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is told by Georges Bernanos in his play Dialogues of the Carmelites (1951). The emotional power of this text inspired Francis Poulenc to write an opera hailed as one of the most accomplished, beautiful and poignant in the entire repertoire. Premiered at La Scala in Milan in 1957, it seamlessly blends its deeply religious nature with the melodic modernity of its compositions.
Above and beyond this historical and religious dimension, this work is deeply stirring due to its profound humanity. This moving score follows the destiny of Blanche, an extremely sensitive young aristocrat who seeks solace in the Carmelite convent. The vocal melody, to which the composer is passionately attached, traces the emotions of the touching characters, in a perfect balance between the natural-sounding voices and the orchestra charged with dramatic impact. In the extraordinary finale, the Salve Regina of the nuns being tortured one by one – punctuated by the shock of the guillotine blade – gradually fades, until only one voice remains: that of Blanche, who finds the courage to join her sisters…
Olivier Py’s inspired production, which has been performed all over the world since its premiere in 2013, is one of his most intense productions featuring extremely powerful images. For the occasion, Jacques Lacombe will conduct the Lausanne Chamber Orchestra for the first time.
First performance January 26, 1957 at La Scala, Milan
Éditions Casa Ricordi, Milano
Orchestre de Chambre de Lausanne
Opéra de Lausanne Choir
Choir Director Alessandro Zuppardo
Born in Grasse in 1965, Olivier Py entered the Conservatoire National Supérieur d’Art Dramatique in 1987, and began studying theology at the same time. In 1995, he created a sensation at the Festival d’Avignon by directing his text La Servante, a cycle of plays lasting twenty-four hours. In 1997, he became director of the Centre dramatique national d’Orléans, which he left ten years later to direct the Odéon-Théâtre de l’Europe. In 2013, he became the first director appointed to head the Avignon Festival since Jean Vilar. In 2023, he was appointed Director of the Théâtre du Châtelet in Paris. Alongside his directing activities, Olivier Py is also an author (published mainly by Actes Sud) and actor. With his female alter ego, Miss Knife, he takes his singing tour all over the world. He has directed some fifty plays and as many operas. He has directed three films, including Le Molière imaginaire (due for release in February 2024). As an artist and a citizen, Olivier Py regularly takes a stand and engages in numerous political and societal battles.
At the Opéra de Lausanne: La Vase de parfums (2005), Mam’zelle Nitouche (2019) and L’Amour vainqueur (2022).
Pierre-André Weitz took his first steps on stage at the Théâtre du Peuple de Bussang at the age of ten, where he acted and sang, as well as making and designing sets and costumes until he was 25 years old. At the same time, he studied architecture in Strasbourg and entered the Conservatoire d’art lyrique. During this period, he was a chorister at the Opéra national du Rhin. In 1989, he met Olivier Py and since then he has designed all the latter’s sets and costumes. He has created more than 150 sets for various other directors, both in theatre and opera (Jean Chollet, Michel Raskine, Claude Buchvald, Jean-Michel Rabeux, Ivan Alexandre, Jacques Vincey, Hervé Loichemol, Sylvie Rentona, Karelle Prugnaud, Mireille Delunsch, Christine Berg…). This research into space and time has also led him to perform as a musician or as an author in certain shows. He has been teaching stage design for over 20 years at the École supérieure des arts décoratifs in Strasbourg. Recently, he directed Les Chevaliers de la Table ronde and Mam’zelle Nitouche, two Palazzetto Bru Zane productions.
At the Opéra de Lausanne: La Vase de parfums (2005) and L’Amour vainqueur (2022).
After making his debut with Pierre Barrat at Colmar’s Atelier lyrique du Rhin, he worked with Fran- çois Tanguy and the Théâtre du Radeau for several years. In 2000, he reunited with Pierre André Weitz, whom he had met at a production at the Théâtre du Peuple in Bussang in 1988; the latter introduced him to Olivier Py. Since then, he has designed the lighting for their theater productions and some sixty operas in France and abroad. He has also designed lighting for such artists as Ivan Alexandre, Pierre Lebon, Jacques Vincey, Kidjo and Isabelle Huppert at the Festival d’Avignon.
Franco-Swiss tenor Maxence Billiemaz studies singing at the Haute école de musique in Geneva. He has appeared on stage in roles such as. Nemorino (L’elisir d’amore) and Bastien (Bastien et Bastienne). He took part in recordings of Saint-Saëns’s Ascanio at the Grand Théâtre de Genève and Erlanger’s La Sorcière at Victoria Hall. He sings as soloist in ensembles such as Cappella Mediterranea, Ensemble Vocal de Lausanne, Chœur de Chambre de Na- mur, Orlando and Les Talens Lyriques. He also performs in musicals such as Cole Porter’s Kiss Me, Kate (as Bill Calhoun) and John Kander’s Cabaret (as Clifford Bradshaw).
At the Opéra de Lausanne: Les Chevaliers de la Table ronde (Route Lyrique 2019), Dédé (Route Lyrique 2021), Werther (2022), My Fair Lady (2022), Cendrillon (2023) and Die Zauberflöte (2024).
Born on the island of La Réunion, Aslam Safla began studying the violin at the age of six, and began singing pop at sixteen. In 2010, he moved to Tours and began a professional career as a singer in American folk, country and bluegrass bands, as well as in a circus. In 2016, he was introduced to opera singing and entered Jean-François Rouchon’s class at the Conservatoire de Cergy-Pontoise.
He then decided to go professional in the world of opera. He devotes his time to gaining experience in this practice, through opera workshops, summer academies and masterclasses. In January 2020, he won 1st prize in the Voix des Outre-mer competition and joined Leontina Vaduva’s class at the Haute école de musique de Lausanne in September 2020.
At the Opéra de Lausanne: L’Auberge du Cheval-Blanc (2021), Werther (2022), L’elisir d’amore (2022), My Fair Lady (2022), Le Domino noir (2023) and Orphée aux Enfers (2023).