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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.
Valérie Lesort is a director, visual artist, author and actor. She has worked in theatre, film and television with Philippe Genty, Thomas Ostermeier, Jean-Paul Rappeneau, Luc Besson, Les Guignols de l’info and mentalist Rémi Larrousse. For the World Expo in Lisbon in 1998, she designed 120 puppet sea monsters. More recently, she created a horrific cabaret for the Opéra Comique, for which she was responsible for the staging and special effects, and in which she played the master of ceremonies. In 2019, she directed and adapted Gluck’s Orpheus and Eurydice for all, under the title “Petite balade aux enfers”.
In 2008, Christian Hecq left the Philippe Genty company to join the Comédie Française of which he became a member in 2013. After receiving the Molière for best male revelation in 2000, he was awarded the Molière for best actor in 2011 for his role in Feydeau’s Un Fil à la patte. In the film industry, he has worked under the direction of Jaco Van Dormael, Albert Dupontel, Chantal Akerman, Cécile Telerman, Danièle Thompson, James Huth and Eric Besnard.
Christian Hecq is a Chevalier de l’Ordre des Arts et Lettres and was included in the Petit Larousse in 2017.
Equally at ease in both the great French and Italian repertoires, Philippe Talbot has distinguished himself in the title roles of Hippolyte et Aricie, Platée, Béatrice et Bénédict, Nadir (Les Pêcheurs de perles), Gérald (Lakmé), Wilhelm Meister (Mignon), Il Duca di Mantova (Rigoletto), Ferran- do (Così fan tutte), Don Ottavio (Don Giovanni), Ramiro (La Cenerentola), Amenhotep (Moses and Pharoah), Lindoro (L’Italiana in Algieri), the title role in Count Ory and Piquillo (La Périchole). He performed at the Opéra Comique, the Deutsche Oper in Berlin, the Semperoper in Dresden, Theater an der Wien, Berlin Philharmonic, Amsterdam Concertgebouw, Opéra Royal de Wallonie-Liège and the opera houses of Paris, Marseille, Lyon and Bordeaux. He has sung under the direction of Alberto Zedda, Roberto Abbado, Jean-Christophe Spinosi, Emmanuelle Haïm, Kent Nagano, Carlo Rizzi, Marc Minkowski, Paolo Arrivabeni, Christophe Rousset and Frédéric Chaslin, in productions by Emilio Sagi, Moshe Leiser, Patrice Caurier, Jérôme Deschamps, Macha Makeïeff, Damiano Michieletto, Denis Podalydès, Vincent Boussard and Laurent Pelly.
At the Opéra de Lausanne, he has performed in: La vie parisienne (2016) and Orphée et Eurydice (2019).
Marie-Eve Munger obtained a Master’s degree from the Schulich School of Music in Montreal and won the first prize in opera at the International Singing Competition in Marmande. After her debut as Ophelia in Hamlet at the Metz Opera and then at the Minnesota Opera, she was Juliet in Romeo and Juliet at the Intermountain Opera, Nannetta in Falstaff at Metz, Ilia in Idomeneo at the Florentine Opera, the fourth servant in Elektra at the Aix-en-Provence Festival, at La Scala and at the BBC Proms in London, and the title role in Lakmé at the Saint-Etienne Opera, Princess Elsbeth in Fantasio at the Opéra Comique, the Fairy in Pinocchio in Aix-en-Provence, La Monnaie and Dijon. Recently, she was the Fire in L’enfant et les sortilèges with the Chicago Symphony and Lakmé with the Bayerischer Rundfunk Orchestra. Future projects: Rigoletto at the Minnesota Opera, Romeo and Juliet in Montreal, La bohème at the Opéra Comique, Cendrillon at the Chicago Lyric Opera.
At the Opéra de Lausanne, she has performed in: My fair Lady (2015).
Diplômée d’un Master de Sociologie de l’Université Sorbonne Nouvelle et d’un premier Master en Interprétation musicale chez Hiroko Kawamichi à l’HEMU, Julia Deit-Ferrand se forme actuellement comme soliste auprès de Jeanne-Michèle Charbonnet. En 2019-2020, elle incarne Berta dans Il Barbiere di Siviglia de Rossini au Nouvel Opéra Fribourg et le rôle-titre de La Cenerentola de Rossini au Grand Théâtre de Genève. Auparavant, elle interprète Cherubino dans Le Nozze di Figaro, le Nain Chouquette et un Animal dans Blanche-Neige de Lange, Chérubin dans la création Sholololo ! aux festivals Belluard Bollwerk International à Fribourg et Tête à Tête à Londres. Dans le registre de la comédie musicale, elle est Sally Bowles dans Cabaret de Kander, Fantine dans Les Misérables de Schönberg et Hattie dans Kiss me Kate de Porter. En concert, elle chante son récital Technicolor Dreams pour le Nouvel Opéra Fribourg, les Kleine geistliche Konzerte de Schütz au Festival International d’Orgue de Fribourg, les Lieder eines Farenden Gesellen de Mahler et les Madrigaux de Monteverdi. Comme soliste, elle se produit avec l’Orchestre de Chambre fribourgeois et le Collegium Musicum Lausanne. En 2018, elle participe à la finale suisse du concours Voix Nouvelles, et en 2019, elle reçoit le prix Fritz Bach, ainsi que le 3e prix du Concours International Léopold Bellan à Paris.
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) and L’elisir d’amore (2022).
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.
rained 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), the exceptional concert of the Opera de Lausanne Choir (2020) and Little Red Riding Hood (2021)
Glyslein Lefever trained as a choreographer at the Centre International de danse Rosella Hightower in Cannes. Her meeting with Blanca Li in 1994 was decisive: first as a performer and then as a collaborator, she has since assisted her in directing and choreographing (Robot, Le Jardin des Délices, Elektro Kif, Macadam Macadam, Solstice…). At the same time, she took theater classes and was accepted into the Cours Florent in Paris, where she met Eric Ruf; since then, she has participated in all of his creations as an actress or choreographer: Peer Gynt, Romeo and Juliet, Le Pré aux Clercs, La vie de Galiléé… She collaborates as a choreographer with many directors: Jérôme Deschamps, Katharina Thalbach, Anne Kessler, Olivier Desbordes, Valerie Lesort and Christian Hecq, Thomas Ostermeiller, in the most important theaters and opera houses. In June 2021, she will direct Music-hall by Jean Luc Lagarce at the Studio Theatre of the Comedie Francaise, which will be performed from December to January 21-22.