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Welcome to the Duchy of Cacatois XXII
When he premiered L’Île de Tulipatan on 30 September 1868 on “his” stage at the Bouffes-Parisiens, Jacques Offenbach was at the height of his fame and art. The years prior to the Franco-Prussian unrest were a veritable creative firework display for him galvanised by the success of The Grand Duchess of Gerolstein whose librettist Ludovic Halévy humorously summarised the perfect timing: “Bismarck is helping to double our income, this time it’s the war we’re laughing at, and the war is on our doorstep”. Offenbach went on to have one success after another, with Robinson Crusoe, Geneviève de Brabant, Le Château à Toto, and La Périchole in which the two central characters bear the flowery names of Octogène Romboïdal, grand seneschal, and Cacatois XXII, duke and supreme chief of the island. Afterwards, as is often the case with Offenbach, the (surface) laughter is not without a certain depth – in this case the question of sexual orientation on the threshold of adulthood is highlighted, embodied by the “tomboyish” character of Hermosa, the grand seneschal’s daughter, and by the delicate and graceful behaviour of Prince Alexis, the duke’s son.
Created in 2010 with the help of the public authorities, the Lyrical Road from the Opéra de Lausanne continues a unique policy in French-speaking Switzerland of the professional integration of singers and instrumentalists who have graduated from the region’s universities of music, accompanied by performance technicians at the end of their apprenticeship. This unique operation in Switzerland of lyrical decentralisation allows opera lovers to discover the work of a great institution such as the Opéra de Lausanne in a family setting and in a summer environment.
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).
The daughter of a musician, Emma Delannoy soon discovered her love of opera singing. At the age of 15, she entered the Geneva Conservatory of Music in Juliette Galstian’s Musimax class. She then joined Hiroko Kawamichi’s singing class at the Haute école de musique de Lausanne, obtaining her bachelor’s degree in June 2020, and joined Jeanne-Michèle Charbonnet’s class, graduating with a master’s degree in concert performance in June 2022. In May 2022, she plays La Princesse in Le Chat botté, a creation by Étienne Crausaz and Jacques Doutaz in collaboration with Opéra des Champs. In July 2022, she was Poppea in L’incoronazione di Poppea at the Trentino Music Festival. Since September 2022, she has been a member of the Opéra de Lausanne Chorus, regularly leading its opera workshops. She was Oscar in Un ballo in maschera in January 2023 with Operami. In August 2023, she sings alongside Emiliano Gonzalez Toro and his ensemble I Gemelli at the Festival du Toûno. Alongside her musical career, Emma Delannoy also obtained a Bachelor of Arts degree in French and Musicology from the University of Geneva.
At the Opéra de Lausanne: L’Île de Tulipatan (Route Lyrique 2023) and Pauline Viardot’s Cendrillon (2023).
Guillaume Paire studied at the Haute École de Musique de Genève in the class of Gilles Cachemaille and then perfected his skills with Sherman Lowe in Venice. He joined the Academy of the Festival of Aix en Provence and the Rencontres Lyriques de Genève. Member of the Rouen Opera Company from 2010 to 2012, he is Papageno in the production of William Kentridge. He made his debut at La Monnaie in Brussels as the Gendarme in Les Mamelles de Tirésias. Recently, Guillaume Paire presented his first musical one-man show “Le Blues du Perroquet” at the Saint-Etienne Opera and played Peter in Hänsel und Gretel produced by Les Variétés Lyriques.
At the Opéra de Lausanne: Les mamelles de Tirésias (2016).
The young Belgian dramatic soprano is currently pursuing her Master’s studies at the Haute école de musique de Lausanne, in the class of Jeanne-Michèle Charbonnet. At the same time, she is pursuing a specialized Master’s degree in contemporary music at the Kunstuniversität Graz, where she is working with Holger Falk and Anna Sushon. In 2018, she received her Bachelor’s degree from the Hanns Eisler Hochschule für Musik in Berlin, where she worked with Ewa Wolak, Thomas Quasthoff, Wolfram Rieger and Julia Varady. She is also passionate about the Lieder and Melodie repertoire. She was a finalist at the Helmut Deutsch International Art Song Competition, the Gustav Mahler Competition in Geneva and received the Gérard Souzay prize for French melody at the Joy In Singing International Art Song competition in New York. She made her debut at the Musikverein in Vienna in December 2022, where she performed Alberto Ginastera’s Cantata para América mágica under the direction of Gottfried Rabl. In May 2023, she will make her debut with the Orchestre de Chambre de Lausanne in Alban Berg’s Sieben frühe Lieder.
Having studied under Blandine de Saint-Sauveur and Leontina Vaduva, Hoël Troadec recently completed his training at the Haute école de musique de Lausanne. He has already taken on many roles, such as Nathanaël (Les Contes d’Hoffmann), Beppe (Rita), Silvio (Le Docteur Miracle), Benedict (Béatrice et Bénédict), Gardefeu (La Vie parisienne), the Chevalier de la Force (Dialogues des Carmélites), Paris (La Belle Hélène), Roland (Les Chevaliers de la Table ronde), Schmidt (Werther), Tonio (La Fille du régiment) and Nemorino (L’elisir d’amore). His roles have taken him to prestigious stages such as the Bregenzer Festspiele, the Opéra de Massy, the Opéra de Clermont-Ferrand, the Opéra de Vichy, the Opéra de Lausanne and, recently, the Opéra de Lyon.
At the Opéra de Lausanne: Les Chevaliers de la Table ronde (Route Lyrique 2019), La Belle Hélène (2019), Le Petit Chaperon rouge (2021), Candide (2022), and L’Île de Tulipatan (Route Lyrique 2023)
Originaire de la région marseillaise, Gilles Rico étudie la musique et la philosophie avant d’entre- prendre un doctorat en philosophie médiévale à l’Université d’Oxford. Parallèlement à sa carrière universitaire, il se tourne vers la mise en scène d’opéra en travaillant d’abord comme assistant pour différentes maisons d’opéras et festivals européens et nord-américains. Il collabore notamment avec les metteurs en scène comme Patrice Caurier et Moshe Leiser, Joël Pommerat, Dmitri Tcherniakov, Jérôme Deschamps, Andreas Homoki, David McVicar, Damiano Michieletto, Robert Carsen, James Gray et Katie Mitchell. En 2016, il signe sa première mise en scène lyrique à Angers-Nantes Opéra, la création mondiale Maria Republica de François Paris, spectacle qui reçoit la même année le prix de la critique. Il met également en scène Un dîner avec Jacques, spectacle autour d’Offenbach produit par l’Opéra-Comique à Paris puis repris en tournée en France. Il crée l’opéra participatif Tistou les pouces verts d’Henri Sauguet à l’Opéra de Rouen puis met en espace Die Entführung aus dem Serail de Mozart à la Philharmonie de Paris. Plus récemment, il met en scène l’opéra participatif Les Petites Noces d’après Mozart à l’Opéra de Rouen, au Théâtre des Champs-Élysées, en Avignon et à Toulon, et l’opérette L’Auberge du Cheval-Blanc de Benatzsky à Lausanne et Marseille. En tant que librettiste, Gilles Rico a écrit le livret de La Princesse légère de Violetta Cruz pour l’Opéra-Comique et l’Opéra de Lille, et le livret de l’opéra de chambre Les Rois mages de Fabian Panisello, dont il crée également la mise en scène à Madrid, Nice et Tel-Aviv. Parmi ses projets de mise en scène, citons L’Île de Tulipatan d’Offenbach à l’Opéra de Lausanne (Route Lyrique), Giulietta e Romeo de Zingarelli à l’Opéra royal de Versailles, Le Tribut de Zamora de Gounod à l’Opéra de Saint-Etienne et la création mondiale de Hémon de Zad Moultaka à l’Opéra du Rhin à Strasbourg.
À l’Opéra de Lausanne : Cendrillon de Pauline Viardot (2018), Le nozze di Figaro (2021), L’Auberge du Cheval-Blanc (2021) et L’Île de Tulipatan (Route Lyrique 2023).