Invited to the Paris Opera for the first time, director Netia Jones staged a new production of Le nozze di Figaro in 2022, conducted by Gustavo Dudamel. A documentary, filmed backstage at the Palais Garnier, looks back at the highlights of this new production, from the first presentation of the model, to the work in the costume, painting and tapestry workshops at the Opéra Bastille; from the first rehearsals with the Orchestra, soloists and chorus artists to the first performance at the Palais Garnier.The Paris Opera Orchestra and ChorusWith the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Cercle audiovisuel et numérique.Director: Adrien Pauchet © Opéra national de Paris – 2023

Dans les coulisses des Noces de Figaro

Behind the Scenes of Le nozze di Figaro

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Invited to the Paris Opera for the first time, director Netia Jones staged a new production of Le nozze di Figaro in 2022, conducted by Gustavo Dudamel.  A documentary, filmed backstage at the Palais Garnier, looks back at the highlights of this new 

Documentary

Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg. A child prodigy (he took his first harpsichord lessons when he was 4 and began composition at 6), he quickly became famous, thanks to the many tours he made with his father, Leopold, who was himself vice chapel-master at the court of the Prince-Archbishop of Salzburg, as well as a mentor and teacher to his son. At the age of 16, Mozart was appointed concertmaster to the new Prince-Archbishop of Salzburg, Hieronymus von Colleredo. He was commissioned to compose works to the tastes of his day and asked to perform. But he quickly grew tired of the confining environment of Salzburg and, in 1777, he resigned his position at the court. In 1779, he became the resident organist at the Salzburg cathedral, then settled in Vienna. He performed for the Court, gave music lessons and piano concerts, while being vice chapel-master at the cathedral. His Don Giovanni was a huge success in Prague but was poorly received in Vienna. Mozart's health was declining and he spent the last years of his life in poverty. He died on the night of 5 to 6 December 1791: he was not yet 35 years old. He was buried in a common grave, due to sanitary measures but also because of his family's destitution. In spite of his early death, Mozart created in 30 years one of the greatest legacy in music history, comprising classical masterpieces in almost every musical genre: opera, sacred music (including his famous Requiem), symphonic, concert or chamber music... His operas include some early works such as La Finta semplice, Mitridate re di Ponto, Lucio Silla, or La Finta giardiniera. Composed in 1781 Idomeneo started to reveal Mozart's personality. Then Il Seraglio, composed the next year, marked his true independence as an artist and the beginning of his mature masterpieces: Le Nozze di Figaro in 1786, Don Giovanni in 1787, The Magic Flute in 1791. With La Clemenza di Tito Mozart returned to the seria genre.

Luca Pisaroni was born in Venezuela and grew up in Italy. Since making his debut in Don Giovanni (Masetto) at the 2002 Salzburg Festival, he has been performing on the leading international opera venues. He has sung the roles of Figaro and the Count (Le Nozze di Figaro) at New York Metropolitan Opera, Salzburg Festival, Vienna Staatsoper, Bayerische Staatsoper in Munich; Leporello (Don Giovanni) at the Teatro Real in Madrid, Metropolitan Opera, Glyndebourne Festival and Teatro alla Scala, Milan; Achilla (Giulio Cesare) at La Monnaie in Brussels; Argante (Ariodante) at the Lyric Opera in Chicago; the title role in Maometto II in Toronto; Count Rodolfo (La sonnambula) and Mustafa (L’Italiana in Algeri) at the Vienna Staatsoper; and Pizarro (Fidelio) at Teatro alla Scala. He made role debuts singing the four diabolical characters in the Contes d’Hoffmann at the Baden-Baden Festival in 2018, the title role in Don Giovanni at the Metropolitan Opera and Escamillo in Carmen the following year in London. During the 2019/20 season, he sang in Les Contes d’Hoffmann in Vienna, Le Nozze di Figaro and Cosi fan tutte in New York, Don Giovanni (title role) in Zurich and Munich. In 2021/22, he portrayed the King of Scotland (Ariodante) in Moscow, the four diabolical characters in Hamburg, Henri VIII (Anna Bolena) in Zurich, Guglielmo (Così fan tutte) in Salzburg, Leporello in Hamburg and San Francisco, Dulcamara (L'Elisir d'amore) in Seattle. Luca Pisaroni also performs in concert (Mozart's Requiem, Beethoven's Ninth Symphony). Engagements for the 2023/24 season include the roles of Don Basilio (The Barber of Seville) in Los Angeles and the title role in Don Giovanni in Houston.

At the Paris Opera: Pulcinella (bass), 2002; La Bohème (Colline), 2003; Alcina (Melisso), 2004; Don Giovanni (Leporello), 2006, 2007; Le Nozze di Figaro (Figaro), 2008, 2010, 2022; Les Nozze di Figaro (Almaviva) 2012; Pelléas et Mélisande (Golaud), 2017; Le Soulier de satin (Don Rodrigue de Manacor), 2021; La Cenerentola (Alidoro), 2022&nbsp;

Pisaroni.Luca.15.(c)Jiyang Chen

Born in China, Ying Fang studied at the Shanghai Conservatoire and the Juilliard School of Music, New York, before joining the Lindemann Young Artist Development Program of the New York Metropolitan Opera. In 2009, she was one of the youngest opera artists to win the China Golden Bell Award for Music.In the 2017-18 season, she made her house debut at Zurich Opera in the role of Pamina (The Magic Flute) and at Vancouver Opera (Adina in L’elisir d’amore). The next season, she made her Salzburg Festival debut (Ilia in Idomeneo).Her appearances include performances at Metropolitan Opera New York as Barbarina (Le nozze di Figaro), Giannetta (L’elisir d’amore), Dew Fairy (Hänsel and Gretel), the Shepherd (Tannhäuser), Elvira (L’Italienne à Alger), Noémie (Cendrillon, Massenet), Ilia, Pamina, Servilia (La clemenza di Tito). Other roles include Morgana (Alcina) at Washington Opera, Zerlina (Don Giovanni) at Chicago Lyric Opera, Susanna (Le nozze di Figaro) in Philadelphia, Amsterdam and Santa Fé, Bellezza (The Triumph of Time and Disillusion) in Lille and Caen, Cleopatra (Giulio Cesare) and Countess de Folleville (Il viaggio a Reims) at Wolf Trap Opera.Last season, she was - among others - Susanna in Vienna, Zerlina in New York and Budapest, and Nannetta (Falstaff) at the Salzburg Festival. In the 2023/24 season, she performs Pamina and Poppea (Agrippina) at Dutch National Opera, and Eurydice (Orphée et Eurydice) at Metropolitan Opera New York.In concert, Ying Fang has been singing with Susanna Mälkki, Jaap van Zweden, Franz Welser-Möst, Andris Nelsons, Roberto Abbado, Mark Minkowski, Gustavo Dudamel and Christoph Eschenbach, in a repertoire ranging from Rossini’s Little solemn mass, Haydn’s Creation, Mahler’s Symphony N.2 to Mozart’s Requiem or Brahms’s German requiem. 

At the Paris Opera: Le nozze di Figaro (Susanna), 2022

Fang

Maltman.Christopher

Born in Sweden, Maria Bengtsson studied at the University of Music in Freiburg. From 2000 to 2002, she was an ensemble member of the Volksoper Wien and, from 2002 to 2007, of the Komische Oper Berlin.&nbsp;Since 2007, she has performed on the greatest international venues (Royal Opera House Covent Garden, Staatsoper Unter den Linden Berlin, Teatro alla Scala in Milan, Bolshoi Theatre in Moscow, Wien Staatsoper, Paris Opera, the Salzburg, Aix-en-Provence, La Fenice festivals…).&nbsp;Recent season, she sang the Countess (Le Nozze di Figaro), Marschallin (Der Rosenkavalier), the Countess (Capriccio) at Wien Staatsoper, the Countess (Le Nozze di Figaro) at the Paris Opera, Blanche (Dialogues des carmélites) at the Frankfurt Opera, Rusalka and Clara (Egmont) at Theater an der Wien, Fiordiligi (Così fan tutte) at Hamburg Staatsoper and Teatro di San Carlo in Naples, Pamina (The Magic Flute) at Staatsoper Unter den Linden Berlin, the soprano part of Verdi’s Requiem staged by Calixto Bieito at Hamburg Staatsoper and the title-role in Oceane at Deutsche Oper Berlin.&nbsp;As a concert and Lieder, she has made guest performances under the baton of Simone Young, Kirill Petrenko, Bertrand de Billy and, for the inauguration of Hamburg’s Elbphilharmonie, she sang Mendelssohn´s Lobgesang with Thomas Hengelbrock.&nbsp;Season 2022/23 sees her as Donna Anna (Don Giovanni) at Royal Opera House Covent Garden, the Countess (Capriccio) at Frankfurt Opera, the Countess (Le Nozze di Figaro) at Hamburg Staatsoper, Marschallin (Der Rosenkavalier), at Dutch National Opera and International Wiesbaden May Festival. With the Bavarian Radio Symphony Orchestra conducted by Kirill Petrenko, she will perform the soprano role in Mendelssohn's Elias in Munich, and sing Strauss's Four Last Songs in Antwerp under the baton of Bertrand de Billy.

Bengtsson.Maria 3 (c) Monika Rittershaus

Of Franco-Italian origin, Lea Desandre studied in Venice with Sara Mingardo, joined William Christie's Jardin des Voix in 2015 and the Festival d'Aix-en-Provence's Mozart Academy in 2016. She was named Révélation lyrique at the Victoires de la Musique awards in 2017. That same season, she made her debut at the Opéra Comique in the title role of Alcione. She appeared at the Festival d'Aix-en-Provence in summer 2017 in Erismena (Flerida), then made her Salzburg Festival debut in Le Coronnement de Poppée (Valletto / Amore) in summer 2018. She has been returning faithfully ever since: Orphée aux Enfers (Venus) and La Morte d'Abel (Abel) in 2019, Così fan tutte (Despina) in 2020 and 2021. She sings the role of Urbain (Les Huguenots) at the Grand Théâtre de Genève, Idamante (Idomeneo) at the Staatsoper Unter den Linden in Berlin, Rosina (Le Barbier de Séville) at the Opéra de Rouen, Annio (La Clémence de Titus) at the Salzburg Festival, Amour (Orphée) at the Opéra Comique. Nominated in the Lyric Artist category at the Victoires de la Musique awards in 2021 and 2023, she sang Cherubino (Les Noces de Figaro) at the Festival d'Aix en Provence, the Zurich Opera, the Gran Teatre del Lieu in Barcelona and the Opéra de Lausanne. Last season, she won the Opus Klassik "Singer of the Year" prize, singing Cherubino in Salzburg and Zurich and Didon (Dido and Aeneas) in Madrid. In the 2023-2024 season, she sings the title roles of Ariodante on European tour and Samson at the Festival d'Aix-en-Provence, as well as Idamante and Annio (concert version) at the Festival d'Aix-en-Provence. Her concerts and recitals have taken her to the Wigmore Hall, Vienna Musikverein, Walt Disney Concert Hall, Carnegie Hall, Berliner Philharmoniker, Théâtre des Champs-Élysées, Sydney Opera House, Hamburg Elbphilharmonie, Mozarteum Salzburg, Philharmonie de Paris and Opéra de Versailles. Lea Desandre records exclusively for Erato / Warner Classics, with whom she has released the albums "Amazone", "Eternal Heaven" and, in autumn 2023, "Idylle".At the Opéra national de Paris: Les Noces de Figaro (Cherubino), 2022; Roméo et Juliette (Stéphano), 2023

Lea Desandre

Dorothea Röschmann

Born in Seattle, James Creswell made his professional debut in Los Angeles and San Francisco before joining the Berlin Komische Oper troup where he performed roles such as Sarastro (The Magic Flute), Prince Gremin (Eugene Onegin) or Figaro (Le Nozze di Figaro). Recent roles include the Dutchman (The Flying Dutchman), Il Commendatore (Don Giovanni), Nourabad (The Pearl Fishers), Count Walter (Luisa Miller) at the English National Opera, Daland (The Flying Dutchman) and Publio (La clemenza di Tito) at Los Angeles Opera, Count des Grieux (Manon), Brother Laurent (Romeo and Juliet), Bartolo (Le Nozze di Figaro) at San Francisco Opera, Fasolt (Das Rheingold), Hunding (Die Walküre), Oroveso (Norma), Mephistopheles (Faust), Dr Kolenaty (The Makropulos Affair), Seneca (L'incoronazione di Poppea), Kecal (The Bartered Bride), Grandfather Frost (The Snow Maiden) at Opéra North, Ashby (The Girl of the Golden West) at Metropolitan Opera, New York, the Marquis of Calatrava (La Forza del destino) and Phorbas (Œdipe) at the Dutch National Opera, Il Cieco (Mascagni’s Iris) at the Scottish Opera. He also performs in concerts (King Marke in Tristan und Isolde with the Bremer Philharmoniker, Dvořák’s Saint Ludmila and Schönberg’s Gurre-Lieder with Hallé Orchestra and Sir Mark Elder, The St Matthew Passion at the May Festival Cincinnati under James Conlon, leVerdi’s Requiem with Vasily Petrenko, The St John Passion with Kent Nagano, A Child of our Time by Sir Michael Tippet and Rocco in Fidelio at the BBC Proms…). Recent projects include Antonio (Le Nozze di Figaro) and Prince Gremin at Santa Fe Opera, Rocco in San Francisco, Bartolo (Le Nozze di Figaro) at Paris Opera, Truelove (The Rake’s Progress) at Metropolitan Opera, New York.

Creswell James

Born in Bologna, Gregory Bonfatti graduated in singing, piano and composition, and won the Belli Competition in Spoleto. He made his debut as Don Ramiro (La Cenerentola). He performs on the major international opera stages (Teatro Comunale in Bologna, Teatro Regio in Parma, Teatro Carlo Felice in Genoa, Royal Opera House in London, Teatro di San Carlo in Naples, La Scala in Milan, Staatsoper Unter den Linden in Berlin, Opéra de Limoges, Opéra de Liège, Théâtre du Capitole de Toulouse, Teatro Regio de Turin, Accademia di Santa Cecilia and Opéra de Rome, Maggio Musicale Fiorentino, La Fenice de Venise, Concertgebouw d'Amsterdam, Festival Puccini de Torre del Lago. ..). At La Scala in Milan, he has appeared in I due Foscari, Salomé, Falstaff, Corghi's Il Dissoluto Assolto, Tchaikovsky's The Queen's Shoes, Prokofiev's The Player, Turandot, Dallapiccola's The Prisoner and, most recently, Fedora. Gregory Bonfatti has recently performed the roles of Il Conte di Lerma (Don Carlo) in Parma, Ein Hirt (Tristan and Isolde) in Rome, the First Jew (Salome) in Turin, Bologna and Bari, Roderigo (Otello) in Baden-Baden, Berlin and on tour in Japan with London's Royal Opera House, Dottore Cajus (Falstaff) in Aix-en-Provence and at the Parma Verdi Festival, Basilio (The Marriage of Figaro) in Nancy and in Luxembourg, London, Versailles and Paris, Goro (Madame Butterfly) in Angers, Nantes and Rennes, Pang (Turandot) at Opéra national du Rhin, Rome, Naples and Dijon, Jacob Glock (The Angel of Fire) in Bari... He has recorded for various labels (Decca, Nuova Era, Dynamic, Virgin Classics and EMI) works such as Madame Butterfly (role of Goro). He also appears on the DVDs of Dialogues des carmélites and The Marriage of Figaro filmed at La Scala, Milan. Future projects include Salomé and La Fille du Far-West in Naples and Les Noces de Figaro in London. At the Opéra national de Paris: The Marriage of Figaro (Don Basilio), 2022

Bonfatti.Gregory (c) Salvatore Geremicca

Christophe Mortagne studied at the Paris Conservatoire. He performs on the leading international stages: Metropolitan Opera New York, Royal Opera House Covent Garden, Gran Teatre del Liceu Barcelona, Paris Opera, the Lyon, Bordeaux, Lille Opera Houses… He has sung with major conductors including Fabio Luisi, Marc Minkowski and Antonio Pappano. Recent highlights include Spalazoni (The Tales of Hoffmann) at the Opéra national de Bordeaux, the Baden-Baden Festival and Royal Opera House Covent Garden, King Bobêche (Barbe-Bleue) at Opéra de Lille and Opéra national de Lyon, the title-role in Roi Carotte at Opéra national de Lyon, Doctor Caïus (Falstaff) at Teatro Real Madrid, Goro (Madama Butterfly) at Gran Teatre del Liceu Barcelona, Monsieur Triquet (Eugene Onegin) at the Canadian Opera Company and Covent Garden, Aegisthus (Elektra) at Opéra national de Bordeaux, the Four Valets (The Tales of Hoffmann) at Metropolitan Opera New York and Opéra national de Lyon, King Ouf 1st (L’Étoile) at Covent Garden, Dutch National Opera and Frankfurt Opera, Guillot de Morfontaine (Manon) at Metropolitan Opera New York, Teatro alla Scala, and Covent Garden, Miro (Die Fledermaus) at the Opéra Comique. Last season, he performed Don Curzio (Le Nozze di Figaro) at the Paris Opera and Teatro Real Madrid. The 2022/23 season will see him as Monsieur Triquet at La Monnaie in Brussels, and Schmidt (Werther) at Covent Garden.

Christophe-Mortagne

Born in Russia, Kseniia Proshina began her vocal studies in Raisa Gladkova's class at the Samara Academy of Arts and graduated in 2016. She performed the title role in Rimsky-Korsakov's The Snow Maiden and Sonya Gurvich in The Dawns Here Are Quiet by Kirill Molchanov. Since 2014, she has been focusing on the Italian repertoire with Alessandro Svab at the Accademia Lirica Santa Croce in Trieste, Italy. She sang the roles of Gilda in Rigoletto, Susanna in Le Nozze di Figaro and Adina in L'Elisir d'amore. She won the first prizes at the Saveliy Orlov and Hramov competitions in Samara. In 2018, she was a finalist in the “Toti Dal Monte” international song competition and won several prizes in competitions such as the Tenor Viñas in Barcelona and the Klaudia Taev in Pärnu Estonia. More recently she won the first prize at the Gianluca Campochiaro Competition in Italy. Beginning of the season 2019/20, she took part in the Paris Opera Academy’s Chinese Tour and performed at the Shanghai Grand Theatre, at the Shenyanget Poly Theater, and the Nanjing Jiangsu Art Theater. Kseniia Proshina joined the Paris Opera Academy in September 2019. In 2021, she sang Lucia Britten’s Rape of Lucretia at the Théâtre des Bouffes du Nord, conducted by Léo Warynski and staged by Jeanne Candel, and she was a laureate of the AROP Award. Beginning 2022, she sang Amore in L'incoronazione di Poppea at the Athénée Théâtre Louis-Jouvet and Barbarina in Le Nozze di Figaro at the Palais Garnier.

Proshina

In residency at the Paris Opera Academy from 2019 to 2021 Born in Switzerland, Andrea Cueva Molnar began her studies in the class of Carmen Casellas at the Montreux-Vevey-Riviera Conservatory of Music. After obtaining her baccalauréat in 2012, she joined the Geneva High School of Music. In 2014, she continued her studies at the Hochschule für Musik und Darstellende in Frankfurt, in Hedwig Fassbender and Klesie Kelly-Moog's classes. Between 2016 and 2019, she sang in five young audience productions at the Frankfurt Opera: Onegin for children, Tosca for children, Le Nozze di Figaro, La Bohème and Die Kleine Opernwelt. In July 2019, as part of the Junge Oper Schloss Weikersheim, she performed the role of Mimi in La Bohème.Andrea Cueva Molnar won the ADAMI Prize in 2018, she also won the Second female prize in the Opera category of the Lyrical Nights of Marmande in 2020.

She joined the Paris Opera Academy in September 2019. 

She took part in the Paris Opera Academy's tour in China and performed at the Shanghai Grand Theatre, the Shenyanget Poly Theater, and the Nanjing Jiangsu Art Theater. She performed on the stage of the Palais Garnier as the Princess in Ravel’s L’Enfant et les sortileges in January 2020. For her second season at the Paris Opera Academy, she portrayed Belinda in Dido and Æneas at the "Voix d'automne" Festival in Evian, conducted by Leonardo García Alarcón, and the Female Chorus in Benjamin Britten’s Rape of Lucretia at the Théâtre des Bouffes du Nord.During the season 2021/2022, she sang Silvia in L'isola disabitata at the Dijon Opera and Poussette (Manon), a Young Woman (Le Nozze di Figaro) and a Flowermaiden (Parsifal) at the Paris Opera.

Cueva Molnar.Andrea (c) Ariel Leuenberger

Born in New York, Ilanah Lobel-Torres graduated from the New England Conservatory and obtained a vocal performance degree at the Mannes School of Music.Following her master in 2019, she joined the Paris Opera Academy, where she performed on the Bastille Opera and Palais Garnier stages and toured in Beirut, at La Grange au Lac in Évian and at the Dijon Opera. In September 2020, she was diagnosed with a primary mediastinal B-cell lymphoma and underwent six cycles of chemotherapy. Six months after the end of her treatment, she came back to Paris for the 2021/22 season of the Paris Opera. She sang Ozia (La Giuditta) at La Grange au Lac with director Thibault Noally, and Costanza (L’isola disabitata) at Dijon Opera with Fayçal Karoui. With the Academy, she also appeared in concerts and as the sole soloist in chamber music concert series with the Paris Opera Orchestra. I the 2022/23 season, Ilanah Lobel-Torres returned as Ozia at the Chaise-Dieu Festival and the Festival Sinfonia en Périgord with Les Accents and Thibault Noally, made her debut at the Santa Fe Opera in the role of the First Nymph (Rusalka) under Lidiya Yankovskaya, and as an understudy for Proserpina (L'Orfeo) under Harry Bicket. She is joining the Paris Opera Company for the 2023/24 season.





At the Paris Opera: L’Enfant et les Sortilèges (the Shepherdess, the Bat), 2020; Manon (Javotte), 2022; Le Nozze di Figaro (a donna), 2022; Le Nozze di Figaro (Barbarina), 2022; Peter Grimes (Second Niece), 2023

Gustavo Dudamel was born in 1981 in Barquisimeto, Venezuela. In 1996, at the age of 18, he was appointed Music Director of the Simón Bolívar Youth Symphony Orchestra of Venezuela. In 2004, he won the inaugural Bamberger Symphoniker Gustav Mahler Competition and gained international fame. He was nominated (2007-2012) Music Director of the Gothenburg Symphony. He was then appointed Music and Artistic Director of the Los Angeles philharmonic Orchestra in 2009.In 2023, Gustavo Dudamel was appointed Music Director of the New York Philharmonic Orchestra starting in the 2026/2027 season.Inspired by the El Sistema programme, he founded YOLA (Youth Orchestra Los Angeles) in 2007, which has already provided 1500 young people with free instruments, intensive musical and conducting teaching. He also founded in 2012 the Dudamel Foundation aiming to « widen access to music and the arts for young people ».In 2022, he was named Officier de l’ordre des Arts et des Lettres.Alexander Neef, General Director of the Paris Opera, appointed Gustavo Dudamel as Music Director of the Paris Opera on April, 16th 2021, taking office on August, 1st 2021.During the 21/22 season, Gustavo Dudamel has conducted the inaugural concert, the ballet gala, Le Nozze di Figaro at the Palais Garnier, Turandot at the Opéra Bastille, the symphonic concert « Ravel, Mozart, Berlioz » at the Philharmonie de Paris and the Halle aux Grains in Toulouse. The Paris Opera Ballet was invited by Gustavo Dudamel to perform at the Hollywood Bowl in Los Angeles with the LA Philharmonic Orchestra.During the 22/23 season, Gustavo Dudamel has conducted Tosca, Tristan and Isolde and Nixon in China at the Opera Bastille, the symphonic concerts « Symphonie °9 » by Gustav Mahler at the Philharmonie de Paris, at the Gran Teatre del Liceu (Barcelona) and at the Victoria Hall (Geneva), the « carte blanche » concert with the artists of the Academy at the Palais Garnier as well as the symphonic concert « Messiaen, Haydn, Ravel, Strauss » at the Philharmonie de Paris. On 25 May, the Paris Opera has announced the resignation of Gustavo Dudamel as Music Director. He will be stepping down at the end of the 22/23 season.&nbsp;

Director, designer and video artist Netia Jones works in a large artistic area, from opera, theatre to concert performances.&nbsp;Her many productions include Macbeth (Nouvelle-Zélande Opera), Glass’s Orphée (English National Opera), Neuwirth’s The Outcast (Elbphilharmonie in Hamburg, Wien Modern and Philharmonie de Paris with the Festival d’Automne in Paris), Haendel’s Amadigi and Mozart’s The Magic Flute (Garsington Opera), Beckett’s Stirrings Still and Feldman’s Words and Music (Festival Beckett Happy Days),Kurtág’s Kafka Fragments and Haas’s Atthis (Royal Opera House Covent Garden), Britten’s Curlew River (Barbican in London, Lincoln Center in New York, CalPerformances, USA), Britten’s Midsummer Night’s Dream (Aldeburgh Festival and Santa Fe Opera), Handel’s Messiah (Bergen Opera), Unsuk Chin’s Alice in Wonderland (Los Angeles Philharmonic and Barbican London), Knussen’s Where The Wild Things Are (Los Angeles Philharmonic, Barbican London, Aldeburgh Festival), Transfigured Night (Orchestre de Chambre de Paris), Tan Dun’s Marco Polo (Bergen Opera), Illuminations (Swedish Radio Symphony Orchestra), Irvine’s Least Like the Other (Irish National Opera), Le Nozze di Figaro (Paris Opera).&nbsp;She also created three productions for the Aldeburgh Festival: Everlasting Light (set to works by Scelsi, Mazulis, Marenzio, Gesualdo, reflection on he nuclear power station constructed in Sizewell in 1961), Before Life and After (Britten, Tippett, Finzi) and The Way To The Sea (Britten).&nbsp;She is the Lightmap Director, a creative studio working for cinema, interactive media and video projects. She founded and directed Transition, an multimedia performance group with which she created concert productions ranging from Couperin to Berio.

Lighting designer Lucy Carter won the inaugural 2018 Critics’ Circle National Dance Award for Outstanding Creative Contribution. She has twice won the Knight of Illumination Award, (Chroma, 2008, and Woolf Works, 2015), and also won the TMA Achievement Prize for Lohengrin and the 2004 Olivier Dance Award for 2 Human. Lucy Carter often collaborates in prestigious Opera Institutions. She took part in the creations of The Cunning Little Vixen, Orpheus, Salome, and The Dream of Gerontius at English National Opera, Kátia Kabanová at Rome Opera and Royal Opera House Covent Garden (2019 Olivier Award in the Best New Opera Production category), Mavra/Pierrot lunaire and Hänsel und Gretel at Covent Garden, Werther at Bergen National Opera, Elektra in Göteborg, Lohengrin in Greece, Warsaw and Cardiff, La finta giardiniera in Glyndebourne and Teatro alla Scala, Le Nozze di Figaro at Paris Opera… Carter’s theatre work includes Much Ado About Nothing, 2:22 A Ghost Story, Wicked, Everybody’s Talking About Jamie, Coriolanus, Home, I’m Darling, The Almighty Sometimes, On the Town, Oil, The End of Longing, Medea, Emil and the Detectives, Blurred Lines and Husband and Sons. Her choreographic works include, among others, The Dante Project, McGregor + Mugler, Woolf Works, Obsidian Tear, Afterite, Yugen, Multiverse, Chroma and Autobiography with choreographer Wayne McGregor, Threshold for Le Patin Libre and The Most Incredible Thing (Sadler’s Wells and Charlotte Ballet). Lucy Carter has also designed the lighting for Gareth Pugh women's collection shows at London Fashion Week in 2017 and 2019 and Paloma Faith's performance at the Brit Awards in 2015. This season, she is working on Alcina at the Royal Opera House Covent Garden.

Sophie Laplane trained at Paris Conservatoire and spent a year at Ballet de Lorraine before dancing with Scottish Ballet. After transitioning into choreography, she was appointed Choreographer in Residence of the Scottish Ballet.&nbsp;Her creations for the company include Oxymore (Edinburgh Festival), Sibilo (for Scottish Ballet’s tour in Salt Lake City and New York), and Dextera (created as part of Scottish Ballet’s 50th Anniversary).&nbsp;As a freelance choreographer, Sophie Laplane also choreographs internationally for renowned companies including Ballet Black (London), Ballet West (Salt Lake City), The New York Choregraphic Institute with dancers of the New York City Ballet.&nbsp;As part of Scottish Ballet’s Digital Season, she further developed her interest in digital dance with The Perfect Place, in partnership with the BBC, and A Work in a Week: Idle Eyes, which was live-streamed throughout the creation process. During the Covid lockdown, Sophie created Indoors, a piece for 38 dancers in their own homes.&nbsp;Maze, directed by Eve McConachie, won Best Screen Dance Short at the 2015 San Francisco Dance Film Festival. In 2021, she created Dive, inspired by artist Yves Klein, a collaboration with co-creator James Bonas and film director Oscar Sansom which won the Cinedans Festival 2022 in the “Best short film” category.&nbsp;In 2022, she created Oh! Les Mains, double prize-winner at the Concours de Jeunes Chorégraphes, Biarritz 2022, taking both the Prix des Professionnels and the Prix du Public. She has also choreographed for Netia Jones’ Le Nozze di Figaro at the Paris Opera and created her piece Galantheae, premiered by Ballet West at the Salt Lake City Dance Festival.

After studying music at the École des Hautes Études en Sciences Sociales (EHESS), Solène Souriau began working as an assistant director. She worked at the Deutsche Oper in Berlin, the Opéra national de Montpellier, the Théâtre de l'Athénée in Paris, the Spoleto Festival in Italy and La Monnaie in Brussels.&nbsp;She has worked with Jean-Paul Scarpitta (Così fan tutte, 2013), Frédéric Fisbach (Erwartung, Cleopatra’s Death, and The Lady of Monte-Carlo, 2014), Richard Brunel (Béatrice et Bénédict, 2016) and Célie Pauthe (Die Fledermaus, 2018-2019, L'Annonce faite à Marie, created by Philippe Leroux, 2022).&nbsp;Also devoted to creation, she has been working since 2013 with the company T&amp;M, dedicated to new forms of musical and lyrical theatre. She worked on Sebastian Rivas’s creation of Aliados at the T2G-Théâtre de Gennevilliers and then, as playwright, took part in the creation of Giordano Bruno, an opera by Francesco Filidei (La Casa da Música, 2016).&nbsp;She also regularly works with the Paris Opera Academy, the Musica Festival, the Opéra national du Rhin and the Opéra de Rouen Normandie. From 2015 to 2021, she also joined the Paris Opera Department of Dramaturgy, Publishing and Communication, where she worked as a playwright during the 2020-2021 season.

After studying Piano and Composition at the G.B. Martini Conservatoire in Bologna, Alessandro Di Stefano began his career as a concert pianist. Awarded a grant by the G. Verdi Conservatoire of Milan, he specialised in chamber music and operatic repertoire and took part in numerous recitals.&nbsp;Discovering an increasing interest in choral conducting, he continued his studies with Franco Monego at the Milan Conservatoire where he obtained first prize for conducting and choir training and took part in master classes with Aldo Ceccato and Piero Bellugi.&nbsp;In 2000, whilst continuing to pursue his career as a concert pianist and accompanist, he joined the Nice Opera company as vocal coach and was appointed assistant chorus master. He also worked as vocal coach for Traviata at the Antibes Festival and participated in a number of operatic productions for the Chorégies d’Orange. He conducted the Nice Opera Orchestra on numerous occasions, notably during the Nice Baroque Festival. In 2004, he joined the Paris Opera as Assistant Chorus master, since when he has worked alongside a number of prestigious conductors including Philippe Jordan, Daniel Oren, Evelino Pido, Renato Palumbo, Jiří Bělohlávek, Semyon Bychkov, Gustav Kuhn, Michail Jurowski and Kent Nagano. From 2007 to 2009, he was Chorus master and in 2008 accompanied the Opera Chorus to Japan on a tour featuring Tristan and Isolde and Ariane et Barbe-Bleue conducted by Semyon Bychkov and Lylvain Cambreling.Alessandro Di Stefano has now participated in over 50 Paris Opera productions and numerous radio broadcasts for France Musique and Radio Classique as well as various audiovisual recordings.&nbsp;He is currently Assistant Chorus master at the Paris Opera.&nbsp;In 2015, he was appointed Chevalier des Arts et des Lettres by the Minister of Culture Fleur Pellerin.

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Le nozze di Figaro

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Behind the Scenes of The Marriage of Figaro

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