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.
It was after the success of Phi-Phi that Henri Christiné, a native of Geneva, once again came up with a double-syllable title. Dédé tells the story of a shoe merchant who, in order to attract customers, transforms his store into a music hall, populated by dancers in light clothing. Christiné was inspired by the syncopated rhythms in vogue on the other side of the Atlantic to compose this work, which can be described as one of the first French musicals.
Premier on June 6, 2021 at the Opéra de Lausanne, followed by a tour in the Canton of Vaud and French-Speaking Switzerland.
Operetta in 3 acts
by Henri Christiné, libretto by Albert Willemetz
Presented for the first time at the Théâtre des Bouffes Parisiens
in Paris on November 10, 1921
Editions Salabert, represented by G. Ricordi & Co. Bühnen
und Musikverlad GmbH, Berlin
Arranged by Robin Melchior
New production by the Opéra de Lausanne
Costumes made in the workshops of the Opéra de Lausanne
under the direction of Amélie Reymond, in collaboration with Karolina Luisoni.
The Swiss baritone studied at the Haute Ecole de Musique de Lausanne in the class of Frédéric Gindraux, before joining the Guildhall School of Music and Drama in London to work with Prof. Rudolf Piernay. He collaborated with Dame Felicity Lott, François Le Roux, Graham Johnson and Eugene Asti. He sings several roles for the Opéra de Lausanne (Melchior in Menotti’s Amahl et les visiteurs du soir, Maximilian in Bernstein’s Candide, Urbain in Offenbach’s La vie parisienne, and creates recitals for children as well as a workshop during the Youth Olympic Games in Lausanne in 2020. He is also heard singing Weill’s Berliner Requiem at the Opera Choir’s special concert.
He has worked with the London Symphony Orchestra on several occasions, the BBC and the Wigmore Hall. 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. As a Samling Foundation Artist, Joël Terrin receives the title of Ambassador of Melody for the Oxford Lieder Festival in 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. In 2020 he won the English Song Prize.
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 was to play the role of Giannetta in L’elisir d’amore in 2020.
Born in France, 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 the class of Stuart Patterson.
The tenor appeared on stage in the roles of Nemorino in Donizetti’s L’elisir d’amore, Bastien in Mozart’s Bastien Und Bastienne and Demo in Cavalli’s Il Giasone. He also participated in the recording of Ascanio by Camille Saint-Saëns at the Grand Théâtre de Genève and in the lyrical route of the Opéra de Lausanne in the role of Amadis de Gaule, Les chevaliers de la table ronde. Maxence Billiemaz also performs in musicals and interprets the roles of Bill Calhoun in Kiss me Kate by Cole Porter and Clifford Bradshaw in Cabaret by John Kander.
French-Italian mezzo-soprano born in Milan, Beatrice Nani joined the Haute Ecole de Musique de Lausanne in 2014 in Brigitte Balleys’ class and obtained her Master’s degree in 2019. She is currently perfecting her skills with Marie-Ange Todorovitch and Jeanne-Michele Charbonnet. Passionate about theater, she trained with Gaëlle Bourgeois and Fiona Chauvin in Paris, and received valuable advice from Thierry Pillon, Jean-Yves Ruf and Shin Iglesias.
On stage, she was heard in Bouche à bouche by Maurice Yvain at the Théâtre Déjazet in Paris, in Bottesini’s Requiem at the Victoria Hall in Geneva. She created the role of Ella Maillart in Le Ruisseau noir by Guy-François Leuenberger at the Théâtre du Grütli in Geneva and interpreted Lois in Kiss me Kate by Cole Porter at the Théâtre du Galpon in Geneva. During the 2020 edition of the Georges Enesco International Competition in Paris, she won a special prize that will take her to Romania for her debut in the 2020-2021 season.
Accompanied by the young pianist Emilie Roulet, she also performs in concerts with their duo Battements d’Elles.
At the Opéra de Lausanne she performed the role of Louise in La Vie Parisienne in 2016, Cricri in Le chanteur de Mexico in 2017, Armelinde in Cendrillon by Pauline Viardot in 2018 and Duchess Totoche in Les chevaliers de la table ronde by Hervé in 2019. She also gives mediation workshops as part of the Youth Olympic Games in 2020 and creates a show for children, with baritone Joël Terrin.
Félix Le Gloahec started with contemporary music (piano, drums, guitar) before joining the Conservatoire de Grenoble in 2011 in Cécile Fournier’s class. In 2021, he obtains his master’s degree at the Haute École de Musique de Lausanne in the class of Frédéric Gindraux. He joined the Opera Studio of Bienne the same year.
In 2018, he joined the choir of the Opéra de Lausanne and the Ensemble Vocal de Lausanne in 2020.
He has been heard in: Gallantry, A Soap Opera by D. Moore, Le Dialogue des Carmélites by F. Poulenc, Written on Skin by G. Benjamin.
In September 2021, he will be Don Alfonso in Così fan tutte at the Opéra de Lausanne and at the Opéra de Fribourg, in a production of the HEMU.
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).
Holder of a Master’s degree in interpretation from the Haute École de Musique de Lausanne in 2020, Clémentine Bouteille is interested in a wide repertoire such as opera, operetta, but also oratorio. She has been heard as a soloist in Mozart’s Vespers, in Jean Gilles’ Requiem, and in Saint-Saëns’ Requiem. She has sung in Purcell’s King Arthur and the title role in Purcell’s Dido and Aeneas. She particularly appreciates creative performances and has participated in the construction of the trio singing, violin and piano “Madame rêve” as well as the magic show Rêverie. She regularly performs with her trio AimOson in their show Porcelains. Clémentine Bouteille is also a choir director and singing teacher. After training with the phoniatrist/osteopath J-B Roch, she puts forward a technical and osteopathic approach for the postural and vocal well-being of her students.
Mathilde Opinel began her vocal studies at the master classes of the Lyon Opera and the CRR in Paris. She holds a degree in musicology from the Sorbonne, and in June 2015, she obtained a master’s degree at the Haute École de Musique de Lausanne in the class of Frédéric Gindraux. She is a member of the Opéra de Lausanne since 2012.
Yuki Tsurusaki joined the Haute École de Musique de Lausanne in the class of Hiroko Kawamichi, where she obtained her Master’s degree. She won the Mosetti grant in 2014, as well as the Virginia Zeani competition in Turin, the Leopold Bellan competition in Paris, the Lavaur competition in Toulouse, and she recently won the first prize at the Vienne en Voix competition in Vivonne. She plays the role of La Gazelle in Les Zoocrates, by Thierry Besançon, as well as in Die Fledermaus, staged by Adriano Sinivia and under the baton of Frank Beermann, both at the Opéra de Lausanne. She also performed the roles of Micaëla and Frasquita in Carmen de Bizet, having prepared the roles with Béatrice Uria-Monzon and Antoine Palloc. This season, we will have the pleasure of hearing her sing at the Opéra de Lausanne in Benatzky’s The White Horse Inn.
French mezzo-soprano Ludmila Schwartzwalder graduated from the Haute École de Musique de Lausanne in 2021 (class of Brigitte Balleys) with a Master’s degree in concert. She discovered choral singing at the age of 10, then studied at the Conservatoire de Strasbourg. Between 2013 and 2015, she sang in the Strasbourg experimental rock band Loomings, with whom she recorded the album “Everyday Mythology”. Passionate about foreign languages, she also holds a Bachelor’s degree in English, German and Swedish. Always keen on ensemble music, she joined several professional choirs in 2017, including the Ensemble Vocal de Lausanne directed by Daniel Reuss and the self-managed female ensemble Diaphane. Since January 2020, she also sings in the choir of the Opéra de Lausanne. An eclectic musician, she is a soloist in several contemporary music creations, but also in a repertoire of oratorios (Bach, Haydn, Rossini).
Next September, she will make her debut as Dorabella at the Opéra de Lausanne and the new Opéra de Fribourg, in a co-production of Così fan tutte by the HEMU and the HEM of Geneva.
After obtaining a diploma in piano with Elisabeth Athanassova at the Conservatoire Supérieur de Musique de Genève, Jean-Philippe Clerc perfected his skills with Esther Yellin at the Neuhaus Foundation. During his studies, he also studied the harpsichord and fortepiano. Passionate about opera, it was quite natural that he turned to the accompaniment of singers. He has collaborated with various Professors and Directors such as Nathalie Stutzmann at the Geneva University of Music and Jean-François Sivadier.
He has also been a vocal conductor for the Fribourg Opera and the Avenches Opéra Festival. He currently works as a vocal conductor and pianist at the Opéra de Lausanne, as well as teaches the singing classes and the opera workshop at that Haute Ecole de Musique de Lausanne (HEMu). In addition to his institutional commitments, Jean-Philippe Clerc prepares many singers for their operatic or concert roles and regularly performs in recitals as an accompanist. Finally, as a maestro al Cembalo, he conducted Handel’s Alcina and Mozart’s Così fan tutte in Sion, both directed by Julie Beauvais and Pergolesi’s Serva Padrona, directed by Eric Vigié, a production of the Opéra de Lausanne that was on tour in Bhutan in November 2018. In addition, he was entrusted with the direction of the Chœur de l’Opéra de Lausanne during the performances of Simon Boccanegra by Verdi and Mam’zelle Nitouche by Hervé.
He 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. 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 and Carmen at the Avenches Opera Festival. Recently, he created the choreography for My Fair Lady at the Opéra de Marseille, and for Un Ballo in Maschera for the Opéra de Nancy, Opera Zuid and Angers-Nantes Opéra. He currently devotes himself to the creation of choreographies, plays and stage productions.
At the Opéra de Lausanne, Jean-Philippe Guilois has worked as assistant director or choreographer for Alcina (2011), My Fair Lady (2015), La vie parisienne (2016), Don Giovanni (2017), Cosi Fan Tutte (2018) and Les chevaliers de la Table ronde (2019).
Studying in Switzerland, Canada and Sweden. He was trained in architecture in Lausanne, a graduate from the Vancouver Film School, Sébastien Guenot places an intuitive narrative at the heart of his artistic work, with a pronounced taste for exploring the world of dreams; the unconscious and dreamlike. Whether it is a question of composing a spatial atmosphere, communicating a story or staging an emotion, his approach constantly strives to imagine a unique relationship between content and form.
Located between the ancient mystical imagination and contemporary arts, his narrative language is multiple, in the same way that his drawing, sculpture, painting, sound, photography, graphics, moving images, scenography and architecture.
At the Opéra de Lausanne: Peter and the wolf (2006 and 2011), Les moutons bleus (2008), Phi-Phi (2014), L’enfant et les sortilèges (revived in 2015), La Belle de Cadix (2016), Amahl et les visiteurs du soir (2017).
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 2019).