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The Paolo Fabbri edition chosen by the Opéra de Lausanne for Anna Bolena, refers to the original state of Donizetti’s score, free of the heavy orchestration accumulated over the years by unfaithful editions. We will hear all of Donizetti’s music, with vocal writing for the role of Percy created for tenor Rubini, thanks to the exceptional talent of Edgardo Rocha. The edition presented in Lausanne, expurgated of all the downward transpositions made after the first performances, aims to respect the style of this opera originally written in 1830.
First performed in Teatro Carcano, Milano, December 26th, 1830
Editions G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin
*Set, costumes and accessories are made in the workshops of the Opéra Royal de Wallonie-Liège
Mika Kares studied at the Sibelius Academy in Helsinki and was a member of the Badisches Staatstheater from 2005 to 2010. He has performed works of Mozart, Verdi, Mahler, Beethoven, Brahms and Chostakovitch in concert. For the opera, he has played Wotan in Das Rheingold at the Ruhrtriennale, the Grand Inquisiteur in Don Carlo at la Scala and in Bilbao, Sarastro in Die Zauberflöte at the London Opera, Balthazar in La Favorite and Oroveso in Norma at the Bayerische Staatsoper, Sparafucile in Rigoletto in Savonlinna and Colline in La bohème at the Teatro Real in Madrid. He has also performed at the Vienna Opera, La Monnaie and at the Dutch National Opera.
Current projects: Balthazar in La Favorite, Raimondo in Lucia di Lammermoor and Oroveso in Norma in Munich, Walter in Luisa Miller at the Zurich Opera, Ferrando in Il Trovatore and Fiesco in Simon Boccanegra at the Opéra de Paris.
Ketevan Kemoklidze studied at the State Conservatory of Tbilissi and at the Accademia Teatro alla Scala. She has won many international awards. Since her debut as Maddalena in Rigoletto, she has performed in the most prestigious opera houses: the Deutsche Oper Berlin, the Deutsche Oper am Rhein, the Teatro Real in Madrid, the Liceu in Barcelona, the Théâtre du Capitole in Toulouse, the Montpellier, Marseille, Nice, Washington and Rome Operas, the Teatro Regio in Parma and the Teatro Massimo in Palermo. She has performed in Le nozze di Figaro, Così fan tutte, La clemenza di Tito, Il barbiere di Siviglia, La Cenerentola, Le comte Ory, Norma, Maria Stuarda, Anna Bolena, Linda di Chamounix, Don Carlo, Carmen, Roméo et Juliette and Eugène Onéguine.
She recently performed in Alexander Nevski by Prokofiev in Bratislava and Naples, La Tempestad at the Teatro de la Zarzuela and Carmen in Boston.
Current projects: the title-role in Carmen in Québec and in Rome, Don Carlo in Tel Aviv and Norma in Palma de Majorque.
While he was studying law and music in Rome, Stefano Mazzonis di Pralafera directed his first play in the context of university theatre. Since 1983, he has worked both as a director and a decorator, in Belgium, France, Germany, Israel and Switzerland. Before being the artistic and executive director of the Opéra Royal de Wallonie, he was the artistic director of many festivals and superintendant of the Teatro Comunale in Bologna.
In Liège, his work includes Tre intermezzi, Il matrimonio segreto, the world premiere of L’inimico delle donne, Guillaume Tell by Grétry, Il barbiere di Siviglia, La Traviata, Le Pays du sourire, Rita ou le mari battu, Il campanello di notte, Otello, L’equivoco stravagante, awarded by the Union of French critics in 2012, Manon, La Grande-duchesse de Gérolstein, La Gazzetta, Rigoletto, L’elisir d’amore, Lucia di Lammermoor, La bohème, Nabucco, Jérusalem and, to open the 2017-18 season, Manon Lescaut.
Current projects: Macbeth in Liège.
After studying at the Conservatory in Milan, Roberto Rizzi Brignoli was put in charge of musical services at la Scala, where he has regularly worked with Riccardo Muti. It was there that he directedLucrezia Borgia and Adriana Lecouvreur which propelled him onto to the international scene. His artistic work focuses mainly on Italian and French opera repertoires, and on classical, romantic and contemporary symphony repertoires. He has directed orchestras around the world in the most prestigious theatres and festivals of Europe, America and Asia. In 2010, he made his debut at the Metropolitan Opera.
Current projects: Il barbiere di Siviglia in Marseille, Simon Boccanegra in Dijon, Nabucco in Berlin and Lille, Il Turco in Italia in Hamburg, and concerts in France.
At the Opéra de Lausanne: Lucia di Lammermoor (2007), Il Trovatore (2009), Norma (2011), Tosca (2013), Luisa Miller (2014), La fille du régiment (2016).
Lover of music, languages and history, Daniel Golossov studied piano, chamber music, singing and choral direction, in Nice and at the Giuseppe Verdi Conservatory in Milan, as well as linguistics at the Sorbonne. First prize winner of the Paris CNR singing award, he perfected his vocal technique in Milan with Bonaldo Giaiotti at the Laboratorio Lirico Europeo, then at the Zurich Opernstudio.
His many performances include a wide variety of roles, such as Timur in Turandot, Figaro in Le nozze di Figaro, Don Alfonso in Così fan tutte, Colline in La bohème, Ferrando in Il Trovatore, Sparafucile in Rigoletto, il Commendatore in Don Giovanni, Ramfis in Aida and Raimondo in Lucia di Lammermoor.He has performed in Cyrano de Bergerac by Alfano and Le joueur by Prokofiev at La Scala, Don Carlo, La fedeltà premiata and Gianni Schicchi at the Zurich Opera, La serva padrona in Lugano, the title role in Don Giovanni in Cologne and at the Sankt Margarethen Festival, Fidelio at the Anhaltisches Theater in Dessau. He has worked with Nello Santi, Patrick Fournillier, Bruno Amaducci, Maurizio Barbacini, Roberto Rizzi Brignoli, Matteo Beltrami, Daniel Barenboim and Lorin Maazel.
At the Opéra de Lausanne: Angelotti in Tosca (2013), Bartolo in Le nozze di Figaro (2013), Nilakantha in Lakmé (2013), Wurm in Luisa Miller (2014), Orbazzano in Tancredi (2015), the Ghost of the King in Hamlet (2017), the lion in Les Zoocrates (2017), Publio in La clemenza di Tito (2018), Duglas d’Angus in La donna del lago (2018).
Trained in Uruguay and Italy, Edgardo Rocha’s career took off after his success in Gianni di Parigi at the Festival della Valle d’Itria in 2010. He has since performed in La Cenerentola in Cagliari, Seattle, Stuttgart, Sevilla and Bilbao, Don Pasquale in Florence and Verona, Così fan tutte in Naples and Torino, L’Italiana in Algeri in Bari and Vienna, Il barbiere di Siviglia in Valence, Vienna, Madrid, Naples, Munich, Dresden, Zurich, Paris-Bastille, Tel Aviv, Hamburg and Rome, La ngazzetta in Liège, La scala di seta, Otello, Il viaggio a Reims and Le Comte Ory in Zurich, Otello at the Théâtre des Champs-Élysées and the Salzburg Festival, Les pêcheurs de perles in Nancy, I Puritani in Stuttgart, La Juive in Munich, Otello and La gazza ladra in La Scala, La donna del lago at the Salzburg Festival. He has also sung in the film La Cenerentola, una favola in diretta directed by Andrea Andermann for the RAI, broadcast via satellite, and on a big European tour with Cecilia Bartoli.
Current projects: L’Italiana in Algeri at the Salzburg Festival and at the Liceu in Barcelona, Semiramide at La Fenice, Il turco in Italia and Don Pasquale in Zurich, La donna del lago in Marseille and Il viaggio a Reims in Dresden.
At the Opéra de Lausanne : il Conte Almaviva in Il barbiere di Siviglia (2014), Don Ramiro in La Cenerentola (2015).
Cristina Segura graduated with the highest honours from the Conservatori Superior de Música del Liceu in Barcelona in Dolors Aldea’s class. She is pursuing two Masters at the Geneva University of Music in Nathalie Stutzmann’s class, and in the Udo Reinemann International Lied Masterclasses at the Bruxelles Conservatory. She was the winner of the 20th Josep Mirabent Competition and the Jeunesses Musicales Lied Award. She made her opera debut as the witch in Hänsel und Gretel, Zita in Gianni Schicchi and the title-role in The Medium by Menotti and the Mother, the China cup and the Dragonfly in L’enfant et les sortilèges. She has performed in numerous concerts throughout Spain, including at the Manuel de Falla Auditorium in Grenada, the Palau de la Música Catalana and the Girona Auditorium. She recently performed in El imposible mayor, en amor le vence amor at the Teatro de la Zarzuela with Capella Mediterranea, directed by Leonardo García Alarcón. She recently recorded the title-role in Gaziel by Granados with the Cadaqués Orchestra.
Current projects: a concert of works by Bach and Zbinden with the OCL in May 2018.
At the Opéra de Lausanne: Pepa in La Belle de Cadix (2016), the Ostrich in Les Zoocrates (2017), Alisa in Lucia di Lammermoor (2017) and Teresa in La Sonnambula (2018).
Aurélien Reymond-Moret graduated with a degree in musicology from the Université de Saint-Etienne. He pursued his studies in singing with Heidi Raymond and Jan Marc Bruin, and took master classes with Françoise Pollet. In 2008, he joined the choirs of several operas including Limoges, Lausanne, Geneva and Saint-Étienne. He has been a singer in several professional ensembles in Lyon, Lausanne and Geneva.
As an oratorio soloist he has performed Mozart’s Requiem, the Sept paroles du Christ en croix by Franck, Le roi David by Honegger, Mahler’s 8th symphony and Rossini’s Petite messe solennelle. On stage, he has played King Ouf the 1st in L’Étoile by Chabrier, Pâris in La belle Hélène, Nanki-poo inLe Mikado by Gilbert and Sullivan, Pinkerton in Madama Butterfly, the messenger in Aida, the priest and the armed man in Die Zauberflöte, Alfred in Die Fledermaus, Tybalt in Roméo et Juliette by Gounod, the Duke of Mantua in Les Brigands, Alfredo in La traviata and Le Veilleur de nuit in La None sanglante from Gounod.
At the Opéra de Lausanne: Pan y toros (2009), La Fille de Madame Angot (2010), Rinaldo (2011), L’Aiglon (2013), Manon (2014), Amahl et les visiteurs du soir (2017), La donna del lago (2018), Anna Bolena (2019) and Ariadne auf Naxos (2019).
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.
Antonio Greco holds a diploma in piano, choral music and choral conducting, as well as a diploma in Renaissance polyphony, and teaches choral practice at the Giuseppe Verdi Conservatory in Ravenna. In 1993, he founded the Coro Costanzo Porta and, in 2004, the Orchestra Cremona Antiqua, an ensemble playing on original instruments. He has been assistant conductor to Sir John Eliot Gardiner and harpsichordist with the Monteverdi Choir and the English Baroque Soloists on numerous world tours. Since 2018, he has collaborated as choral conductor with Riccardo Muti, with whom he has performed Macbeth, Nabucco, Stabat Mater, Te Deum and Verdi’s Messa da Requiem, as well as Beethoven’s 9th Symphony. In the same year, he was appointed Music Director of the Monteverdi Festival in Cremona, of which his two ensembles became the resident groups. This has led him to conduct, year after year, the great masterpieces of the Mantuan composer. This year, he will conduct L’incoronazione di Poppea, directed by Pierluigi Pizzi, which will be performed in theaters in Cremona, Como, Pavia, Pisa and Ravenna.
At the Opéra de Lausanne: Tancredi (2015), L’Orfeo (2016) and La sonnambula (2018).
After studying at the Conservatory in Milan, Roberto Rizzi Brignoli was put in charge of musical services at la Scala, where he has regularly worked with Riccardo Muti. It was there that he directedLucrezia Borgia and Adriana Lecouvreur which propelled him onto to the international scene. His artistic work focuses mainly on Italian and French opera repertoires, and on classical, romantic and contemporary symphony repertoires. He has directed orchestras around the world in the most prestigious theatres and festivals of Europe, America and Asia. In 2010, he made his debut at the Metropolitan Opera.
Current projects: Il barbiere di Siviglia in Marseille, Simon Boccanegra in Dijon, Nabucco in Berlin and Lille, Il Turco in Italia in Hamburg, and concerts in France.
At the Opéra de Lausanne: Lucia di Lammermoor (2007), Il Trovatore (2009), Norma (2011), Tosca (2013), Luisa Miller (2014), La fille du régiment (2016).
While he was studying law and music in Rome, Stefano Mazzonis di Pralafera directed his first play in the context of university theatre. Since 1983, he has worked both as a director and a decorator, in Belgium, France, Germany, Israel and Switzerland. Before being the artistic and executive director of the Opéra Royal de Wallonie, he was the artistic director of many festivals and superintendant of the Teatro Comunale in Bologna.
In Liège, his work includes Tre intermezzi, Il matrimonio segreto, the world premiere of L’inimico delle donne, Guillaume Tell by Grétry, Il barbiere di Siviglia, La Traviata, Le Pays du sourire, Rita ou le mari battu, Il campanello di notte, Otello, L’equivoco stravagante, awarded by the Union of French critics in 2012, Manon, La Grande-duchesse de Gérolstein, La Gazzetta, Rigoletto, L’elisir d’amore, Lucia di Lammermoor, La bohème, Nabucco, Jérusalem and, to open the 2017-18 season, Manon Lescaut.
Current projects: Macbeth in Liège.
Working for both opera and theater, Gary McCann has designed sets and costumes for numerous productions around the world. His work has been exhibited three times at the V&A Museum in London. He has designed the sets for Freischütz and Macbeth in Vienna, Die Fledermaus in Oslo, Carmen in Philadelphia and Seattle, La traviata, Madama Butterfly, Il barbiere di Siviglia, La Voix humaine, Ariadne auf Naxos, Fidelio… He has also toured the United Kingdom with Three Days in May, Dangerous Corner, The Shawshank Redemption, La Cage aux folles, The Sound of Music, Saturday Night Fever and Cilla the Musical. At the Opéra de Lausanne: La clemenza di Tito (2018) and Anna Bolena (2019).
After training at the Liège School of Tailors, Fernand Ruiz took classes to perfect his tailoring skills for two years. He went on to join the Opéra Royal de Wallonie where he has been working for the past 39 years, heading up the costumes department. Throughout the years, he has made thousands of costumes and worked with great costumers like Christian Gasc, Jorge Jara and Michel Fresnay. Later on, always for the Opéra de Liège, he created the costumes for Matrimonio Segreto, Il barbiere di Siviglia, Le Barbier de Séville by Beaumarchais, Rita ou le mari battu, Il Campanello di notte, Otello, Cavalleria Rusticana, I Pagliacci, Guillaume Tell by Grétry and La Gazzetta. He designed the costumes for L’equivoco Stravagante, winner of the French Critic Award 2011-2012, for the Riehen and Saint-Moritz festivals, Otello for the Teatro Colón in Buenos Aires and La bohème for the Tel Aviv Opera.
He recently made the costumes for Lombardi alla Prima Crociata at the Teatro Regio in Torino, and Macbeth at the Opéra de Liège.
Current projects: Cavalleria Rusticana and I Pagliacci for the San Francsico Opera in August 2018, Aida in February 2019 at the Opéra de Liège.
Franco Marri is a graduate of the Florence Academy of Fine Arts. Since 1988, he has deisgned the lighting for over a hundred operas including L’ape musicale, Don Pasquale, L’elisir d’amore, Die Entführung aus dem Serail, Edipo re, Nabucco, Semiramide, Norma, Die lustige Witwe, Tancredi, Die Fledermaus, La Traviata, Il barbiere di Siviglia, Don Carlo, L’Italiana in Algeri, Dialogues des Carmélites, Madama Butterfly, Tosca and many others. He has worked in theatres such as La Maestranza in Sevilla, La Zarzuela in Madrid, the Liceu in Barcelona, the Teatro São Carlos in Lisbon, the Théâtre des Champs-Élysées, the Capitole in Toulouse, the Beijing, Tel Aviv and Buenos Aires operas, and in Italy’s greatest theatres. After a long partnership with Fabio Spravoli, he has worked with directors like Ugo de Ana, Luca Ronconi, Dario Fo and Pierluigi Pieralli, and regularly works with Stefano Vizioli and Stefano Mazzonis di Pralafera.
He recently designed the lights for Lombardi alla Prima Crociata at the Teatro Regio in Torino, Macbeth, Il Trovatore and Il matrimonio segreto at the Opéra de Liège.