New production Opéra de Lausanne
The deep-seated hatred between their families prevents Lucia Ashton and Edgardo Ravenswood to live their love openly. Taking advantage of Edgardo’s departure, Enrico’s people convince the young girl she has been betrayed by her lover. Lucia is forced into marrying Arturo by her brother: the brutality of the situation drives her to madness to the point that she murders her husband during the ceremony. Edgardo discovers Lucia is dead and, beside himself with grief, takes his own life.
Dramma tragico in two parts
Libretto by Salvatore Cammarano, based on The Bride of Lammermoor by Walter Scott
First performed in Teatro San Carlo, Naples, 26 September 1835
Éditions G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin
Version Jesús López Cobos
New production Opéra de Lausanne
The Dutch soprano has been leading a brilliant international career in opera and concert for several years now, inviting her to the main stages of the world – Scala in Milan, Festival d’Aix-en-Provence, Mostly Mozart Festival in New York, Salzburg Festival, Edinburgh Festival… Among her current engagements, we can mention: Madame Herz in Mozart’s Schauspieldirektor, Marguerite de Valois in Les Huguenots and projects around Elizabeth I of England and bel canto at La Monnaie in Brussels, a stage version of Bach’s St. John Passion at Châtelet, Mahler’s Fourth Symphony and Strauss Lieder with the Hague Residence Orchestra, Beethoven’s Ninth Symphony with the Munich Philharmonic, excerpts from Così fan tutte (Fiordiligi) in concert version at the Schlosstheater in Potsdam, as well as Handel’s Il delirio amoroso with the Spanish National Orchestra in Madrid.
At the Opéra de Lausanne: Lucia de Lammermoor (2017) and Gli amori di Teolinda by Meyerbeer (2019).
Cristina Segura graduated with the highest honours from the Conservatori Superior de Música del Liceu in Barcelona in Dolors Aldea’s class. She is pursuing two Masters at the Geneva University of Music in Nathalie Stutzmann’s class, and in the Udo Reinemann International Lied Masterclasses at the Bruxelles Conservatory. She was the winner of the 20th Josep Mirabent Competition and the Jeunesses Musicales Lied Award. She made her opera debut as the witch in Hänsel und Gretel, Zita in Gianni Schicchi and the title-role in The Medium by Menotti and the Mother, the China cup and the Dragonfly in L’enfant et les sortilèges. She has performed in numerous concerts throughout Spain, including at the Manuel de Falla Auditorium in Grenada, the Palau de la Música Catalana and the Girona Auditorium. She recently performed in El imposible mayor, en amor le vence amor at the Teatro de la Zarzuela with Capella Mediterranea, directed by Leonardo García Alarcón. She recently recorded the title-role in Gaziel by Granados with the Cadaqués Orchestra.
Current projects: a concert of works by Bach and Zbinden with the OCL in May 2018.
At the Opéra de Lausanne: Pepa in La Belle de Cadix (2016), the Ostrich in Les Zoocrates (2017), Alisa in Lucia di Lammermoor (2017) and Teresa in La Sonnambula (2018).
Pier-Yves Têtu studied singing with Paul Guigue at the Grenoble and Nevers conservatories, with Vivianne Zlomke-Dallinges, a disciple of Rudolf Knoll, and learned alot from many different choir masters. He also studied harmony and counterpoint with François Lusignan, alongside his study of classical accordeon at the Institut André Thépaz in Chambéry. In 2010 he joined the Opéra de Lausanne and the Festival Avenches Opéra choirs.
A frequently demanded soloist and chorist for various oratorio concerts in the Rhône-Alps region and in Switzerland, he has performed under the direction of Michel Corboz, Celso Antunes, Laurent Touche, Emmanuel Krivine, David Reiland, Arie Van Beek, Philippe Bérand and Jesús Lopez-Cobos. He performed King Menelaus in La belle Hélène, Beppe in Rita ou le mari battu, one of Anna’s brothers in Les sept péchés capitaux by Kurt Weill.
At the Opéra de Lausanne : il servo in Un ballo in maschera (2010), Rigobert in Les mousquetaires au couvent (2013), Pristchitch in La veuve joyeuse (2014), Giuseppe in La Traviata (2015), Jamie in My fair Lady (2015), the notary in La fille du régiment (2016), Normanno in Lucia di Lammermoor (2017).
The Opéra de Lausanne Choir is a core group of about forty chorists who are, for the most part, students from singing or professional specialisation classes at the Lausanne Conservatory or other conservatories in Western Switzerland. Chorists are selected by audition and periodically reviewed. Choir directors are chosen from among the most experienced and vary for each performance.
The Opéra de Lausanne Choir is regularly hired by orchestras and festivals in Switzerland and abroad: Création by Haydn (December 2003 – conductor Jerzy Semkow) and Stabat Mater by Rossini (February 2006 – conductor Corrado Rovaris) as a part of the Lausanne Chamber Orchestra season, Roland by Lully (concert version) at the Amsterdam Concertgebouw, at the Opéra de Montpellier and the Palais des Beaux-Arts in Bruxelles (January 2004 – Talens Lyriques orchestra – conductor Christophe Rousset), Die Entführung aus dem Serail concert version at the Théâtre des Champs-Élysées (January 2005), La grotta di Trofonio (concert version) at the Théâtre de Poissy (March 2005 – Talens Lyriques, conductor Christophe Rousset), Nocturnes by Debussy at the 2007 Montreux Septembre musical (RSO Berlin – conductor Marek Janowski).
In 2008 and 2010 the choir performed as part of the OCL season under the baton of Christian Zacharias: Te Deum by Bruckner (February 2008), Les Noces by Stravinski (December 2008, also in Saint-Gall) and Beethoven’s IXe Symphony (April 2010).
The Choir has also been on many tours with Opéra de Lausanne productions: Opéra de Vichy (Rigoletto in 2005, Il Turco in Italia in 2006, La veuve joyeuse in 2007, Carmen in 2008, Amelia al ballo in 2008 under the direction of Arie Van Beek and La Traviata in 2009 conducted by Roberto Rizzi Brignoli), Opéra Comique (Amelia al ballo by Menotti in March 2007). In October 2008, the Opéra de Lausanne and its choir toured Japan for five performances of Carmen.
The Opéra de Lausanne Choir is featured on several CDs: Le Nez by Chostakovitch, Roland by Lully and La grotta di Trofonio by Salieri. The Choir was also involved in televised performances on RTS of La fille de Madame Angot, La Belle Hélène and, for the reopening of the Opéra, L’elisir d’amore.
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.