Based on George Bernard Shaw’s play Pygmalion, which itself draws on the mythological source of Ovid’s Metamorphoses, My Fair Lady is one of Broadway’s biggest hits. Its authors were specialists in the genre: Frederick Loewe for the music and Alan Jay Lerner for the text. It premiered on 15 March 1956 at the Mark Hellinger Theater in New York, with Julie Andrews and Rex Harrison in the title roles. From then until 1962, 2716 performances followed, which was a record for the time. The comedy was adapted for the screen in 1964 with Audrey Hepburn as the star. The plot is simple: Eliza Doolittle, a flower girl from the slums of London, takes diction lessons from Professor Henry Higgins to become a respectable woman… Language, social status: themes that still resonate strongly today. I could have danced all night… And you?
First performance at the Mark Hellinger Theatre, New York, March 15, 1956
Tams-Witmark Music Library, Inc. New York, represented by Concord Theatrical, Berlin
Born in Valencia, Spain, Roberto Forés Veses is the unanimous winner of the Luigi Mancinelli Opera Conducting Competition (with a special jury prize) and a distinguished winner of the Evgeny Svetlanov International Conducting Competition. Dedicating himself to both opera and symphonic repertoire, he has been invited to conduct numerous orchestras, including the Bolshoi, Teatro Regio of Turin, Helsinki, Montpellier, Lyon, Rouen and Saint-Etienne opera orchestras, the NHK symphony orchestras of Tokyo, St. Petersburg and Milan, Milan “Giuseppe Verdi”, Russian State “Evgeny Svetlanov”, Prague, Luxembourg, Galicia and Nice Philharmonic Orchestras, National Orchestras of Lyon, Bordeaux-Aquitaine, Montpellier and Pays de la Loire, Chamber Orchestras of Paris, Lausanne and England, as well as the Honk Kong Sinfonietta From 2011 to 2021, he is the musical and artistic director of the Orchestre national d’Auvergne. During his tenure, he initiated numerous tours (in Japan, South America and Spain in particular) and recordings (for the Aparté Music and Warner Classics labels), as well as the creation of the digital label “Orchestre national d’Auvergne Live”. Recent publications include a Chopin First Concerto with Nicholas Angelich (Warner), Berg’s Lyric Suite, Schönberg’s Verklärte Nacht, Strauss’ Metamorphoses, Schubert’s Death and the Maiden arranged by Mahler, as well as symphonies by Roussel, Honegger and Jean Rivier. In the 2022/23 season, Roberto Forés Veses will perform with the English Chamber Orchestra, the Orchestre National des Pays de la Loire, and the Nagoya Philharmonic (on a European tour); he will also make his debut conducting the Moravian Philharmonic, the Basque National Orchestra, and the Seville Symphony Orchestra, and will conduct Gounod’s Romeo and Juliet in the pit of the Zurich Opernhaus.
At the Opéra de Lausanne: Doña Francisquita (2020)
Trained as an actor, director and teacher, Jean Liermier has been at the head the Théâtre de Carouge, one of the leading theatrical institutions in French-speaking Switzerland, since 2008. In theatre, he is mainly interested in staging plays from the classical repertoire, such as Edmond Rostand’s Cyrano de Bergerac or Molière’s Le Malade imaginaire, with actor Gilles Privat in the title roles. In March 2023, he directed Alfred de Musset’s On ne badine pas avec l’amour in Carouge. In opera, he directed Walton’s The Bear for the Opéra décentralisé in Neuchâtel, Die Zauberflöte for the Opéra de Marseille at the invitation of Renée Auphan, Cantates profanes, une petite chronique, a montage of cantatas by Jean-Sébastien Bach for the Opéra national du Rhin and Le nozze di Figaro for the Opéra national de Lorraine and the Opéra national de Caen (a show that was repeated in 2011 and 2012 in Nancy and Rennes). In June 2009, he directed Ravel’s L’Enfant et les sortilèges for the Atelier lyrique de l’Opéra de Paris, a show that was repeated in May 2011 at the Opéra National de Paris, Teatro Real in Madrid and then at the Bilbao Opera House.
At the Opéra de Lausanne: My Fair Lady (2015), Così fan tutte (2018) and My Fair Lady (2022).
A graduate of the Royal Academy of London, Nicolas Cavallier successfully began his career in roles from operas by Mozart (Figaro, Don Giovanni, Don Alfonso) and Rossini (Selim, Mustafa, Alidoro). The evolution of his voice subsequently led Nicolas Cavallier to perform a wider repertoire (Mephistopheles in Faust, Don Quixote, Nilakhanta in Lakmé, the four Devils in Les Contes d’Hoffmann, Friar Laurence in Romeo and Juliet, Arkel in Pelléas et Mélisande, the Marquis de la Force in Dialogues des Carmélites, Philippe II in Don Carlos, Zaccaria in Nabucco, Scarpia in Tosca, the Dutchman in Der Fliegende Höllander, Henrich der Vogel in Lohengrin, Orest in Elektra…). Appearing on many national and international stages, he has collaborated with conductors such as Michel Plasson, Myung-Whun Chung, Armin Jordan, Marc Minkowski, Evelino Pido, Alberto Zedda, Emmanuel Krivine, Philippe Jordan, Colin Davis, John Eliot Gardiner and Pinchas Steinberg, as well as with directors Wajdi Mouawad, Stanislas Nordey, Olivier Py, Robert Wilson, David Hermann and Johannes Erath. Recent performances include Don Inigo Gomez in L’Heure espagnole with the London Symphony Orchestra and François-Xavier Roth in London, the four Devils (Les Contes d’Hoffmann) and the title role in Rubinstein’s Demon at the Opéra de Bordeaux, the title role in Don Quichotte in Tours, Walter Furst (Guillaume Tell) and The High Priest (Samson et Dalila) at the Chorégies d’Orange, The Sacristan (Tosca), Don Balthazar (Le Soulier de Satin), Phorbas and Le Veilleur (Œdipe) at the Opéra de Paris, the Marquis de la Force (Dialogues des Carmélites) at the Théâtre des Champs-Élysées, Caen, Bologna and recently at the Zurich Opera, Don Alfonso (Così fan tutte) at the Opéra national du Rhin, Saint-Bris (Les Huguenots) at La Monnaie in Brussels, and Narbal (Les Troyens) at the Cologne Opera, Le Grand Prêtre (Samson et Dalila) at the Chorégies d’Orange and in Avignon, Le Hollandais in Massy and Méphistophélès in Saint-Étienne, Reims, Limoges and Vichy.
At the Opéra de Lausanne: My Fair Lady (2022).
Nominated in 2017 in the “Revelation Lyric Artist” category of the Victoires de la Musique and “HSBC Laureate” of the Festival d’Aix-en-Provence, soprano Catherine Trottmann is quickly being offered some of the most iconic roles in the repertoire. Flora, which she has sung many times at the Paris Opera and the Wiener Staastoper, is one of them, but she has also been heard as Rosina (Il barbiere di Siviglia) at the Théâtre des Champs-Elysées and at the Edinburgh Festival, Adina (L’elisir d’amore) at the Opéra national de Bordeaux, Cherubino (Le nozze di Figaro) at the Opéra national du Rhin, Stéphano (Roméo et Juliette) at the Opéra de Nice, Siebel (Faust) at the Opéra de Saint-Etienne, Tisbé (La Cenerentola) at the Wiener Staatsoper, Cunégonde (Le Roi Carotte) at the Opéra de Lyon, and the title role of L’Enfant et les Sortilèges at the Opéra de Limoges.
At the Opéra de Lausanne: Le Petit Prince by Michaël Levinas (2014), La Cenerentola (2015) and Don Giovanni (2017).
Trained in theater, the French baritone Lacassagne played for seven years the classical and contemporary repertoire: Molière, Ionesco, Tardieu, Marivaux… Following his prize from the Paris Conservatory, he was hired for five years in the soloist company of the National Opera of Lyon. He made his debut with Papageno and Figaro in Le nozze di Figaro. Since then, he has performed on international stages such as La Monnaie in Brussels, the Opéra Comique in Paris, the Bunkamura in Tokyo and La Scala in Milan. He has worked with conductors such as Kent Nagano, Peter Eötvös, Paolo Olmi, David Robertson, and directors such as Klaus Mikael Grubber, Tamas Asscher, Michel Fau, Jean-Pierre Vincent and Robert Carsen. Christophe Lacassagne has performed more than sixty operatic roles, including the Count of Nozze di Figaro, Don Giovanni, Escamillo, Falstaff, the Four Devils of The Tales of Hoffmann, Macbeth and Rigoletto (title roles).
At the Opéra de Lausanne: La belle Hélène (2019).
Julien Dran discovered singing thanks to his parents, themselves both opera singers. He studied at the Conservatoire de Bordeaux and the CNIPAL in Marseille. After graduating from the latter, he was quickly engaged to sing increasingly important roles such as Count Almaviva (Il barbiere di Siviglia), Ferrando (Così fan tutte), Fenton (Falstaff), Tebaldo (I Capuleti e i Montecchi). He won the Concours international Gayarre in Pamplona under the presidency of Teresa Berganza in 2013 and, in the same year, the Prix de l’Opéra de Paris at the Salle Gaveau in the male singer category. He has performed in France and abroad in Les Pêcheurs de perles, Fra Diavolo (where he played the title role), L’italiana in Algeri (Lindoro), Béatrice et Bénédict (Benedict) and Carlotta ou la Vaticane (Tiberius), a world premiere by Dominique Gesseney-Rappo at the Opéra de Fribourg. Among the highlights of his last seasons: Belmonte (Die Entführung aus dem Serail) in Marseille, Nemorino (L’elisir d’amore) in Quebec, the title role in Gounod’s Faust and Alfredo (La traviata) at the opera houses of Marseille, Toulouse, Vichy and Limoges, the Viceroy of Naples in the world premiere of Marc-André Dalbavie’s Le Soulier de satin at the Opéra Bastille and Mireille at the Opéra de Metz.
At the Opéra de Lausanne: La Belle Hélène (2019), L’Auberge du Cheval-Blanc (2021) and My Fair Lady (2022).
Originally from Marseille, Rémi Ortega began his singing studies at the Conservatoire de région de his city, in the class of Claude Méloni, then joined the Haute école de musique de Lausanne in the class of Jörg Durmuller, where he followed master classes by Alain Garichot, Laurent Pillot, Yvonne Naef and John Fiore. In 2019, he won the Prix d’interprétation de l’instant lyrique at the Concours des maîtres du chant in Paris. He made his stage debut in the role of the Corporal in La Fille du régiment in Marseille under the direction of Bruno Conti, then in the roles of the innkeeper Pasek and the Mosquito in The Cunning Little Vixen in Monthey, under the baton of Ivan Törzs. Later, he sang the title role in Le nozze di Figaro conducted by Leonardo García Alarcón, Taddeo in L’italiana in Algeri conducted by Amaury Du Closel, and Emperor Chang in Lehar’s Das Land des Lächelns.
At the Opéra de Lausanne: L’Auberge du Cheval-Blanc (2021) and My Fair Lady (2022).
Born in France, tenor Maxence Billiemaz began singing in Paris with the Manécanterie des Petits Chanteurs à la Croix de Bois. He continued his musical studies at the Haute école de musique de Genève in Stuart Patterson’s class. He has appeared on stage as Nemorino (L’elisir d’amore), Bastien (Bastien und Bastienne) and Demo (Il Giasone). He also participated in the recording of Ascanio by Camille Saint-Saëns at the Grand Théâtre de Genève and has performed in musicals, playing Bill Calhoun in Cole Porter’s Kiss Me, Kate and Clifford Bradshaw in John Kander’s Cabaret. He sings as a soloist in ensembles such as La Cappella Mediterranea, the Ensemble Vocal de Lausanne, the Chœur de Chambre de Namur and Les Talens Lyriques.
At the Opéra de Lausanne: Les Chevaliers de la Table ronde (Route Lyrique 2019), Dédé (Route Lyrique 2021), Werther (2022), My Fair Lady (2022), Cendrillon (2023).
The Swiss baritone studied at the Haute Ecole de Musique de Lausanne in the class of Frédéric Gindraux, before moving to London to work with Prof. Rudolf Piernay at the Guildhall School of Music and Drama, where he obtained an Artist Diploma with distinction. He also worked with Dame Felicity Lott, François Le Roux, Eugene Asti and Graham Johnson, whom he assisted in his latest book on the life of Francis Poulenc, “Poulenc: The Life in the Songs”, published by Liveright. He sings several roles for the Opéra de Lausanne, including the title role in Christiné’s operetta Dédé, Melchior in Menotti’s Amahl et les Visiteurs du Soir, Maximilian in Bernstein’s Candide, and Urbain in Offenbach’s La Vie Parisienne. He also creates recitals for children and a workshop during the Lausanne Youth Olympic Games in 2020. He is also heard singing Weill’s Berliner Requiem during the exceptional concert of the Opera Choir. He has worked for the LSO (London Symphony Orchestra) on several occasions (Discovery Day on the music of Michael Tippett, soloist for Haydn’s Nelson Mass or curator of a recital in the series “Future: the musical voices of our time”), the BBC (“Immersion in the music of Detlev Glanert”) or the Wigmore Hall (study groups on the vocal music of Schumann, Ravel, a recital of contemporary music and a recital of French melodies). He is part of the French Song Exchange between the Wigmore Hall and the Salle Cortot in Paris, where he has the chance to make his debut in 2019 and return regularly to perform. The singer, a Samling Foundation Artist, is awarded the title of Ambassador of Melody by the Oxford Lieder Festival for the year 2020. He enters the concert placement of the Migros Culture Percentage, of which he is also a scholarship holder, as well as the Friedl-Wald and Colette Mosetti foundations. He participated in the final of the prestigious Kathleen Ferrier Competition in London and was also a finalist of the Young Classical Artist Trust in 2022. He won the English Song Prize in 2020, Second Prize and Audience Prize at the Kattenburg Competition in 2019, Third Prize and all Special Prizes in 2022, and Second Prize at the Somerset Song Prize. Future engagements include SongStudio 2023 at Carnegie Hall in New York with Renée Fleming, a recital series in England and Canada with pianist Cole Knutson for the Oxford Lieder Festival, the role of Maximilian in Bernstein’s Candide at the Opéra de Lausanne, and a revival of My Fair Lady.
At the Opéra de Lausanne: My fair Lady (2015), La Belle de Cadix (Route Lyrique 2016), L’Orfeo (2016), La vie parisienne (2016), Amahl et les visiteurs du soir (2017), Les chevaliers de la table ronde (Route Lyrique 2019), Dédé (Route Lyrique 2021) and Candide (2022).
Aslam was born on the island of La Réunion, where he lived until he was nineteen. He started playing the violin at the age of six and began singing variety music at sixteen. In 2010 he moved to Tours, where he set up a professional project and was hired as a singer in a circus. In 2016, he is introduced to opera singing and joins Jean-François Rouchon’s class in Cergy. After a year of training, he decides to become professional and to familiarize himself with the world of opera. During the year 2020, he won the 1st prize of the Voix des Outre-mer competition, obtained his DEM in opera singing and joined Leontina Vaduva’s class at the Haute École de Musique de Lausanne. He will take his first solo role in September 2021 as Guglielmo in Così fan tutte, produced by the HEMU and the Opéra de Fribourg and also performed at the Opéra de Lausanne.
At the Opéra de Lausanne: L’auberge du Cheval Blanc (2021), Werther (2022), L’elisir d’amore (2022), My fair Lady (2022) and Le Domino noir (2023)
The actress Shin Iglesias graduated from the Conservatoire de Lausanne with a first prize from the jury. She is also a prizewinner of the Migros Cultural Percentage. She has performed in more than sixty productions in Switzerland and abroad, under the direction of Denis Maillefer, Massimo Furlan, Vincent Bonillo, Ariane Moret, Matthias Urban, Gérard Diggelmann, Sandra Gaudin, Gianni Schneider, Christian Denisart, Adriano Sinivia and Emilio Sagi. Her passion for contemporary art led her to collaborate for two years with Christian Egger at Galerie C Neuchâtel/Paris. She participates as a reader in various artistic events, as well as in singing performances. She lends her voice to various documentaries of the RTS, the HEAD and the Printemps de la Poésie, and takes part in several short films; she is notably directed by Bruno Deville in the series Double vie.
At the Opéra de Lausanne : Le Chanteur de Mexico (2017) and Die Fledermaus (2018).
Holder of a master’s degree in interpretation from the Haute École de Musique de Lausanne obtained in 2020, Clémentine Bouteille is interested in a wide repertoire, which includes opera, operetta, but also oratorio. She has been heard as a soloist in Mozart’s Vespers, Jean Gilles’ Requiem and Saint-Saëns’ Requiem. She has sung in King Arthur and the title role in Dido and Aeneas by Purcell. She particularly appreciates creative performances and has participated in the creation of the trio of voice, violin and piano “Madame rêve”, as well as the magic show “Rêverie”. She regularly performs with her trio AimOson in a show called ” Porcelaines “. Clémentine Bouteille is also a singing teacher. She has been trained by the phoniatrist / osteopath Jean-Blaise Roch, and her teaching emphasizes a technical and osteopathic approach based on postural and vocal well-being. In August 2022, she had the pleasure of playing Papagena in Die Zauberflöte with the Ouverture Opéra company in Sion. She regularly performs with the Opéra de Lausanne Choir.
At the Opéra de Lausanne: Les chevaliers de la Table ronde (Route Lyrique 2019), Dédé (Route Lyrique 2021) and Werther (2022).
Aurélie Brémond trained at the CRR of Reims, then at the CRR of the 1st arrondissement of Paris, at the CRR of Avignon and finally at the HEMU, where she has just completed her master’s degree with Jeanne-Michèle Charbonnet. She won Second Prize at the Léopold Bellan International Music Competition and Third Prize (operetta category) as well as the Audience Prize at the Concours International de Bézier. She has already had the opportunity to interpret Philomèle in Le roi l’a dit by Delibes at the Opéra d’Avignon, Princess Laoula in Chabrier’s L’Étoile at the Opéra d’Avignon, Suzanna in Mozart’s Le nozze di Figaro at the Théâtre de Pézenas, and finally Despina in Così fan tutte in a co-production by HEMU, HEM Geneva and Opéra de Fribourg.
At the Opéra de Lausanne: L’elisir d’amore (2022) and My Fair Lady (2022).
Actor and singer, Laurence Amy trained as a professional actress at the Centre dramatique national de Saint-Etienne and studied opera in Switzerland and Italy. With her company Coeur en Bouche, she has directed numerous dramatic and musical productions, the latest of which is Voir le jour. A lover of poetry, she has twice won the Pierre Boulanger prize. In particular, she interprets the poems of Gaspard de la nuit accompanied by the pianist Cédric Tiberghien. In the theater, she has acted under the direction of Denis Maillefer, Marcella Salivarova-Bideau, Denys Laboutière, Jean Liermier and Karin Coonrod, among others; in the cinema, she has worked with Francis Reusser. With the Ensemble Vocal de Lausanne, she performed several times the Pythonisse du Roi David by Honegger, in Tokyo and at the Théâtre du Jorat for the hundredth anniversary of the creation of the work.
At the Opéra de Lausanne: Les Aventures du roi Pausole (1990), My fair Lady (2015) and Le Chanteur de Mexico (2017).
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)
Trained for acting at the E.N.S.A.T.T and the Ecole Florent, Richard Lahady also studied singing. He made his debut at the Saint-Etienne Opera and, in the same city, participated in the Massenet Festival. In recent years, the Opéra de Lausanne has offered him numerous roles. He was heard as Langlois in Les Mousquetaires au couvent at the Opéra Comique. He also regularly participates in productions of the Opéra de Paris and the Opéra de Lyon, as well as in numerous French and Swiss festivals.
At the Opéra de Lausanne: Die lustige Wittwe (2014), My fair Lady (2015), La vie parisienne (2016), Le chanteur de Mexico (2017), Les chevaliers de la Table ronde (Route Lyrique 2019), La belle Hélène (2019) and Dédé (Route Lyrique 2021).
Pier-Yves Têtu studied singing with Paul Guigue at the conservatories of Grenoble and Nevers, as well as with Vivianne Zlomke-Dallinges, disciple of Rudolf Knoll, in Geneva. He also studied harmony and counterpoint with François Lusignan, in parallel with classical accordion studies at the André Thépaz Institute in Chambéry. In 2010, he joined the choirs of the Lausanne Opera and the Avenches Opera Festival. Regularly solicited as a soloist or chorister in various oratorio concerts in the Rhône-Alpes region and in Switzerland, he sings under the direction of Michel Corboz, Celso Antunes, Laurent Touche, Emmanuel Krivine, David Reiland, Arie van Beek, Philippe Bérand and Jesús López Cobos. He interprets Menelaus in La belle Hélène, Beppe in Rita ou le mari battu, a brother of Anna in The Seven Deadly Sins by Kurt Weill.
At the Opéra de Lausanne: Un ballo in maschera (2010), Les mousquetaires au couvent (2013), Die lustige Wittwe (2014), La Traviata (2015), My fair Lady (2015), La fille du régiment (2016), Lucia di Lammermoor (2017) and La belle Hélène (2019).
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.
Jean-Philippe Clerc is currently working as a vocal coach and pianist at the Opéra de Lausanne as well as for the singing classes and the Atelier lyrique of the Haute École de Musique de Lausanne. In parallel to his institutional commitments, he prepares numerous singers for their operatic roles or oratorio concerts and regularly performs as an accompanist throughout Europe and Asia. After obtaining his piano diploma at the Geneva Conservatory, he studied with Esther Yellin at the Neuhaus Foundation. Passionate about singing, which he studied with Frédéric Gindraux, he naturally turned to accompanying and coaching singers in various music schools as well as at the opera houses of Fribourg, Reims, the Grand Théâtre de Genève and the Avenches Opera Festival. For several years, Jean-Philippe Clerc has also been conducting. As maestro al cembalo, he conducted Handel’s Alcina and Così fan tutte in Sion, as well as Pergolesi’s La serva padrona, directed by Éric Vigié in a production of the Opéra de Lausanne on tour in Bhutan. In the summer of 2021, he conducted Christiné’s operetta Dédé as part of the Opéra de Lausanne’s Route Lyrique. He has been entrusted with the preparation and direction of the Opéra de Lausanne choir on various projects such as Mam’zelle Nitouche by Hervé or Gli amori di Teolinda by Meyerbeer.
Forty-three years ago, Christophe de la Harpe participated in the creation of the Théâtre Kléber-Méleau. He developed his activities as a set builder, stage designer, stage manager and technical director in France and Switzerland. He has designed some thirty sets for Michel Fidanza, Gérard Carrat, Philippe Mentha, Gérald Zambelli, Angelo Corti, Séverine Bujard, Georges Wood, André Schmidt, Jean Cholet, Dominique Mascret, Gilles Anex, and has worked as a stage manager for Mathias Langhof, Benno Besson, Dominique Pitoiset, Omar Porras, François Rochaix, Déborah Warner and Zouc. Technical director at the Théâtre de Carouge for about twenty years, he worked with Jean Liermier, its director, on the creation of a temporary theatre and on the project of the new Théâtre de Carouge, as well as on its construction, in collaboration with the Pont 12 office, architects in Chavannes-près-Renens.
At the Opéra de Lausanne: My fair Lady (2015)
After graduating from the Van Der Kelen Institute in Brussels, Coralie Sanvoisin assisted and continued to train with set and costume designers, in cinema and in all forms of performing arts. She designed her first set and costume for the Rosenkavalier in 2000 at the Spoleto Festival, directed by Keith Warner. Since then, she has designed costumes for directors and choreographers such as Guilherme Botelho and the Alias company, Claude Mourieras, Omar Porras, Abd Al Malik, Johanne Saunier, Sybille Wilson and Christophe Rauck. At the Théâtre de Carouge, she has designed the costumes for several shows by Jean Liermier since 2012: L’École des femmes, Harold et Maud, Figaro!, La Vie que je t’ai donnée, Cyrano de Bergerac.
At the Opéra de Lausanne: My fair Lady (2015)
Jean-Philippe Roy started in 1977 at the Théâtre de Carouge under the direction of François Rochaix. Freelance lighting designer since 1981, he regularly designs the lighting for operas directed by François Rochaix and designed by Jean-Claude Maret, notably at the Grand Théâtre de Genève. With the director Claude Stratz and the set designer Ezio Toffolutti, he lights several plays at the Comédie de Genève, the Opéra de Lausanne and the Comédie Française. For the past few years, he has been working with the director Jean Liermier: in opera with Die Zauberflöte in Marseille, Bach’s Cantates profanes in Strasbourg, Le nozze di Figaro in Nancy; in theater with Penthésilée by Heinrich von Kleist at the Comédie Française, Le Médecin malgré lui by Molière at the Théâtre de Vidy-Lausanne, Le Jeu de l’amour et du hasard by Marivaux, L’École des Femmes, Le Malade imaginaire by Molière, La Vie que je t’ai donnée by Pirandello and Cyrano de Bergerac by Rostand at the Théâtre de Carouge, where he will soon collaborate in Sur les marionnettes by Kleist (directed by Gilles Lambert) and On ne badine pas avec l’amour by Musset (directed by Jean Liermier).
At the Opéra de Lausanne: My fair Lady (2015) and Così fan tutte (2018).
Jean-Philippe Guilois entered the National School of the Paris Opera in 1997 and then joined the Rudra Béjart School, with which he participated in several shows and international tours. He made his first professional experience with the Compagnie Buissonnière in Parce que je t’aime, presented at the Théâtre de Vidy-Lausanne. While multiplying his contracts as a dancer, he was introduced to the world of opera as a stage manager, and then became assistant director for La bohème, Nabucco, Carmen and Madame Butterfly at the Avenches Opera Festival, L’Aiglon and La Traviata at the Opéra de Marseille, Armide and Cendrillon at the Opéra de Nancy, Falstaff at the Opéra de Montpellier. Recently, he created the choreographies of My fair Lady at the Opéra de Marseille, Un ballo in maschera at the Opéra de Nancy and Tannhäuser at the Opéra national de Lyon. He currently devotes himself to the creation of choreographies, plays and stage productions.
At the Opéra de Lausanne: Alcina (2011), My fair Lady (2015), La vie parisienne (2016), Don Giovanni (2017), Così fan tutte (2018), Les chevaliers de la Table ronde (Route Lyrique 2019), L’auberge du Cheval Blanc (2019) and Dédé (Route Lyrique 2021), My Fair Lady (2022) and Davel (2023)
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.