Tour sponsored by
Confident of the interest in his Knights of the Round Table, in 1872 he offered a revised version, which did not focus on Lancelot’s adventures. For Hervé, the Middle Ages were a pretext and backdrop which he used in the same way as Offenbach used antiquity: derision, ridicule, parody, energy and popular melodies all feature in this musical pastiche, where we enjoy following the adventures of ladies Mélusine, Totoche and Angélique. The knights Rodomont and Roland, as well as Merlin, contribute to this hilarious and spirited comedy.
Libretto by Henri Chivot and Alfred Duru
First performance of the original version at the Théâtre des Bouffes-Parisiens, Paris, November 17, 1866
Final version performed at the Théâtre des Folies-Dramatiques, Paris, March 2, 1872
New Production from the Opéra de Lausanne
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.
Jean-François Vinciguerra studied drama at ENSATT, lyric art at the Conservatoire de Paris with Michel Roux and at the Opéra de Paris school of lyric art with Michel Sénéchal. He perfected his technique with Denise Dupleix and Lionel Sarrazin. At the Opéra Bastille, he interpreted Wagner in Faust; at the Opéra Comique, Bartolo in Barbiere di Siviglia and Baron Popoff in Die lustige Witwe. He has also performed in Salome, Lucrezia Borgia, L’elisir d’amore, La damnation de Faust, Les contes d’Hoffmann, in particular, and on many stages throughout Europe and at major festivals. As an actor and director, he was a huge success at the Théâtre du Petit Montparnasse with his show dedicated to Jean Yanne, On n’arrête pas la connerie. At the Opéra de Lausanne: Pickering in My Fair Lady (2015), and Frank in Die Fledermaus (2018).
After graduating with a Bachelor’s degree in the Italian Language in 2014, Laurène Paternò joined Lausanne’s University of Music in Stephan MacLeod’s class; in 2017, she also enrolled in the Master’s degree course there as a solo performer. As part of her course, she participated in a musical creation performed in Rio de Janeiro during the opening week of the 2016 Olympic Games. She won the 1st place prize at the Concours du Kattenburg. She sang in the roles of Sister Blanche of the Agony of Christ in Dialogues of the Carmelites and Susanna in Le nozze di Figaro, the latter conducted by Leonardo Garcìa Alarcón. Both operas were produced by the University of Music of Lausanne. In 2019, she sings in the roles of Sofiya and Yelena in Laïka, le chien de l’espace of Russell Hepplewhite, an opera for kids at the Nouvel Opéra of Fribourg. She performed in concert, accompanied by the group Gli Angeli Genève, l’Orchestre de Chambre de Lausanne and l’Orchestre de Chambre Fribourgeois, in a sacred and operatic repertoire.
In an Opéra de Lausanne production in Bhutan, at the inauguration of the Royal Textile Academy of Bhutan in 2018, she sang Serpina in La serva padrona, and in 2019 Mélusine in Les Chevaliers de la Table ronde of Hervé. She’s working on the the role of Giannetta in L’elisir d’amore (2020).
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).
Jean-François Vinciguerra studied drama at ENSATT, lyric art at the Conservatoire de Paris with Michel Roux and at the Opéra de Paris school of lyric art with Michel Sénéchal. He perfected his technique with Denise Dupleix and Lionel Sarrazin. At the Opéra Bastille, he interpreted Wagner in Faust; at the Opéra Comique, Bartolo in Barbiere di Siviglia and Baron Popoff in Die lustige Witwe. He has also performed in Salome, Lucrezia Borgia, L’elisir d’amore, La damnation de Faust, Les contes d’Hoffmann, in particular, and on many stages throughout Europe and at major festivals. As an actor and director, he was a huge success at the Théâtre du Petit Montparnasse with his show dedicated to Jean Yanne, On n’arrête pas la connerie. At the Opéra de Lausanne: Pickering in My Fair Lady (2015), and Frank in Die Fledermaus (2018).
For the first time at the Opéra de Lausanne.
Born in Valais, Pierre Héritier began singing at a very young age with the Petits Chanteurs at the Schola de Sion. After university, he joined the Geneva HEM in Gilles Cachemaille’s class. During his studies, he benefitted from having teachers such as Isabelle Henriquez and David Jones. From 2014 to 2017, he was a member of the Studio of the Opéra de Lyon where he worked with Jean-Paul Fouchécourt. At the Opéra de Lyon, he sang the Clock/the Cat (L’enfant et les sortilèges), Madame Madou (Mesdames de la Halle), Tom (Le Petit Poucet, Aboulker), Liberto/Littore (L’incoronazione di Poppea), conducted by Martyn Brabbins, Philippe Forget, Nicholas Jenkins and Sébastien d’Hérin. In October 2017, he won 1st Prize in the men’s category of the Concours International de Vivonne. In 2011, he became a member of the Ambronay European Baroque Academy, conducted by Sigiswald Kuijken. In 2013, he participated in the creation of 4.48 Psychosis by Blaise Ubaldini, conducted by Pierre Bleuse. On stage, he has sung in roles such as Don Giovanni, Papageno, Guglielmo, Junius (The Rape of Lucretia), and Harasta (The Cunning Little Vixen). He was recently a resounding success in the role of Lord Cockburn in Fra Diavolo by Auber in Zurich.
Béatrice Nani began singing in Paris, while she was studying political sciences and music management at La Sorbonne. After getting her Master’s, she joined Brigitte Balleys’ class at the HEMU in 2014. Passionate about theatre, she trained under Gaëlle Bourgeois and Fiona Chauvin and benefited from the advice of Thierry Pillon and Jean-Yves Ruf. She has been heard on stage in Bouche à bouche by Maurice Yvain at the Théâtre Déjazet in Paris, in the Requiem by Bottesini at Victoria Hall in Geneva ; she has played Ella Maillart in Le ruisseau noir by Guy-François Leuenberger at the Théâtre du Grütli in Geneva and Loïs in Kiss me Kate by Cole Porter at the Théâtre du Galpon in Geneva.
At the Opéra de Lausanne: Louise played in La vie parisienne (2016), Cricri and Lupita in Le chanteur de Mexico (2017), Armelinde in Cendrillon by Pauline Viardot (2018) the role of Duchesse Totoche in Les chevaliers de la Table ronde d’Hervé (2019). Working on the role of Paquette in Candide (2020).
For the first time ever at the Opéra de Lausanne. Jean Miannay began singing opera at the Conservatoire de Nantes in Natasha Siehoff’s class. After two years, he went on to study musicology in Lille and joined Françoise Semellaz’ class. During those years, Jean performed roles such as Tamino in Mozart’s La flûte enchantée, Pelléas in Pelléas et Mélisande by Debussy, Basilio in Le Nozze di Figaro by Mozart.
In 2017, he took part in the International Opera Festival of Belle-Île en Mer, and joined Brigitte Balleys’ class at the Haute Ecole de Musique in Lausanne, where he is currently enrolled. He is a Colette Mosetti foundation award-winner in 2018. He sang the role of the Prince in Pauline Viardot’s Cinderella at the Opéra de Lausanne. Winner of the 26th Clermont-Ferrand International Singing Competition in 2019 for the role of Beppe, he also won the Grand Prix du Concours Raymond Duffaut at the Opéra du Grand Avignon.
Joël Terrin studied piano before turning entirely to singing. He joined Frédéric Gindraux’s class at the HEMU and worked with Jean-Philippe Clerc, Helmut Deutsch and David Jones. He will pursue his studies at Guildhall School in London at the beginning of the 2017 term.
On stage he has played the Cat and the Armchair in L’enfant et les sortilèges, the King and the Ogre in Le Chat botté by Cui, and der Weiser in Hin und zurück. He has performed Handel’s Dixit dominuswith the OCL, Israël en Égypte directed by Leonardo García Alarcón, and regularly performs Lied and French melody, his preferred repertoires.
At the Opéra de Lausanne : a cockney in My fair Lady (2015), Juanito in La Belle de Cadix (Route Lyrique 2016), un spirito in L’Orfeo (2016), Gontran, Urbain and Alfred in La vie parisienne (2016), Melchior in Amahl et les visiteurs du soir (2017), Lancelot in Les chevaliers de la Table ronde (Route Lyrique 2019), and Herman Augustus in Candide (2020) .
First a student at the École nationale de l’Opéra de Paris, Jean-Philippe Guilois then enrolled at the École Rudra Béjart, with which he took part in several shows and international tours. His first professional experience was with Cisco Aznar and the Compagnie Buissonnière in Parce que je t’aime, presented at the Théâtre de Vidy. While he continued finding work as a dancer, he was introduced to the world of opera as a stage manager, then was the assistant director for La bohème, Nabucco and Carmen at the Festival Avenches Opéra.
He currently works on creating choreographies and plays, and directing. He was a stage manager, assistant director and choreographer for many productions put on by Opéra de Lausanne, including My Fair Lady (2015), La vie parisienne (2016) and Don Giovanni (2017).
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.
After training as an electrician, Denis Foucart ventured into the world of events and designed the lighting for many events around the world, including Jean Michel Jarre’s concert, produced in Egpyt to usher in the year 2000. From 2000 to 2003, he was hired as the lighting director for the international tours of musicals Notre dame de Paris and Roméo et Juliette. At the end of 2003, he became the lighting director of the Béjart Ballet Lausanne, and designed his first lighting for ballets with Zarathoustra, La vie du danseur and Le tour du monde en 80 minutes.
For the Festival Avenches Opéra, he designed the lighting for La bohème and Nabucco. Head electrician at the Opéra de Lausanne since 2008, he took over the lighting on Pierre et le loup, Die Zauberflöte, La veuve joyeuse, L’enfant et les sortilèges and designed the lighting for Phi-Phi (Route Lyrique 2014), La Belle de Cadix (Route Lyrique 2016), and for the all-age opera, Amahl et les visiteurs du soir, in 2017, Cendrillon in 2018. His lastest creation Les chevaliers de la Table ronde (Route Lyrique 2019).
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).
First a student at the École nationale de l’Opéra de Paris, Jean-Philippe Guilois then enrolled at the École Rudra Béjart, with which he took part in several shows and international tours. His first professional experience was with Cisco Aznar and the Compagnie Buissonnière in Parce que je t’aime, presented at the Théâtre de Vidy. While he continued finding work as a dancer, he was introduced to the world of opera as a stage manager, then was the assistant director for La bohème, Nabucco and Carmen at the Festival Avenches Opéra.
He currently works on creating choreographies and plays, and directing. He was a stage manager, assistant director and choreographer for many productions put on by Opéra de Lausanne, including My Fair Lady (2015), La vie parisienne (2016) and Don Giovanni (2017).