When Mozart proposed to librettist Da Ponte in 1786 that they adapt Beaumarchais ‘The Marriage of Figaro, the piece had already been the subject of much controversy in France and in Austria. The libretto was created in secret and completed in just six weeks, and, thanks to the influence of Da Ponte, it received the emperor’s endorsement despite Beaumarchais’ satirical attacks on the feudal society of the time.
“At the end of the opera, I thought that the spectators would not stop applauding and calling for Mozart. All the numbers were encored, which made the performance last almost as long as two operas. Never was there more complete triumph than of Mozart and his Nozze di Figaro.” The same can be said to this day.”
First performance at the Burgtheater in Vienna, May 1, 1786
Published by Bärenreiter-Verlag, Kassel
Frank Beermann has distinguished himself on the international scene both for his performances in concert and for his numerous recordings devoted to the repertoire, to contemporary works or to rediscoveries. He has received numerous awards, including the “Echo Klassik” in 2009 and 2015. Recent engagements include his debuts with the Athens State Orchestra, the Philharmonia Orchestra London, the Aalto Theater Essen, the Capitol Theater and the Staatstheater Stuttgart. He completed Wagner’s famous Tetralogy as part of the Der Ring in Minden in 2018 with Götterdämmerung. This ambitious project, launched in 2015 under his artistic direction, was a phenomenal success and ignited the international press. At the Lausanne Opera, he will perform in The Merry Wives of Windsor (2014), La Bohème (2017), Die Fledermaus (2018) and Ariadne in Naxos (2019).
You could describe the American filmmaker James Gray in the same way you’d describe one of films: layered, complex, thoughtful, desperate and passionate about the human condition. Identity and lineage are at the heart of his work, which is often tinged with melancholy. We Own the Night (2007), Two Lovers (2008), and The Immigrant (2013) are among some of his greatest films.
Gray’s works cross genres and his films have been recognised both at the Cannes Film Festival and the Venice International Film Festival. His influences include Coppola and the American cinema of the 1960s and 70s, as well as post-war European cinema such as Fellini and Visconti, and the New Wave. He is also inspired by 19th century Russian and English literature: Tolstoy, Dostoyevsky, and Shakespeare. The Marriage of Figaro is the first lyrical work he has staged.
Born in Moldova, Valentina Nafornita is one of the most beloved sopranos of her generation. Shortly after graduating from the National University of Music of Bucharest in Romania, Nafornita won the BBC Cardiff Singer of the World competition and began her international career. As a member of the young ensemble of the Vienna State Opera, she was able to develop an extensive repertoire, including Musetta of La Bohème, Susanna of The Marriage of Figaro, Pamina of The Magic Flute, Norina of Don Pasquale, Zerlina of Don Giovanni, Adina of L’Elisir d’Amore, Najade of Ariadne in Naxos, Clorinda of La Cenerentola, and even Oscar of Un Ballo in Maschera. In 2020-21, she will perform the leading role of Micaëla in Carmen at the Opéra National de Paris. Nafornita regularly works with prestigious conductors such as Gustavo Dudamel, Ádám Fischer, Louis Langrée, Jesús López-Cobos, Franz Welser-Möst, and Simone Young. She played Fiordiligi (Così Fan Tutte) in 2019 and Adina (L’Elisir d’Amore) in 2022 at the Opéra de Lausanne.
Phillip Addis’s 2020-21 season kicked off with Laura Kaminsky’s As One, where he sang the role of Hannah Before in a production broadcast live with the Orchestre classique de Montréal. In 2021, he will sing in a new production of Pelléas and Mélisande by Renaud Doucet and André Barbe, that was initially scheduled to be performed in 2020 in Parma, Modena, and Piacenza. He will also sing the count in The Marriage of Figaro at the Royal Opera of Versailles in the autumn of 2021.
One of the most promising and sought-after sopranos of her generation, Arianna Vendittelli has been guided by such venerated conductors as Riccardo Muti and Stefano Montanari, performing at prestigious festivals and venues including Salzburg Festspiele and Theater an der Wien.
Recent and future engagements include Angelica in Il Palazzo incantato by Luigi Rossi under L. G. Alarcón at Opéra de Dijon, Susanna (Mozart, Le Nozze di Figaro) and Armida (Handel, Rinaldo) in an A. Marcon/R. Carsen production both at Opéra de Lausanne, Minerva (Monteverdi, Il ritorno d’Ulisse) in an O. Dantone/R. Carsen production at Florence Opera and the title role in Pasquini’s Idalma under A. De Marchi in Innsbruck.
Canadian bass-baritone Robert Gleadow has continued to make his mark in opera and on concert stages around the world since graduating from the Jette Parker Young Artist Program of the Royal Opera House Covent Garden and the Canadian Opera Company Ensemble Studio. Gleadow’s performances at the Houston Grand Opera as Talbot in Donizetti’s Maria Stuarda alongside Joyce DiDonato and under the direction of Patrick Summers have been characterised as “never lacking in conviction or genuine interest.” Most of his engagements are dedicated to Mozart, a repertoire for which he is widely acclaimed. His past performances at the Auckland Opera, the Paris Opera and the Amsterdam Gebouw Concert, the Opéra de Lausanne, and the Bremen Music Festival are among his best. Critics readily recognise in him a full physical commitment to his roles and a magnetic theatricality, especially as he demonstrates a powerful, expressive and fluent vocality.
Spotted at the age of 20 by William Christie, Lea Desandre joined the Jardin des Voix in 2015. She received the Revelation Opera Singer award at the Victoires de la Musique Classique in 2017, and has since been cast in several important roles, such as Urbain in Les Huguenots at the Grand Théâtre de Genève, Rosina in The Barber of Seville, and Despina in Così Fan Tutte at the Salzburg Festival.
As a devotee of chamber music, Desandre performs regularly with Thomas Dunford and his Jupiter Ensemble. Her discography includes Barricades with Jean Rondeau (Erato, 2020), Vivaldi with the Jupiter Ensemble (Alpha, 2019), Handel Italian Cantatas with Sabine Devieilhe and Emmanuelle Haïm/Le Concert d’Astrée (Erato, 2018 ), Berenice che fai (Aparté) with Opera Fuoco, and even Cities with Thibault Cauvin (Sony, 2018).
Winner of several international competitions, Lucia Cirillo has performed on the greatest opera stages, including La Fenice, La Scala, Opéra National de Paris, Teatro San Carlo, Staatsoper Berlin, Teatro Real, as well as in Glyndebourne and Salzburg. She’s played the roles of Irene (Tamerlano), Ramiro (La finta giardiniera), Alcina (Orlando furioso), Elmiro (Dorilla in Tempe) and Despina (Così fan tutte). She’s worked under the baton of Fabio Biondi, Ottavio Dantone, Diego Fasolis and with directors such as Robert Carsen, Pierluigi Pizzi and Davide Livermore. Lucia Cirillo has recorded for the Decca, Deutsche Gramophon, Passacaille and Vivaldi Edition-Naïve labels.
At the Opéra de Lausanne: Donna Elvira in Don Giovanni (2017).
Rubén Amoretti has a wide and versatile bass voice with a brilliant and beautiful timbre. The combination of his commanding vocalism and musicianship, jointly to his elegant stage presence and theatrical abilities has enabled him to portray a broad variety of characters, such as Don Giovanni, Filippo II and Mephistopheles.
This bass acquired and honed his musical skills in Switzerland and the United States and he adopted his refined technique thanks to his lessons with Professors Dennis Hall, Carlos Montané and Nicolai Gedda.
He has won awards in various international singing competitions at Spain (Bilbao, Logroño), and also at Bloomington and Palermo.
His intense career has taken him to the scenarios of New Yok, Berne, Moscu, Zurich, Stuttgart, Vienna, Geneva, Palm Beach, Paris, Prague, México, Rome, Madrid, Barcelona and Seville, among others.
Mr. Amoretti has worked with every major conductor including Nikolaus Harnoncourt, Anton Guadagno, Pinchas Steinberg, Bruno Bartoletti, Marcello Viotti, Nello Santi, Zubin Mehta, Alberto Zedda, Rafael Frühbeck de Burgos, Ramón Tebar, Karel Mark Chichon, Víctor Pablo Pérez, Miquel Ortega, Óliver Díaz or Giuseppe Sabbatini.
His repertoire includes the most important roles for bass, such as Mefistofeles (Faust), Don Giovanni and Leporello (Don Giovanni), Mustafá (L Ítaliana in Algeri), Filippo II (Don Carlo), Zaccaria (Nabucco), Dulcamara (l ́Elisir d ́amore), Raimondo (Lucia di Lammermoor), Ferrando (Il Trovatore), Sparafucile (Rigoletto), Mephisto (La Damnation de Faust), Colline (La Boheme), Scarpia (Tosca), Capulet (Romeo et Juliette), Balthazar (La Favorite), etc.
It must be highlighted his interest for the spanish lyric repertoire, where he has performed a lot of zarzuelas and spanish operas. He is a regular guest singer at the Teatro de la Zarzuela, where he has sung El Gato Montés (Padre Antón), Marina (Pascual), Black el Payaso (White), Juan José (Cano) or La Villana (David y Rey).
Rubén Amoretti has a broad concert repertoire that includes the Beethoven ́s 9th Symphony, La Pettite Messe solennelle by Rossini, la Messa di Gloria by Puccini, the Verdi ́s Requiem, the Mozart ́s Requiem or La damnation de Faust by Berlioz, among many others.
In the last seasons it must be highlighted his Escamillo in Napoli with Zubin Mehta, his presentation at the MET in New York with L ́Italiana in Algeri (Mustafá) or his participation in the reopening of Suntory Hall in Tokyo in Septermber, 2017, with La Petite Messe Solennelle by Rossini.
In the season 20/21 Rubén Amoretti will appear at La Tempranica and Falla’s La Vida Breve (Teatro de la Zarzuela in Madrid and Teatro Campoamor in Oviedo), and Rigoletto at the Festival El Escorial and Quincena Musical in San Sebastian.
Born in Cordoba, Pablo Garcia Lopez trained in Salzburg, Valencia, Berlin and Madrid with John Norris, Fran Parrado and tenor Joel Prieto. Since his debut in Die Zauberflöte at the Villamarta Theatre in Jerez, he has been regularly invited to sing in numerous opera houses: La Vera Costanza in Lièges, Turandot, La bohème and I due Foscari in Valencia, Donã Francisquita in Toulouse, Turandot in Tuscany, Dead man walking in Madrid, Don Giovanni, Le nozze di Figaro and Rigoletto in Oviedo, Così fan tutte in Málaga and Tosca, Les contes d’Hoffmann and Die Entführung aus dem Serail in Cordóba. In 2017, he is invited to Israel by Zubin Mehta to sing Turandot with the Israel Philharmonic Orchestra alongside Gregory Kunde and soprano Anna Pirozzi. His discography includes Turandot para Decca conducted by Zubin Mehta and Puccini’s La bohème under the baton of Riccardo Chailly. He recently recorded Lorenzo Palomo’s Sinfonia Córdoba for Naxos, with Jesús López-Cobos.
At the Opéra de Lausanne: La Traviata (2015).
For the first time at the Opéra de Lausanne.
François Piolino studied at the Conservatoire de Lausanne, the Guildhall School of Music & Drama in London and the Conservatoire de Paris. He began his career with Les Arts Florissants. He has been a regular performer at Covent Garden in London, the Opéra de Paris, the Théâtre des Champs-Élysées, at La Monnaie in Brussels, La Scala in Milan, the Opernhaus Zürich, Dutch National Opera in Amsterdam and the Glyndebourne Festival, among others.
In particular he sang Valzacchi in Der Rosenkavalier, Monsieur Taupe in Capriccio, Hérisson de Porc-Épic and Tapioca in L’Étoile, Remendado in Carmen, La théière, L’arithmétique and La rainette inL’enfant et les sortilèges, Torquemada in L’heure espagnole, Frick in La vie parisienne, L’aumônier in Dialogues des Carmélites, Schmidt in Werther, the servants in Les contes d’Hoffmann, Guillot in Manon, Monostatos in Die Zauberflöte, Pedrillo in Die Entführung aus dem Serail, Monsieur Triquet in Eugene Onegin, Goro in Madama Butterfly, and Pang in Turandot.
After a bachelor’s degree with Brigitte Balleys at the HEMU, Sophie Negoïta completed her master’s degree with Barbara Bonney at the Mozarteum in Salzburg. She made her debut as Pamina (Zauberflöte) and Mrs.Coyle (Owen Wingrave, Britten). Future projects will lead her to perform frequently abroad.
As a student in Éric Tappy’s class at the Geneva Conservatory of Music, Alexandre Diakoff was awarded first-prize for singing. He often plays character roles, which include Amida in L’Ormindo, Simone in La finta semplice, Don Magnifico in La Cenerentola, Bartolo in Il barbiere di Siviglia, Bruschino padre in Il signor Bruschino, Slook in La cambiale di matrimonio, Benoît in La bohème, Doctor Grenvil in La Traviata, the doctor in Chostakovitch’s Le Nez, Amantio di Nicolao and Maestro Spinelloccio in Gianni Schicchi. As an oratorio singer, he has performed the greatest works of the repertoire.
His performances at the Opéra de Lausanne include: the ogre in Le chat botté (2009), the title role in Monsieur Choufleuri (2012), the King, the Drunkard, the Lamplighter and the Signalman in Le Petit Prince (2014), Don Magnifico in La Cenerentola (2015), Doolittle in My fair Lady (2015), Hortensius in La fille du régiment (2016), Horatio in Hamlet (2017), l’homme-singe and le marabout in Les Zoocrates (2017), Pietro in Simon Boccanegra (2018).
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.
Pascal Mayer draws from his sharp and eclectic musical intuition combining strict formality and expressive lyrical qualities, to explore masterpieces, from Bach’s Messe en si to Britten’s War Requiem.
Trained at the Fribourg and Zurich Conservatories, he has sung at the EVL, in the RSR Choir and the Stuttgart Kammerchor. He directed the Choeur Faller in Lausanne for twenty years and the Basler Kammerchor for five years at the request of Paul Sacher. Today, he is the director of the Choeur Pro Arte in Lausanne, the Chamber Choir of the University of Fribourg and the Collegium Musicum of Lucern where he also teaches choral direction.
He has regular partnerships in Lausanne with the OCL, the Sinonietta and the Ensemble Baroque du Léman. His brainchild, the Uniphonies-Fribourg Festival launched in 2011, has contributed to promoting his city.
He recently took part in the Barbiere di Siviglia in Avenches, Lobgesang by Mendelssohn, Dixit Dominus by Handel, and Gloria by Poulenc.
At the Opéra de Lausanne: Die Zauberflöte (2015), La Cenerentola (2015), Don Giovanni (2017), La clemenza di Tito (2018).
SANTO LOQUASTO (Set and Costume Design) made his LA Opera debut designing both sets and costumes for Gianni Schicchi, most recently performed at La Scala. His work for the Metropolitan Opera includes Luisa Miller, Faust, Salome and A View From the Bridge. His Broadway credits include Hello, Dolly! (Tony Award for costume design); Cafe Crown (Tony for set design); The Cherry Orchard (Tony for costume design); Grand Hotel (Tony for costume design); and has received an additional 19 Tony Award nominations. He has collaborated with Woody Allen on over 30 films, including Radio Days (Academy Award nomination for production design), Bullets Over Broadway (Academy Award nomination for production design) and Zelig (Academy Award nomination for costume design). He has worked with most major international dance companies and has collaborated with Mark Morris, Jerome Robbins, Agnes de Mille, James Kudelka, Mikhail Baryshnikov, Twyla Tharp and Paul Taylor. He was inducted into the Theater Hall of Fame in 2004, and received the Governor’s Award for the Arts in 2006, and the Tobin Award for Lifetime Achievement in 2007. He is a graduate of King’s College and Yale Drama School.
After studying classical literature and history of art, Christian Lacroix turned to freelance work in fashion and costume, in Paris, Italy and Japan. He was artistic director of the Jean Patou company from 1982 to 1987, when he created his own fashion business. At the same time, since the 1980s, he had designed costumes for numerous theatre, opera and ballet productions: at Opéra Garnier, La Monnaie, La Comédie-Française, at the Théâtre des Champs-Elysées, the Metropolitan, the Festival d’Aix, at the Opéra Comique, and for the operas of Vienna, Berlin, Hamburg and Cologne. Since 2000, he has developed his work as a designer and scenographer for his own company (Centre National du Costume de Scène in Moulins, Musée de la Mode et Musée des Arts Décoratifs, Musée Réattu and Rencontres d’Arles). He has also worked with several institutions (Musée du Quai Branly, Walraff Museum in Cologne, Musée des Beaux-Arts in Rouen, Musée des Arts Décoratifs in Bordeaux, Musée Cognacq-Jay in Paris, Musée du Louvre Lens and Musées d’Avignon), and this work has become more prominent since he stopped working as a fashion designer.
Bertrand Couderc creates the lighting for numerous shows, both in the theater and in the opera. In this field, he collaborates with the greatest stages in the world, such as the Berlin Staastoper, the Metropolitan Opera of New York, the Bolshoi of Moscow, the Tokyo Bunka Kaikan and the Vienna Opera. A regular guest at the Festival d’Aix-en-Provence, he has performed in Prokofiev’s The Love of Three Oranges, Purcell’s Dido and Aeneas, and Patrice Chéreau’s productions in Aix. In 2005, Chéreau asked him to light Così fan tutte at the Aix Festival and at the Opéra national de Paris. This was followed by Wagner’s Tristan und Isolde at La Scala in Milan under the musical direction of Daniel Barenboim, as well as the play La Nuit juste avant les forêts by Bernard-Marie Koltès. Bertrand Couderc lit the last two shows of Luc Bondy, Charlotte Salomon at the Salzburg Festival in 2014 and Ivanov at the Odéon Theatre in 2015. Since 2015, he has been associated with Bartabas and the Académie équestre de Versailles for the choreographies of Davide penitente, Requiem at the Felsenreitschule in Salzburg, and recently for Le Sacre du Printemps at the Seine 22 Musicale. In opera and theater, his work has recently been seen in Manon and La Cenerentola at the Opéra national de Paris, Pelléas et Mélisande and Les noces de Figaro at the Théâtre des Champs-Élysées, Anna Bolena at La Scala, Vespro della Beata Vergine at Versailles, La Femme sans ombre at the Vienna Opera, La Vie de Galilée and Angels in America at the Comédie- Française
Glysleïn 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.
Born in Marseille, Gilles Rico studied music and philosophy before taking a doctorate in medieval philosophy at Oxford University. In parallel to his academic career, he turned to opera directing, first working as an assistant for various European opera houses and festivals. He has collaborated with directors such as Patrice Caurier and Moshe Leiser, Joël Pommerat, Tom Cairns, Dmitri Tcherniakov, Jérôme Deschamps, Andreas Homoki, David McVicar, Damiano Michieletto, Robert Carsen, James Gray and Katie Mitchell. In 2016, Gilles Rico directed the world premiere of Maria Republica by François Paris at Angers-Nantes Opéra, which received the Prix de la Critique 2016. He also directed Un dîner avec Jacques, a show based on Offenbach produced by the Opéra-Comique and the Musée d’Orsay, which was then taken on tour in France. He directed the participatory opera Tistou les pouces verts by Henri Sauguet at the Opéra de Rouen, then staged Mozart’s The Abduction from the Seraglio at the Philharmonie de Paris. Recently, he directed Pauline Viardot’s Cendrillon at the Opéra de Lausanne and the participatory opera Les petites Noces after Mozart at the Rouen Opera, at the Théâtre des Champs Elysées and on tour in France. As a librettist, Gilles Rico wrote the libretto of La Princesse Légère by Violetta Cruz, a commission from the Opéra Comique and the Opéra de Lille, and the libretto of the chamber opera Les rois mages by Fabian Panisello, which he also directed in Madrid and Nice. Among his projects are the revival of Les Rois mages at the Dubai Expo, the staging of Benatzsky’s L’Auberge du Cheval Blanc at the Opéra de Lausanne, the world premiere of Zad Moultaka’s Hémon at the Opéra du Rhin in Strasbourg and the staging of Don Giovanni at the Mozartwoche in Salzburg.