danièle Thompson, James Huth and Eric Besnard. Since 2012, he regularly collaborates with Valérie Lesort. Christian Hecq is a Chevalier de l’Ordre des Arts et Lettres and made his entry in the Petit Larousse in 2017.
One of the most prominent tenors of his generation, Philippe Talbot is highly regarded in the great French repertoire (title role in Hippolyte et Aricie, title role in Platée, Les Indes galantes, Orpheus in Orpheus and Eurydice, Benedict in Béatrice et Bénédict, Nadir in Les Pêcheurs de perles, Gérald in Lakmé, Wilhelm Meister in Mignon… ), in the Mozart repertoire (Ferrando in Così fan tutte, Don Ottavio in Don Giovanni…) and in the Italian bel canto (Almaviva in Il barbiere di Siviglia, Ramiro in La Cenerentola, Amenhotep in Moses and Pharaoh, Lindoro in L’italiana in Algeri, the title role in Count Ory...). He also performs with success in the repertoire of the Opéra Comique and the operetta (La Périchole, La Belle Hélène, Orpheus in the Underworld, The Bat, The White Lady…). He sings on the most important international stages: Paris Opera, Lyon Opera, Opéra Comique, Royal Opera of Versailles, Capitole of Toulouse, Marseille Opera, Bordeaux Opera, Luxembourg Theatre, Peralada Festival, Teatro San Carlo of Naples, Deutsche Oper of Berlin, Bayerische Staatsoper, Semperoper of Dresden, Theater an der Wien, Lausanne Opera, Concertgebouw of Amsterdam, New York City Opera, Florida Grand Opera Miami… Among his recent and future projects: Lakmé in Liège, Platée at the Semperoper in Dresden, Armide in Tokyo, La Périchole in Toulon and Dijon, Zémire et Azor and L’Heure espagnole at the Opéra Comique and Béatrice et Bénédict in Nantes, Rennes and Angers.
At the Opéra de Lausanne: La Vie Parisienne (2016) and Orphée et Eurydice (2019).
Canadian-born Marie-Eve Munger won 1st prize for opera at the Marmande Competition. She made her debut at the Opéra de Metz in the roles of Ophelia (Hamlet) and Nannetta (Falstaff), and took part in the premiere of Pastorale at the Théâtre du Châtelet, where she went on to star in Villa-Lobos’ Magdalena in 2010. Her career launched in the USA and Europe, she made her debut at La Scala in Milan and at the Festival d’Aix-en-Provence in Vierte Madg (Elektra, directed by Patrice Chéreau), a role she reprised at the Liceu in Barcelona and at the BBC Proms in London, conducted by Semyon Bychkov. She was Lakmé in Saint-Étienne and in concert in Munich, Isabelle (Le Pré aux Clercs by Ferdinand Hérold), Princess Elsbeth (Fantasio) and Musette in “Bohème notre jeunesse” at the Opéra Comique. More recently, she was Ophélie in Nantes and Rennes, Countess Adèle (Le Comte Ory) and Donna Elvira (Don Giovanni) in Toulon, and La Fée (Cendrillon) at the Chicago Lyric Opera. Attached to the contemporary repertoire, she took part in the premiere of Guillaume Vincent’s The Second Woman at the Théâtre des Bouffes du Nord, and played La Fée in Philippe Boesmans’ Pinocchio in Aix-en-Provence, La Monnaie de Munt and Dijon. At the Festival Musica in Strasbourg, she can be heard in a work by Mauro Lanza, and in Judith et le Cantique de Pâques by Honegger in Utrecht. More recently, she has appeared as Le Rossignol (Die Vögel by Walter Braun-fels) in Strasbourg, Tytania (A Midsummer Night’s Dream) in Lille, La Reine de la Nuit in Strasbourg, La Fée et Arlette (Die Fledermaus) in Limoges, Adina (L’elisir d’amore) at the Florentine Opera (USA). Other projects include the title role in Auber’s Manon Lescaut at the Teatro Regio in Turin and Blondchen (Die Entführung aus dem Serail) in Saint-Étienne.
At Opéra de Lausanne: My Fair Lady (2015), Ariadne auf Naxos (2019) and Le Domino noir (2023)
Mezzo-soprano Julia Deit-Ferrand trained at the Haute école de musique de Lausanne, where she obtained a soloist’s master’s degree from Jeanne-Michèle Charbonnet and a master’s degree in interpretation from Hiroko Kawamichi. At the Grand Théâtre de Genève, she performed the title role in a French adaptation of La Cenerentola, the Mezzo in Der goldene Drache by Péter Eötvös, and Bianca in the young audience creation Rosa Bianca to music by Donizetti. She played Cherubino (Le nozze di Figaro) under the direction of Leonardo García Alarcón and, at the Nouvel Opéra Fribourg, Berta (Il barbiere di Siviglia), Le Nain Chouquette and Un Animal (Snow White by Marius-Felix Lange), as well as Chérubin (Sholololo!). In the musical comedy repertoire, she plays Sally Bowles in Cabaret, Fantine in Les Misérables and Hattie in Kiss Me, Kate. She puts contemporary creation and performative art forms at the heart of her research, and practices sassy, a style born of urban dance with Lausanne choreographer Daya Jones. She created Laissez durer la nuit, a project based on traditional Turkish and Greek songs and baroque pieces. She performs at L’Arsenic in Lausanne in Louis Bonard’s performance L’Apocalypse, with music by Nicholas Stücklin. She won the young audience prize and the prize for best contemporary interpretation at the Kattenburg competition, and is a laureate of the Fritz Bach Foundation. She won 3rd prize at the Concours international Léopold Bellan in Paris and was a finalist in the Voix Nouvelles competition in Switzerland in 2018. She holds a master’s degree in sociology from the Université Sorbonne Nouvelle (Paris III). This season, she has just made her debut at Opéra du Rhin in Simon Steen-Andersen’s Don Giovanni’s Inferno (world premiere), as part of the Musica festival, and at Opéra d’Avignon in Die Zauberflöte (Papagena). Future projects include the title role in Handel’s Lotario, Cherubino and a world premiere role.
At Opéra de Lausanne: Le Domino noir (2023)
After studying singing and political science in Grenoble, François Rougier was quickly noticed as a tenor to follow. Winner of the 22nd International Singing Competition of Clermont-Ferrand in 2011 and finalist of the 18th Symphonies d’automne de Mâcon. He is a member of the Nouvelle troupe Favart of the Opéra Comique since 2018. In 2006, Mirella Giardelli entrusted him with his first roles with Platée and Ferrando in two shows adapted from the operas of Rameau and Mozart with the Atelier des Musiciens du Louvre. In 2012, he discovered the work of director Alexandra Lacroix in Haydn’s Il mondo della luna (role of Cecco) then in Offenbach’s La Chatte métamorphosée en femme (role of Guido) at the Musée d’Orsay. His vocal as well as scenic qualities make him a regular guest on many great opera stages: the Paris Opera (Les Huguenots, La traviata, Carmen), the Opéra Comique (Le Domino noir, Madame Favart, Ciboulette, Cendrillon, Ali Baba or the world premiere of Eclairs by Hersant), the Opéra royal de Wallonie- Liège (Le Domino noir), the Opéra de Lille (Nabucco), the Festival Radio France de Montpellier (Fervaal), the Festival Berlioz de la Côte Saint-André (Les Troyens), the operas of Nantes and Rennes (L’Inondation by Filidei and Pommerat), the Royal Opera of Versailles (La Périchole with the Musiciens du Louvre)… Her engagements for the 2022/23 season: Hadji (Lakmé) at the Opéra Comique, Kornélis (La Princesse jaune et autres fantasmes d’après Saint-Saëns) and Dickson (La Dame blanche) at the Opéra de Limoges, Le Voisin (L’Inondation) at the Grand Théâtre du Luxembourg, Don José in Carmen, cour d’assises, a creation by Alexandra Lacroix to the music of Bizet and Diana Soh at the TAP de Poitiers.
Marie Lenormand is a French mezzo-soprano trained in the United States. A renowned interpreter of Mozart, Ravel and the French repertoire, she has turned in recent years to character and comic roles. She received a Grammy Award for her participation in the recording of L’Enfant et les sortilèges under the direction of Seiji Ozawa, as well as the Critics’ Choice Award for her performance of Mignon at the Opéra Comique. Other notable accomplishments include: La Périchole and Despina at New York City Opera, The Fox in Janáček’s The Cunning Little Vixen with the New York Philharmonic. She recently sang Marcellina (Le nozze di Figaro) at the Houston Grand Opera, Opéra de Lorraine and Opéra de Saint-Etienne, and Gertrude (Romeo et Juliette) at Opéra Comique.
Born in Lausanne, Raphaël Hardmeyer began his musical career with the violin, then the viola. After obtaining a master’s degree in law, he began to study singing at the Lausanne Conservatory. Three years later, he joined Gilles Cachemaille’s class at the Haute école de musique de Genève. During the 2019/20 season, he can be seen in Philip Glass’ Einstein on the Beach at the Grand Théâtre de Genève and Die Walkyrie (in concert version) in Evian. In 2020, he benefits from the OperaLab.ch program set up by the Grand Théâtre de Genève and the Hautes Écoles de Genève. This season, he performs in a staged version of Messiah at the Théâtre du Jorat and in Die Zauberflöte at the Gstaad Menuhin Festival, under the direction of Christophe Rousset.
At the Opéra de Lausanne: Ariadne auf Naxos (2019), Semiramide (2022), L’elisir d’amore (2022), Candide (2022).
After training in singing and theater, Carole Meyer obtained a master’s degree in opera singing in June 2010 at the Haute école de musique de Lausanne, in the class of Gary Magby. During her studies, she joined the Opéra de Lausanne Choir and received several grants (Mosetti, Jost Foundation…). During her academic career, she sang the roles of Helena (A Midsummer Night’s Dream), Fortuna and Drusilla (L’incoronazione di Poppea conducted by Leonardo García Alarcón), Donna Anna (Don Giovanni), Fiordiligi (Così fan tutte conducted by Jesus López Cóbos). On the Swiss and French stages, she has appeared as Laetitia (The Old Maid and the Thief by Menotti), Alcina (title role) by Handel, Luigia (Viva la mamma by Donizetti at the Opera of Metz), the Second Witch (Dido and Aeneas), Grilletta (Lo speziale by Haydn), Asa (Manru by Paderewski), Simone (Les Mousquetaires au couvent at the Opera of Toulon), Tamiri (Il re pastore). Her French career takes a new turn thanks, among other things, to the Festival Durance-Luberon, in which she participates since 2021, and to the duo she creates with the pianist Tristan Legris. Moreover, so that her art can also concretely help those who need it most, she is mobilized in favor of charitable associations, whether it is within the framework of CALMS (Les Voix Solidaires) or, more recently, with pianist François-René Duchâble at the Estivales de Berdine. In the pipeline: Gérard Massini’s Eden Park (role of Imogene) at the Oriental-Vevey and at the Pullof in Lausanne, and a recital of French melodies.
At the Opéra de Lausanne: Rinaldo (2011), Monsieur Choufleuri (Route Lyrique 2012), Viva la mamma (2013), Les Mousquetaires au couvent (2013), L’Aiglon (2013), Le Chanteur de Mexico (2017), and Le domino noir (2023).
Born in 1964, Laurent Mondel trained at the Conservatoire d’Avignon and then at the Cours Florent. He was a resident of the Comédie Française from 1996 to 2002. He played under the direction of Sandrine Anglade in Opéra Savon, Simon Eine in Les Femmes Savantes, Thierry Hancisse in L’Ecole des maris, Jean-Louis Benoit in Le Révizor, Le Bourgeois gentilhomme, Jorge Lavelli in Mère courage, and above all Daniel Mesguich in La Vie Parisienne (his first contact with singing, he interprets Frick and The Brazilian), The Tempest, Andromache and at his exit from the French Cinna, the Devil and the Good God, Boulevard du boulevard du boulevard, Hamlet and many others. He also found Sandrine Anglade in L’Oiseau vert, Le Cid and recently La Tempête, Jean-Louis Benoit in De Gaulle en mai, La Nuit des rois, plays under the direction of Philippe Adrien Le Bizarre incident du chien pendant la nuit, among others. At the Opéra-Théâtre de Metz, in recent years, he played Henri de Navarre in Charly 9, Leon Tonneklinker in L’auberge du Cheval Blanc and Emperor Joseph II in Amadeus, and finally in the musical Frankenstein junior by Mel Brooks, four stagings of Paul-Emile Fourny, and the Baron de Gondremark in La Vie parisienne staged by Jérôme Savary, taken over by Frédérique Lombart. From 2006 to 2020, he worked with the Fa7 ensemble, as a narrator (L’Histoire du soldat, Schloimé, Pierre de la lune), as an author (Pierre de la lune, music by Olivier Dejours, Le Vaillant petit tailleur…) and conceived with Sylvain Frydman two shows for very young audiences: Veillée douce and Emus des mots. In 2022, he conceived, directed and performed B. comme Georges, a show dedicated to the life and work of Georges Brassens, with the Cadéëm ensemble.
Of Lebanese origin, Marie Daher studied the oud and oriental classical singing in Beirut, while completing a degree in education. In France since 1999, she began classical music studies and obtained a diploma in opera singing and interpretation from the Conservatoire de Besançon, as well as a prize for perfection. Winner of the Concours supérieur interrégional, she is regularly invited to collaborate with choirs and orchestras in French-speaking Switzerland, France, Poland and Lebanon. She has recently sung under the direction of the Argentinean composer Martin Palmeri in his Misatango and the Lebanese composer Wassim Soubra in his Beirut Oratorio. She has been a member of the Opéra de Lausanne Choir since 2013. She often organizes her own recitals, where she unites the West and the East, performing opera arias, lieder and French melodies as well as works from the Arabic repertoire.
At the Opéra de Lausanne: La fille du régiment (2016), La belle Hélène (2019), My fair Lady (2022)
Born on the island of La Réunion, Aslam Safla began studying the violin at the age of six, and began singing pop at sixteen. In 2010, he moved to Tours and began a professional career as a singer in American folk, country and bluegrass bands, as well as in a circus. In 2016, he was introduced to opera singing and entered Jean-François Rouchon’s class at the Conservatoire de Cergy-Pontoise.
He then decided to go professional in the world of opera. He devotes his time to gaining experience in this practice, through opera workshops, summer academies and masterclasses. In January 2020, he won 1st prize in the Voix des Outre-mer competition and joined Leontina Vaduva’s class at the Haute école de musique de Lausanne in September 2020.
At the Opéra de Lausanne: L’Auberge du Cheval-Blanc (2021), Werther (2022), L’elisir d’amore (2022), My Fair Lady (2022), Le Domino noir (2023) and Orphée aux Enfers (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.
Trained at the Conservatoire d’Aix-en-Provence, where he began his career under the baton of Darius Milhaud, Patrick Marie Aubert obtained a first prize in orchestral conducting in the class of Pierre Villette. He also won a prize for singing, a prize for lyric art and a prize for chamber music. He was a professor of the choral singing class and then director of the Léo Delibes Conservatory in Clichy, artistic director of the Vox Hominis vocal ensemble, musical director of the Divertimento orchestra and conductor of the choirs of the Nantes Opera. Conductor of the French Army Choir until 2000, he has participated for nearly twenty years in major national events and has conducted numerous concerts in France and abroad. He was the conductor of the Chœur du Capitole de Toulouse from 2003 to 2009, then director of the Chœur de l’Opéra national de Paris from 2009 to 2014. He has collaborated with conductors Maurizio Arena, Serge Baudo, Roberto Benzi, Marc Minkowski, Evelino Pidò, Michel Plasson, Georges Prêtre, Yutaka Sado, Jeffrey Tate… and directors Robert Carsen, Georges Lavaudant, Jorge Lavelli, Laurent Pelly, Pier Luigi Pizzi, Olivier Py, Robert Wilson…
At the Opéra de Lausanne: Orpheus and Eurydice (2019), The Tales of Hoffmann (2019), Little Red Riding Hood (2021), Candide (2022), Le domino noir (2023), Orphée aux Enfers (2023)
Laurent Peduzzi is a visual artist and set designer. He has created stage designs for theater and opera for shows by Jérôme Deschamps, Jean-Luc Lagarce, Alain Milianti, Christian Hecq, Valérie Lesort, Jean-Louis Benoit, Jacques Nichet, Michel Didym, Isabelle Janier, François Rancillac, John Berry, Vincent Colin, Elisabeth Chailloux, Adel Hakim, Pierre Romans, Jean-Michel Rabeux, Carlos Wittig, Pierre Barrat, Claude Degliame, Jacques Rosner, Yves Beaunesne, Michel Deutsh, Dominique Pitoiset, Antoine Bourseiller, Gildas Bourdet, Jean-Louis Benoit, Stephen Taylor. … and, in cinema, for Jacques Rouffio. He has been Catherine Diverrès’ artistic collaborator and set designer since 1999.
At the Opéra de Lausanne: Le nozze di Figaro (1995) and Les Mousquetaires au couvent (2013).
Visual artist and costume designer since 2008, working between Italy and France, Vanessa Sannino trained in Milan, first at the Academy of Fine Arts of Brera, then at the Academy Teatro alla Scala as a set designer and costume designer. There she won the internal student competition, designed the set and costumes for her first opera, Carmen, at the age of 26, and met artists such as Richard Peduzzi and Emma Dante. In France, she has been working for several years with Jérôme Deschamps, both in theater and opera, notably for Feydeau’s Un fil à la patte (Comédie-Française), Molière’s Le Bourgeois gentilhomme (Montpellier, Printemps des Comédiens), Louis Varney’s Les Mousquetaires au couvent, Henri Rabaud’s Le Savetier du Caire (Opéra Comique), and Weill and Brecht’s Aufstieg und Fall der Stadt Mahagonny (Wiener Staatsoper). For Juliette Deschamps, she created the costumes for the operas Il novello Giasone by Cavalli and Stradella, Salustia by Pergolesi, Armida by Traetta, Bluebeard’s Castle by Bartók and Chérubin by Massenet, as well as those for the musical A Queen of Heart with Rosemary Standley (Théâtre de la Bastille). She designed the set and costumes for Heureux les heureux by Yasmina Reza with Carole Bouquet. Vanessa Sannino is a loyal collaborator of the duo Valérie Lesort and Christian Hecq, designing the costumes for their operas Le Domino noir and Ercole amante (Opéra Comique), Le Bourgeois gentilhomme by Molière (Comédie-Française), Gulliver’s Journey by Jonathan Swift (Athénée Théâtre Louis-Jouvet – for which she won a Molière in 2022 in the category of visual and sound creation), La Périchole and La Petite Boutique des horreurs. Alongside Rémi Boissy, she designed the sets and costumes for Wild, RLM and 1/7. For the cinema, she designed the costumes for three short films and the feature films AFMV, Le sorelle Macaluso and Misericordia.
At the Opéra de Lausanne: Les Mousquetaires au couvent (2013).
Born on January 1, 1963, Christian Pinaud trained at the Rue Blanche in Paris between 1983 and 1985. He founded the Compagnie In Situ with Jean Varela, which he co-directs with the latter and Dag Jeanneret. His professional career has allowed him to work for the opera houses of Paris, San Francisco, Geneva, Liège, Toyama, Chengdu, Bilbao, Nancy, Strasbourg, Turin, Tokyo, Palermo, Parma, Bologna, Tel-Aviv, Montpellier, Nice, Rennes, Florence and Venice, collaborating with Alain Françon, Michel Didym, Richard Brunel, Philippe Berling, Moshe Leiser, Guillaume Lévêque, Charles Tordjman, Vincent Garanger, Gérard Watkins, Patrick Haggiag, Richard Mitou, Alain Marcel, Christophe Gayral, Paco Decina and Zohar Wexler. With Valérie Lesort and Christian Hecq, he participated in the creation of Le Domino noir, Ercole amante and La Périchole. Among his latest creations, we can mention Idemeneo in Metz with Bernard Lévy, Le Cercle de craie and Kaiser von Atlantis in Lyon with Richard Brunel, Il trovatore in Venice and La bohème in Florence with Lorenzo Mariani, as well as Maudit les innocents at the Opéra de Paris with Stephen Taylor. In May 2023, he will create John a-dreams by Serge Valletti with Sylvie Orcier and Patrick Pineau as actor at the Nuits de Fourvière.
Glysleïn Lefever trained as a choreographer at the Centre international de danse Rosella Hightower in Cannes. Her meeting with choreographer Blanca Li in 1994 was decisive: first as a performer, then as a collaborator, she has since assisted her in directing and choreographing (Robot, Le Jardin des Délices, Elektro Kif, Macadam Macadam, Solstice, Dido et Enée). At the same time, she took acting classes and was accepted into the Cours Florent in Paris, where she met Eric Ruf of the Comédie-Française; since then, she has participated in all his creations as an actor or choreographer: Peer Gynt, Romeo and Juliet, Le Pré aux clercs, La Vie de Galilée, Pelléas et Mélisande, La bohème… She collaborates as a choreographer with many directors: Jérôme Deschamps, Katharina Thalbach, Anne Kessler, Olivier Desbordes, James Gray, Thomas Ostermeier, Christophe Perton, David Lescot. In June 2021, she directed Musichall by Jean-Luc Lagarce at the Studio Théâtre of the Comédie-Française, which will be revived from December 2021 to January 2022.
At the Opéra de Lausanne: Les Mousquetaires au couvent (2013) and Le nozze di Figaro (2021).
Rémy Kouadio began his dance training in 2006 as a trainee at Régine Chopinot’s Ballet Atlantique, before joining L’Espace Pléiade de la Danse Jazz de Vichy in 2007. He begins his career as a dancer in 2008 at the Teatro Nuovo in Turin, where he participates in several shows and tours in Italy. Back in France, he multiplies contracts as a dancer in several companies and cabarets. He created his own company ALKoff’Jazz in 2017, with which he signed the choreographies of Derrière la fenêtre, which was performed at the Théâtre du Gymnase and the Théâtre de l’Odéon in Marseille. He participated in numerous opera and operetta productions in Saint-Etienne, Marseille, Nancy and Lausanne, as a dancer and then as assistant choreographer and director. In 2022, he was assistant for Un ballo in maschera at the Baluarte Foundation in Pamplona and L’auberge du Cheval Blanc at the Opéra de Marseille. Lately, he signed the choreographies of Trois de la marine for the Théâtre de l’Odéon in Marseille.