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from its famous opening, exposing the characters in its drama to the storms of history and the torments of thwarted love. This great heroic fresco recounts the episodes of the Swiss struggle against the Austrian occupiers. Gioachino Rossini draws his inspiration as much from the beauty of natural forces as from the theme of freedom, the common thread running through this great opera, whose four acts follow the founding events of Swiss history, as structured by Friedrich von Schiller in the tragedy that gave rise to the libretto.
Rossini departs from the bel canto tradition here, yet his music remains vibrantly lyrical. The title role is given to a baritone, who embodies the gestures of the legendary and daring archers. Yet the tenor of the story is not to be outdone, entrusted by the composer with the virtuoso arias of Arnold, the Swiss patriot in love with the beautiful Mathilde, Princess of Habsburg.
With all his Italian successes behind him and having settled in Paris, the much-admired Rossini thus brought his dizzying career as an opera composer to a close in 1829 with this final work that would durably inspire French grand opera.
This season opener is a real event, presenting the Opéra de Lausanne’s very first Wilhelm Tell, in which two great artists – Francesco Lanzillotta as conductor and Bruno Ravella as director – make their debut with this poetic, spectacular production.
First performance August 3rd 1829, at la salle Le Peletier, Paris
Critical Edition by Elizabeth C. Bartlet copyright © Maison Ricordi, Milano
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).
For the first time at the Opéra de Lausanne.
Géraldine Chauvet came from the Jeunes Voix du Rhin to make her international debut in 2009 at the Arena di Verona in the role of Carmen (F. Zeffirelli), conducted by Plácido Domingo, who invited her to sing the final Carmen-Don José duet with him at the Gala Domingo in Tokyo. She was applauded in New York at the Avery Fisher Hall as Adriano (Rienzi), then Sesto (La clemenza di Tito) at the Metropolitan Opera. Her broad repertoire includes Adalgisa (Norma), Rosina (Il barbiere di Siviglia), Carmen (title-role), Charlotte (Werther), Mère Marie de l’Incarnation (Dialogues of the Carmelites), Kostelnicka (Jenufa), Gertrude (Hamlet), Laura (La Gioconda), Elvira and Zerlina (Don Giovanni) and Santuzza (Cavalleria rusticana), and world premieres in Il Postino in Vienna with Plácido Domingo, as well as Charlotte Salomon by M. A. Dalbavie in Salzburg in a performance directed by Luc Bondy. She recently sang Nicklausse (Les contes d’Hoffmann) at the Metropolitan Opera, and Carmen and Nabucco at the Arena di Verona. Her future plans involve Nabucco, Carmen and Don Giovanni, and a gala concert in Verona with Plácido Domingo.
The French tenor Jean Miannay studied singing in Lausanne with Brigitte Balleys and in Berlin in the class of Scot Weir. He distinguished himself in 2018 at the 4th Raymond Duffaut Competition, where he won the grand prize. Following this, he won various awards at the Clermont-Ferrand Competition, the Kattenburg Competition, as well as the 2nd Vienna International Music Competition. His young lyric voice leads him to interpret roles such as Tamino (Die Zauberflöte), Ferrando (Così fan tutte), Beppe (Pagliacci), Nemorino (L’elisir d’amore), Alfredo (La traviata), Vincent (Mireille), or Des Grieux (Manon). In 2018, he made his first steps at the Lausanne Opera, where he performs regularly thereafter. He sings in France at the operas of Massy, Avignon and Clermont-Ferrand, as well as at the Chorégies d’Orange for the fourth consecutive year. In 2022, he made his German debut at the Theater Magdeburg in a production of Orpheus in der Unterwelt. Curious by nature, he also flourishes in contemporary creation as well as in chamber music. He has performed Benjamin Britten’s Illuminations and Serenade for horn and tenor, Janáček’s Diary of the Missing and Schumann’s Dichterliebe. He is expected this summer as Remendado (Carmen) at the Chorégies d’Orange and joins the Opéra Studio du Rhin for the 2023/24 season.
At the Opéra de Lausanne: Pauline Viardot’s Cendrillon (2018), Les Contes d’Hoffmann (2019), Rinaldo (2020), L’Auberge du Cheval-Blanc (2021), Semiramide, Eugene Onegin and L’elisir d’amore (2022).
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.