Léon Carvalho, director of the Paris Opéra-Comique, was frightened by the pistol shot mentioned in the stage directions. He gave up on producing Massenet’s opera, calling the subject of the piece “sad and uninteresting”. It was in Geneva, in Switzerland, that the French premiere would finally take place. Using the resources of the great Genevan Symphony Orchestra, Massenet created an intimate and penetrating atmosphere where romanticism reaches its climax through feelings stemming from the Sturm und Drang – the strong presence of nature unleashing the elements, melancholy and perpetual dissatisfaction of the characters.
Bärenreiter BA 8706 Edition
After studying violin, tuba, percussion and singing, Laurent Campellone studied conducting in Paris and winning several international competitions. Since then, he has conducted numerous productions at the Deutsche Oper in Berlin, in Brazil, Bulgaria, Chile, the Bolshoi and the Novaya Theatre in Moscow, in Monte Carlo, Oman and in major French theatres. As Music Director of the Saint-Etienne Opera and Symphony Orchestra, he is involved in the rediscovery of forgotten works from 19th century French repertoire, such as operas by Massenet (Sapho, Le Jongleur de Notre-Dame, Ariane, Le Mage), Gounod (La Reine de Saba, Polyeucte) and Lalo (Le Roi d’Ys). Laurent Campellone also performs with numerous orchestras, such as the National Orchestra of Brazil, New Russia State Orchestra, Dublin Philharmonic Orchestra, Orchestre National du Capitole de Toulouse, Sofia Philharmonic, Orchestre National des Pays de la Loire, Malaysian Philharmonic Orchestra and the Nice Philharmonic Orchestra. His latest recording with the Bavarian Radio Orchestra and soprano Jodie Devos for Outhere Music, has received numerous awards.
From 1996 to 2000 Vincent Boussard was director of the Comédie-Française Studio-Théâtre where he worked on his first productions. Since then, he has worked mainly on directing opera, in particular at Berlin’s Staatsoper Unter den Linden, in Strasbourg, at the Liceu in Barcelona, in Frankfurt, San Francisco, Toulouse, Hamburg, Brussels, Vienna, at the Brooklyn Academy of Music in New York, in Stockholm, at the New National Theatre in Tokyo, Dresden’s Semperoper, Bayerische Staatsoper in Munich, Aalto Theater in Essen, in Marseille, St. Gallen, Lausanne, at the Lithuanian National Opera and the Korean National Opera. He has also been invited by festivals such as Osterfestpiele in Salzburg, Aix-en-Provence, Innsbruck, Festival dei due Mondi in Spoleto, and Festival Amazonas in Manaus. During the 2018-19 season, he directed I Puritani at Frankfurt Opera and Dialogues of the Carmelites at Riga Opera. At the Opéra de Lausanne: Hamlet (2017).
Jean-François Borras is considered one of the best tenors of his generation. He currently performs in the largest international theatres: l’Opéra de Paris, the Théâtre des Champs-Élysées, the Monte-Carlo Opera, Munich and Vienna Staatsoper, the Royal Opera House Covent Garden, and the Metropolitan Opera in New York. In recent years, Jean-François has performed the Italian repertoire with great success: Le Duc in Rigoletto, Alfredo, Edgardo, Riccardo in Un Ballo in Maschera, and Macduff in Faust by Boito at the Chorégies d’Orange. He has also dedicated himself to favourites of the French repertoire: Romeo, Gérald de Lakmé, Faust de Gounod, Le Chevalier Des Grieux, Don José, Werther and Hoffmann, which he sang for the first time in Lausanne in 2019. He performs under the direction of Alain Guingal, Eve- lino Pido, Daniel Oren, Patrick Fournillier, Daniele Calegari, Fabrizio Carminati, Michel Plasson, Alain Altinoglu, Stéphane Denève, Roberto Abbado, Daniele Gatti, Roberto Rizzi Brignoli, Riccardo Frizza, Emmanuel Villaume, Dan Ettinger, Giuliano Carella and Jean-Yves Ossonce.
Winner of the last Queen Elisabeth Competition, Héloïse Mas is well-loved for her talent as a vocalist and as a performer, and she now takes on the archetypal roles of the mezzo-soprano repertoire. Mas began her training very young, in the piano and later the organ, before she went on to singing. In 2010, she joined the Lyon CNSMD, where she obtained a Bachelor in musicology, as well as a Masters in Performance. Her promising career led her to the Opéra de Nice Maddalena in Rigoletto at the Opéra de Monte-Carlo, and on tour in Oman for Stéphano in Romeo and Juliet. This year, she is recording a solo album with Laurence Cummings and the London Handel Orchestra, Boulotte in Barbe-Bleue at the Royal Opera of Muscat, Mahler’s Rückert-Lieder with the Brussels Philharmonic Orchestra, and the Poème de l’Amour et de la Mer with the Limoges Opera Orchestra. At the Opéra de Lausanne, she will perform Alcina in Orlando Paladino (2017).
Winner of the first prize at the 2018 Cesti Baroque Opera Competition and the 2017 Belcanto Vincenzo Bellini competition, the soprano Marie Lys has sung with conductors such as Michel Corboz, Laurence Cummings, Giampaolo Bisanti and Daniel Reuss. After studying at the University of Music in Lausanne, she went to the Royal College of Music in London where she obtained a Master’s degree with distinction and a certificate in opera. In opera, she has sung in roles including Cleopatra (Giulio Cesare) at Bury Court Opera, Adelaide (Lotario) at the Göttingen Handel Festival, Dalinda (Ariodante) at the London Handel Festival and Asteria (Tamerlano) at the Buxton Festival. With the Abchordis Ensemble she won first prize at the Göttinger Reihe Historischer Musik competition, then released two recordings with Sony DHM. She was grateful for the support received from Pour-cent culturel Migros and the foundations Samling, Leenaards, Dénéréaz, Colette Mosetti, Friedl Wald, and Drake Calleja Trust.
At the Opéra de Lausanne: Eurilla in Orlando Paladino (2017), Lisa in La Sonnambula (2018), Adèle in Die Fledermaus (2018), and Amour in Orphée et Eurydice (2019).
Timoshenko was born in Russia and began his musical and theatrical training in Mednogorsk, in the singing class of Tatiana Mayorova. He continued his studies at the University of Music Franz Liszt Weimar and at the Hanns Eisler College in Berlin under the tutorship of Dr Michail Lanskoi. From 2015 to 2017, he was a member of the Académie de l’Opéra National de Paris, and won the Maria Callas International Grand Prix in Greece in 2017. In 2018 he was awarded the first prize of the International Chamber Music Competition “Franz Schubert and Modern Music” in Graz, as well as first prize at the International Competition for Artistic Singing of the Hugo Wolf Academy in Stuttgart, for his duet with the pianist Elitsa Desseva.
The highlights of his first seasons include the world premiere of Alexandre Desplat’s chamber opera En Silence in Luxembourg and Paris’ Bouffes du Nord, Orlik in Tchaikovsky’s Mazeppa at the Oviedo Opera, Masetto in Don Giovanni at the Opéra Garnier in Paris and at the Opernhaus in Düsseldorf, Figaro in The Marriage of Figaro at the Opéra national de Lorraine, in Nancy. Later this year, he will perform in Magic Mozart in Aix-en-Provence, and the role of Marcello at the Opéra de Nice. Timoshenko has also been performing charity concerts to support children with mental health problems in Russia since 2009, and is participating in several fundraising events organised by the “Yehudi Menuhin Live Musik Now e.V.” in Germany.
Vincent Lemaire is a set designer for theatre, dance and opera. He creates sets in theatres such as La Monnaie, Opéra Royal de Wallonie, Théâtre du Capitole, the Operas of Lyon and Marseille, Opéra National du Rhin, Festival d’Aix-en-Provence, Royal Opera House in Stockholm, Theater an der Wien, Innsbruck Early Music Festival, the Operas of Zürich and St. Gallen, Staatsoper Berlin, Bayerische Staatsoper and the Hamburg Staatsoper. He collaborates regularly with director Vincent Boussard, notably in Un ballo in maschera at the Théâtre du Capitole, La fanciulla del West in Hamburg, La Traviata in Tokyo and Strasbourg, Manon at the Lithuanian National Opera, Otello in Salzburg, Die tote Stadt and Lohengrin in St. Gallen as well as The Prophet in Essen. In 1999 and 2001, he won the Prix du Théâtre awarded by the French Community of Belgium.
At the Opéra de Lausanne: Hamlet (2017)
After studying classical literature and history of art, Christian Lacroix turned to freelance work in fashion and costume, in Paris, Italy and Japan. He was artistic director of the Jean Patou company from 1982 to 1987, when he created his own fashion business. At the same time, since the 1980s, he had designed costumes for numerous theatre, opera and ballet productions: at Opéra Garnier, La Monnaie, La Comédie-Française, at the Théâtre des Champs-Elysées, the Metropolitan, the Festival d’Aix, at the Opéra Comique, and for the operas of Vienna, Berlin, Hamburg and Cologne. Since 2000, he has developed his work as a designer and scenographer for his own company (Centre National du Costume de Scène in Moulins, Musée de la Mode et Musée des Arts Décoratifs, Musée Réattu and Rencontres d’Arles). He has also worked with several institutions (Musée du Quai Branly, Walraff Museum in Cologne, Musée des Beaux-Arts in Rouen, Musée des Arts Décoratifs in Bordeaux, Musée Cognacq-Jay in Paris, Musée du Louvre Lens and Musées d’Avignon), and this work has become more prominent since he stopped working as a fashion designer.
Nicolas Gilli took his first steps as lighting director at the Théâtre de Nice, before being entrusted with lighting creations by Jacques Weber, the Director at the time. For more than 10 years, he collaborated in all areas of lighting, notably with Jacques Rouveyrollis and Alain Poisson. After leaving Nice, Nicolas Gilli worked as a freelancer for many artists such as Zaz, Michel Sardou, Johnny Hallyday, Eddy Mitchell, as well as for shows such as the musical comedy Le rouge et le noir.