The famous story of the little girl with the crimson hood, her grandmother and wolf, which entered popular culture, is no longer told. While some of Perrault’s tales have inspired a good number of composers (Bluebeard for Bartók, Sleeping Beauty for Tchaikovsky or Cinderella for Isouard or Viardot), Little Red Riding Hood seems to have had only ephemeral success on lyrical stages. There are only two adaptations, which have since fallen into oblivion: one by Gaston Serpette (1885) and the other by Célestin Fontana (1943). It’s the reason why the Opéra de Lausanne has decided to bring this tale back to life in music thanks to the talents of two young Swiss artists: composer Guy-François Leuenberger and librettist Stefania Pinnelli.
There are several interpretations of the tale, revisited by the Grimm brothers, Tex Avery or watered down for film industry, but in a world where violence and aggression are omnipresent themes, this opera offers an optimistic and fresh version of it, which will delight young and old alike.
Opera for children
Libretto by Stefania Pinnelli
Edition Opéra de Lausanne
Pianist and composer was born in 1983 and trained at the HEMU Lausanne, Guy-François Leuenberger is regularly solicited by the Opéra de Lausanne and the École-Atelier Rudra Béjart.
He works with numerous opera singers and choral groups, and collaborates with various orchestras in Switzerland and France.
Since 2018, he has directed the Cossonay School of Music and teaches music theory there. He holds the position of accompanist for the musical comedy class at the Lausanne Conservatory.
Among his latest creations are Le Ruisseau Noir (2015) and Avec toi (five melodies for mezzo-soprano and orchestra, 2018). Guy-François Leuenberger is the winner of the Leenaards Fellowship 2011.
Born in 1976 in Fribourg, Stefania Pinnelli obtained a degree in Art Drama at the Université du Québec in Montréal in 2001. She then became involved in the creation, production and management of theatre and film projects as a director, scriptwriter and actress. In 2011, she created, with Denis Correvon, The Divine Company, in which she pursues and develops a creative work, based on a cinematographic vision of theatre. These experiences have enabled her to direct and participate in ambitious projects (show for the Fête du Blé et du Pain in Echallens in August 2018) and to develop a deep and central human sense in her work. Since 2006 she has collaborated in all of Yvette Théraulaz’s tours de chant as a playwright, then director, on the show Histoires d’ILS created at the Théâtre de Carouge and the Théâtre Benno Besson in January 2020. Since July 1, 2016, she has directed the Alambic Theatre and the Martigny Theatre School.
Born in France, Paola Landolt trained in Lausanne, first in visual arts and singing, then in dramatic art at the École supérieure de théâtre les Teintureries. She has since performed in Switzerland and France in various theatrical and musical genres. She also writes for the stage. Her first show, entitled Il est temps d’être drunk about the life of the surrealist poet Robert Desnos, premiered in 2004 at the Théâtre Vidy-Lausanne. Since 2006, she has been writing and working regularly with her Lausanne colleagues from the company Qu’est-ce t’as toi?. Paola Landolt also accompanies and coaches many singers and groups, in order to refine, energize and/or highlight artists and projects.
After studying at the Aix-en-Provence Conservatoire where he made his debut conducted by Darius Milhaud, Patrick Marie Aubert won 1st prize for orchestra conducting in Pierre Villette’s class. He has also won prizes for singing, lyric art and chamber music. He was a teacher of choral singing then director at the Conservatoire Léo Delibes in Clichy, artistic director of the vocal ensemble Vox Hominis, musical director of the Orchestre Divertimento and choir master at the Opéra de Nantes. As choir master of the French army until 2000, he participated for almost twenty years in major national events and conducted numerous concerts in France and other countries around the world. He was choir master at the Théâtre du Capitole in Toulouse from 2003 to 2009, then director of the Opéra de Paris choir from 2009 to 2014. He has worked with conductors such as Maurizio Arena, Serge Baudo, Roberto Benzi, Marc Minkowski, Evelino Pidò, Michel Plasson, Georges Prêtre, Yutaka Sado and Jeffrey Tate, and theatre directors including Robert Carsen, Georges Lavaudant, Jorge Lavelli, Laurent Pelly, Pier Luigi Pizzi, Olivier Py and Robert Wilson. Patrick Marie Aubert is a Knight of the Legion of Honour, an Officer of the National Order of Merit and Commander of the Order of Arts and Letters.
At the Opéra de Lausanne: Orphée et Eurydice (2019).
After studying the piano at length, Anne Sophie Petit discovered singing at the Maîtrise de Sainte-Anne d’Auray in Brittany. At the same time as obtaining her Master’s degree in anglophone language and civilization, she obtained her Diploma in Music Studies (Singing) at the Paris regional conservatory before joining Stephan MacLeod’s class at Lausanne’s University of Music, where she is currently studying a Master’s degree course in solo performance. She has interpreted roles such as the Queen of the Night in Die Zauberflöte, Sister Constance in Dialogues of the Carmelites and Susanna in Le nozze di Figaro. She regularly performs with the group Gli Angeli Genève, singing the solo soprano part in Mass in C minor as well as some of Mozart’s concert arias. More recently, she sang non-religious cantatas by Rameau at the Utrecht Early Music Festival. At the Opéra de Lausanne: Musetta in La Bohème (2017), and La Fée in Cendrillon (2018).
Lydia Spyra began her musical education at the Conservatory of Winterthur where she enrolled in a preliminary study programme at the same time as obtaining a Bachelor’s degree in Law. After this, she dedicated herself extensively to music and studied with Prof. Frédéric Gindraux at the Hauté Ecole de Musique in Lausanne, where she completed a Master’s degree in classical singing (Master en interprétation).
During her studies, she interpreted different roles, for example Marcellina in Le nozze di Figaro. In the season 2019-2020, she was engaged as a soloist at the Opera of Lausanne in the „Atélier pour le Jeune Public“, a program for children. At the Opera of Lausanne, she sang the role of Irene la de Pinto in Doña Francisquita at the beginning of 2020.
Apart from opera, the young soprano is interested in the genre of lied and songs. In May 2018 she won the Concours Mahler which is a lied competition in Geneva.
After graduating with Masters in Music Writing and Musicology in Geneva, Benoît Capt completed his vocal training after receiving several scholarships (Leenaards, Migros, Mosetti and Marescotti), first with Marga Liskutin and Gilles Cachemaille in Geneva, then in Leipzig with Hans-Joachim Beyer and Phillip Moll and finally in Lausanne with Gary Magby. Winner of several international competitions (Lyon, Marmande, Toulouse, Dortmund, Graz, Weiden), he was awarded the Prix du Cercle des Amis de l’OSR in 2008. He performs regularly in concerts and recitals and founded the association Lied et Mélodie in Geneva.
At the Opéra de Lausanne: the title role in Telemann’s Pimpinone (2010), Papageno in Die Zauberflöte (2010 and 2015), Wagner in Faust (2016), and Schaunard in La bohème (2017).
Born in Lausanne, David Deppierraz was first trained at the EPFL in Architecture and then at the University of Lausanne in Cultural Management. For more than 20 years, he has been involved in the creation, production and management of theatre and film projects as a set designer, scriptwriter and director. During his career, he has worked for various directors, theatres, museums and festivals while pursuing his personal work as a writer and director. From 2007 to 2014, he co-directs the street arts festival Le Castrum in Yverdon-les-Bains and, from 2008 to 2010. He is the artistic co-director of the Photo Event produced by the magazine l’Illustré. In 2018, as author, scenographer and project manager, he created the show Solstices as part of the Wheat and Bread Festival in Echallens.
After her formation as a theatre costume designer, Amélie Reymond was hired at the Lausanne Opera as a seamstress and stylist from 2002 to 2009. She is involved in the costume production for various opera productions. Early in her career she was also entrusted with the complete production of the costumes for Les moutons bleus, in 2008, and for L’enfant et les sortilèges, in 2010. She opened her own studio in 2007, where she creates and directs costumes for various theatres, musicals, dances and exhibitions. She was appointed Assistant Manager of the Costumes Department at the Opéra de Lausanne in 2009, then Head of the Costumes Department in 2016. From 2012 to 2016, she was also directing the costumes for Avenches Opéra; she worked as costume assistant for Carmen, in 2014, and signed her first opera costume creation in 2015 for Il barbiere di Siviglia at the Opéra de Lausanne: she created the costumes for La Belle de Cadix (Route Lyrique 2016), Les Zoocrates (2017) and Les chevaliers de la Table ronde (Route Lyrique 2018).