Act I

Act II

Act III

Act IV

Couv_Cendrillon_2324

Libretto

Mariame Clément

Interview with Mariame Clément

Cendrillon 21-22 © Monika Rittershaus – OnP (3)

Interview with Tara Erraught

image-1

Cendrillon, Massenet

Jules Massenet no doubt sought to enchant his era when he set Charles Perrault’s fairytale to music. With Cendrillon, the composer offers us one of his most attractive works, quite unlike other operatic adaptations of the tale. The mischievous Lucette and the women around her give the work a tone whose myriad nuances confirm the words of Claude Debussy who saw Massenet as “the musical historian of the female soul”. By gracing the fairy with an unreal coloratura timbre and having the role of the prince sung by a soprano, the composer offers us a vocal festival carried along by a richly varied orchestration alternating between Mozartian finesse, baroque-style citations and grand romantic overtones. To mark the addition of Cendrillon to the Paris Opera’s repertoire, Mariame Clément plays on the myth’s fantasy side, reflecting on the characters’ inner selves whilst setting them free from their tight suits and court shoes. Orchestre et Choeurs de l’Opéra national de Paris Directed by François RoussillonA coproduction by Opéra national de Paris, François Roussillon et Associés with the participation of France Télévisions With the support of La Fondation Orange, patron of Opéra national de Paris audiovisual retransmissions, Cercle audiovisuel et numérique, Cercle Berlioz and with the assistance of Centre National du Cinéma et de l'image animéeOpéra national de Paris - François Roussillon et Associés - 2022Visual: © Monika Rittershaus / OnP

Cendrillon (Lucette): Pandolfe’s daughter and Madame de La Haltière’s stepdaughter Madame de La Haltière: Cendrillon’s stepmother Mother to Noémie and Dorothée Le Prince Charmant La Fée: Cendrillon’s godmother Noémie: Cendrillon’s stepsister Dorothée: Cendrillon’s stepsister Pandolfe: Cendrillon’s father, a widower and now married to Madame de La Haltière Le Roi

Cendrillon 21-22

Cendrillon

fr / en

Cendrillon (saison 21/22) - 5

Cendrillon by Jules Massenet

 Jules Massenet no doubt sought to enchant his era when he set Charles Perrault’s fairytale to music. With Cendrillon, the composer offers us one of his most attractive works, quite unlike other operatic adaptations of the tale. The mischievous Lucet

Jules Massenet

Born in Ireland, Tara Erraught graduated from the Royal Irish Academy of Music in Dublin and studied with Brigitte Fassbaender. Until 2018, she was a member of the opera studio of the Bavarian State Opera (Munich) where she performed many leading roles of her repertoire, including Hänsel (Hänsel und Gretel), Prince Orlofsky (Die Fledermaus), Sesto (La clemenza di Tito), Romeo (I Capuleti e i Montecchi). She performs there regularly as guest artist in the roles of the Composer (Ariadne auf Naxos), Rosina (The Barber of Seville) and Adalgisa (Norma).She also took part in the creation of Miroslav Srnka's opera South Pole (as Kathleen Scott) under Kirill Petrenko. She made her role debut as Octavian (Der Rosenkavalier) at Glyndebourne Festival. She portrayed Rosina and Angelina (La Cenerentola) at Wien and Hamburg Staatsoper, La Cenerentola at Washington Opera, Nicklausse (The Tales of Hoffmann) and Hänsel at Metropolitan Opera New York, Annio (La clemenza di Tito) at Baden-Baden Festival.Though now developing her soprano repertoire, she has performed the title role in Maria Stuarda at Irish National Opera, Donna Elvira (Don Giovanni) at Wien Staatsoper, Rosina and Donna Elvira at Staatsoper Unter den Linden Berlin, Fiordiligi (Così fan tutte), Vitellia (La clemenza di Tito) and Mrs Alice Ford (Falstaff) at Hamburg Staatsoper. 

At the Paris Opera: Iphigénie en Tauride (title role), 2021; Cendrillon (title role), 2022

Erraught.Tara

Daniela Barcellona was born in Trieste, where she completed her musical studies under the guidance of Alessandro Vitiello. After winning numerous international competitions, she made her debut in the title role of Tancredi in Pesaro, establishing herself as a reference interpreter for “en travesti” roles, which have brought her to walk the most prestigious opera houses worldwide – New York’s Metropolitan Opera, La Scala in Milan, Royal Opera House in London, Théâtre des Champs Elysées in Paris, Bayerische Staatsoper in Munich, Teatro Real in Madrid, Salzburg Festival , Gran Teatre del Liceu in Barcelona, to name a few. Prized with the “Premio Abbiati” and other major awards, she has worked with some of the greatest conductors and stage directors. More recently, she sung in Verdi’s Requiem with Konzerthausorchester Berlin led by Juraj Valčuha and with the Chicago Symphony Orchestra conducted by Riccardo Muti; in Paisiello’s Missa defunctorum with the Orchestra Giovanile Cherubini led by Riccardo Muti in Pavia and Florence, and in Heroic Bel Canto recital with works by Bellini, Donizetti, Rossini in Melbourne. She also performed in Hamburg and Wien in Verdi’s Requiem, in Paris and Luxemburg in Rossini’s Stabat Mater, Beethoven’s Ninth Symphony with the Teatro di San Carlo Orchestra in Naples. She sang Mrs Quickly in Falstaff at the Staatsoper Berlin conducted by Zubin Mehta and she opened the 2020/2021 season of the Teatro Real in Madrid debuting as Ulrica in Un ballo in maschera. Her several recordings include albums dedicated to Scarlatti and Pergolesi, works by Rossini, Mayr and Meyerbeer, as well as Verdi’s Requiem and Berlioz’s epic Les Troyens. A complete studio recording of Rossini’s Semiramide, starring Albina Shagimuratova and Daniela Barcellona, conducted by Sir Mark Elder, has been released by Opera Rara in 2018. The album was awarded the Recording of the Month by Opera, Gramophone & BBC Music Magazine and was chosen as one of the Gramophone, Classical & Sunday Times 2018 Recordings of the Year. It also received the Opera Award 2019 as “Best Recording Complete Opera”. In 2020, Bel Air Classiques released the DVD of Laurent Pelly’s new production of Falstaff, recorded at the Teatro Real in Madrid (2019).

Ph. Studio Amati_Bacciardi

Stephany.Anna

Kathleen Kim studied at the Manhattan School of Music and then joined the Chicago Opera’s Ryan Opera Center. She made her debut at the Metropolitan Opera New York in 2008 as Barbarina (Le Nozze di Figaro), and has since been a regular guest there (Tytania in A Midsummer Night’s Dream, Olympia in The Tales of Hoffmann, Blondchen in Il Seraglio, Papagena in The Magic Flute, Oscar in Un ballo in maschera, Zerbinetta in Ariadne auf Naxos, Sophie in Der Rosenkavalier, the Fairy in Cendrillon, Chiang Ch’ing in Nixon in China) and has sung under conductors such as James Conlon, James Levine, Fabio Luisi, Kirill Petrenko, Sebastian Weigle, Bertrand de Billy. She performed Violetta (La Traviata) and Gretel (Hänsel und Gretel) at the Seoul Opera, the title-role of Lucia di Lammermoor at the Montreal Opera and in Korea, Olympia at Bayerische Staatsoper Munich and Gran Teatre del Liceu Barcelona, Oscar at La Monnaie in Brussels, Zerbinetta in Frankfurt, Tytania at the Glyndebourne Festival (where she also sang in L’Enfant et les sortilèges). She performed Josephine in Huand Ruo’s premiere of An American Soldier in Saint-Louis and a concert with the Seoul Philharmonic Orchestra and Myung-Whun Chung. Most recently, she appeared in The Hours (Barbara / Mrs. Latch) at Metropolitan Opera New York.

At the Paris Opera: Cendrillon, 2022

Kim.Kathleen

Lebegue.Marion

Belgian baritone Lionel Lhote studied at the Frameries Music Academy in his father’s class, and then at the Conservatoires in Mons and in Brussels with Marcel Vanaud. In 2004, he won the 6th prize in the Queen Elisabeth international Music Competition. He performs at the leading international opera houses (Opéra Royal de Wallonie, Flanders Opera, La Monnaie in Brussels, Monte-Carlo Opera and in Stuttgart, Frankfurt, Grand Théâtre de Genève, Glyndebourne Festival, Teatro Massimo Palermo, Teatro alla Scala, Milan, Opéra national du Rhin, Opéra national de Lyon, Paris Opera…) with conductors such as Evelino Pido, René Jacobs, Philippe Auguin, Marc Minkowksi, Stefano Montanari, Kazushi Ono, Alain Altinoglu, Adam Fischer, Patrick Davin, Carlo Rizzi and directors such as Laurent Pelly, David McVicar, Rolando Villazón, Stefano Poda, Richard Brunel, Mariusz Trelinski, Waut Koeken, Joël Pommerat. He is an acclaimed performer of the French repertoire: Escamillo (Carmen), Valentin (Faust), Zurga (Les Pêcheurs de perles), Sancho (Don Quichotte), Lescaut (Manon), Albert (Werther), Nilakantha (Lakmé), Hamlet (title-role), Henry VIII(title-role), Chorèbe (Les Troyens), Fieramosca (Benvenuto Cellini), Pelléas (Pelléas et Mélisande). His roles in the Italian repertoire includes: Germont (La Traviata), Paolo (Simon Boccanegra), Fra Melitone (La forza del destino), Il Conte di Luna (Il Trovatore), Amonasro (Aida), Posa (Don Carlos), Enrico (Lucia di Lammermoor), Malatesta (Don Pasquale), Scarpia (Tosca), Marcello (La Bohème), Sharpless (Madame Butterfly), and his roles in the Mozart repertoire includes: Don Alfonso (Così fan tutte), Leporello (Don Giovanni), Papageno (The Magic Flute). Recent highlights include Sharpless (Madama Butterfly) at Opéra national de Lyon, Don Andrès de Ribeira (La Périchole) in Liège and Valentin at Opéra de Lille and Opéra Comique.



At the Paris Opera: La Bohème (Schaunard), 2014; Werther (Johann), 2016; Cendrillon (Pandolfe), 2022

Lhote.Lionel (c) Santina Caccalluzzo

Born in Paris, Philippe Rouillon studied at the National Consevatory and then at the School of Lyrical Arts (Paris Opera).His repertoire includes the roles of Golaud (Pelléas et Mélisande), the High Priest (Samson et Dalila), Thoas (Iphigénie en Tauride), the Four Devils (The Tales of Hoffmann), Mephisto (The Damnation of Faust),&nbsp;Ourrias (Mireille), Capulet (Gounod's Romeo and Juliet), Chorèbe (The Trojans), Athanaël (Thaïs), Herod (Hérodiade), Creon (Médée),&nbsp;Germont (La Traviata), Iago (Otello), Renato (Un ballo in maschera), Scarpia (Tosca),&nbsp;Amfortas (Parsifal), Jochanaan (Salome), Orestes (Elektra), Ruprecht (L’Ange de feu), Figaro (Il Barbiere di Siviglia), Günther (Le Crépuscule des dieux), Le Chevalier (Ondine&nbsp;by Daniel-Lesur), Tonio (I Pagliacci) and Alfio (Cavalleria rusticana).He has sang the title roles in Guillaume Tell, Saint Francis of Assisi by Messiaen, King Arthus by Chausson,&nbsp;Henry VIII&nbsp;by&nbsp;Saint-Saëns, Macbeth, Rigoletto, Nabucco.Recent seasons performances include The Love of the Three Oranges at the Paris Opera and in Amsterdam, Manon at La Scala in Milan and the Liceu in Barcelona, Medea at the Theater an der Wien and La Monnaie in Brussels, La Traviata in Cincinnati, Michele in Il Tabarro in Warsaw, Tosca at the Semperoper in Dresden, Faust’s Damnation at the Musikverein in Vienna, Hérode in Hérodiade at the Staatsoper in Vienna and at the&nbsp;Flemish Opera in Antwerp,&nbsp;The Huguenots in Brussels and Strasburg; at the&nbsp;Royal Opera of Wallonia he sang&nbsp;the Duke in César Frank’s Stradella,&nbsp;the Prologue of Pagliacci and the role of Creon in Stravinsky's&nbsp;Oedipus-Rex,&nbsp;the Marquis de La Force in Dialogue with the Carmelites at the Théâtre des Champs Élysées,&nbsp;Claudius (Hamlet) in Lausanne and Nantes, Orest's tutor in Elektra at the Paris Opera.He has recorded the title-roles of Henry VIII,&nbsp;King Arthus,&nbsp;Saint Francis of Assisi, and&nbsp;Faust’s Damnation, Jerusalem, Francesca da Rimini, Lélio, Iphigénie en Tauride, The Childhood of Christ, Les Barbares, Parsifal and Thais for France 3.

Rouillon

Member of the Paris Opera ChorusCyrille Lovighi was born in 1975 in Sartène (southern Corsica). He started out his training at Corsica’s Centre d’art polyphonique and in 1995 joined the men’s chorus of Sartène, led by Jean-Paul Poletti. That same year, he appeared at the Théâtre du Châtelet in Jean-Paul Poletti’s Cantata Corsica.He then went on to record a number of CDs (Polyphonies Franciscaines in 1996 on the Audivis label; Fiori di Memoria in 1998, also on the Audivis label; Messa Sulenna in 2000 for Jade Music; Cantata Corsica in 2000 conducted by Cibrian Para with Romania’s Sibiu Philharmonic Orchestra for Naïve; and Goyescas de Granados in 2004 on the Night & Day label).Numerous concerts as a soloist would follow, including Jean-Paul Poletti’s Messa Sulenna with the Sartène Men’s Chorus and the Lyon Opera Orchestra under the direction of John Alldis in March 2001, then Gounod’s Mass and Bizet’s Te Deum in 2003.He was tutored by Yves Sotin at the Regional Conservatory in Angers (where he was unanimously awarded the Gold Medal in 2002) and then in the advanced class at the Regional Conservatory of Saint Maur-des-Fossés (where he was unanimously awarded the Gold Medal in 2004). In 2004, at the Théâtre 13 in Paris, he sang in the opera version of Granados’ Goyescas, an ambitious blend of theatre and opera which would also be presented at the Avignon Festival in July 2004, and at Planete Andalucia in 2005 along with an original creation entitled Flamen Corse which he himself co-authored.In June 2005, he became a full-time member of the Paris Opera Chorus. At the Paris Opera: Il Trovatore (un messo), 2016 ; The Tales of Hoffmann (Nathanaël), 2016, 2023 ; Lohengrin (ein brabantische edel), 2017 ; Simon Boccanegra (un capitano dei balestrieri), 2018 ; Cendrillon (le Doyen de la Faculté), 2022

cyrille lovighi nb

Olivier Ayault attended the voice class of Nadia Wroblewska at the Conservatoire Russe Serge Rachmaninov in Paris. Since 1999, he has been a member of the Ensemble Eurydice and has participated in numerous chamber music and opera concerts, most notably in Italy. His extensive repertoire includes operas, melodies and religious works. He sang excerpts from La Traviata (Germont), Rigoletto and Pagliacci (Silvio) during a performance at the Conservatoire Rachmaninov. He also endeavours to revive 19th and 20th century works that have since disappeared from the major repertoire. He gave a concert of rare arias from the Italian, Russian and French repertoires as part of the Fête de la Musique celebrations and in 2006, he took part in the Musical Season of the ship Daphné, on the Quai Montebello in Paris. In 2007, he went on tour to California with the Ensemble Eurydice and performed the role of Escamillo in Carmen in Paris. In 2008, he sang the bass solo sections of two major works from the baroque repertoire: Handel’s Messiah and Bach’s Saint Matthew Passion. He went on to sing the role of Sancho in Massenet’s Don Quichotte at the Château de Joinville, then in Paris as part of the “Opéra des Rues” festival and finally in Besançon and Chaumont. He also performed the title role in Gianni Schicchi in Paris in a production by Florence Guignolet. In 2009, he took part in the “Opéras en Plein Air” French tour (Marullo in Rigoletto). The Armenian-born organist Nariné Simonian, gave him the role of Thoas in Gluck’s Iphigénie en Tauride after which he created his second production, España Juanita, at the Théâtre du Tambour Royal. In 2010, he sang the role of Leporello in Don Giovanni at the Auditorium La Fontaine in Paris and Masetto at the Summum Theatre in Grenoble. he is also a member of the Paris Opera Chorus.

Ayault.Olivier (c) Julien Benhamou OnP

Vadim Artamonov was born in the Amur region in the far east of Russia. He began playing the violin at the age of six and became an actor at ten. After studying music at the Gnessin Russian Academy of Music in Moscow, he earned State Diplomas as a choirmaster and for opera singing. He then went on to hone his skills under the guidance of Jane Berbié, Michelle Wegwart, Sergio Bertocchi, Gianfranco Brizio, Vladimir Galouzine and Nikolai Okhotnikov. Between 1987 and 1991, he led the Young Musicians’ Orchestra of the Soviet Union’s Ministry of Culture as well as the Chamber Chorus of the “Academy of Sacred Music”. Since 1999, he has been a member of the Paris Opera Chorus. At the same time, Vadim Artamonov also sung as a soloist at the Teatro Lirico di Cagliari (Italy) in The Queen of Spades (the role of Surin) as well as at the Rhine National Opera in Tchaikovsky’s The Maid of Orleans (the role of Bertrand). He has participated in concerts by the Orleans Symphony Orchestra (Verdi’s Requiem, Beethoven’s Ninth Symphony, Rachmaninov’s The Bells, etc.) and sung as a soloist in Mozart’s Requiem and Schubert’s Masses with the Violons Virtuoses at the Sainte Chapelle in Paris. He is preparing a recital for the Andorra International Festival that will be rebroadcast on the radio, as well as a programme of Shostakovich and Mussorgsky cycles for Radio Classique in Strasbourg. He will also be giving several recitals for bass voice and organ in France, Germany and Italy. Aside from giving masterclasses and working with different musical ensembles, Vadim Artamonov was also involved in the making of a documentary on the life of Shostakovich (a production of Sheldon Rich & Associates, New York).

Artamonov

FOLIO PERES Blandine 

CORINNE TALIBARD

Stéphanie Loris was introduced to music as a child by learning the piano, and after a Master's degree in Econometrics, she chose to devote herself entirely to the study of singing.She won the 1st Prize in Opera at the International Competition of Mâcon in 1999 and then joined the Opera Studio of the Lyon Opera for two consecutive seasons, where she played the roles of Rosita (Un mari à la porte by Offenbach), Laurette (Le Docteur Miracle by Bizet), Guillemette (La farce de Maître Pathelin by Barraud), Fé-an-nich-ton (Ba-ta-clan by Offenbach), Elisetta (Il matrimonio segreto by Cimarosa), or Berta (Il barbiere di Siviglia by Rossini) alongside artists such as Karine Deshayes, Svetlana Lifar or Paul Gay.She then took on the roles of Camilla Périchole (Le carrosse du Saint-Sacrement by Büsser) at the Opéra Comique, Najade (Ariadne auf Naxos by Strauss) at the Opéra de Tours, Juliette (Gounod) in Calais, Yvette (La Rondine by Puccini) and a Flower Girl (Parsifal) at the Opéra de Nice, Bubikopf (Der Kaiser von Atlantis by Ullmann) in Bonn and Bayreuth, The Queen Mother of Samarkand (Turandot by Busoni) at the Dijon Opera, Tosca with the Opera-Théâtre de Lyon in co-production with the Saint-Etienne Opera, Pamina (Die Zauberflöte), Micaëla (Carmen), Despina (Cosi fan tutte), Donna Anna (Don Giovanni), La Contessa Almaviva (Le nozze di Figaro) and Adina (L'Elisir d'Amore). Stéphanie Loris has performed several times in concert with Jean-Christophe Keck and the Orchestre Pasdeloup for Offenbach series (Festival de Radio France, Salle Gaveau, Théâtre Mogador), as well as with the Orchestre des Pays de Savoie (La Folle Tournée) or the Ensemble orchestral de Paris. She was invited by Rolando Villazón to participate with him at the Tivoli Festival in Copenhagen in August 2010, in a recital of opera arias and duets.Since the beginning of the 2017 academic year, Stéphanie Loris has been part of the Paris Opera Chorus.

Stéphanie Loris

Trained at the Atelier lyrique de l'Opéra national de Paris Member of the Chœurs de l'Opéra national de ParisAnne-Sophie Ducret graduated with a gold medal in violin, voice, music theory and music history from the Conservatoire à rayonnement régional d'Annecy. She also won a singing prize at the Conservatoire National Supérieur de Musique de Lyon. She holds a degree in musicology. She was concertmaster of the Orchestre Régional des Jeunes de Rhône-Alpes and took part in orchestral sessions at the Ochsenhausen Academy.In September 2000, she joined the Atelier lyrique de l'Opéra national de Paris. She sang Juliette (Juliette ou la clé des songes) during the dress rehearsal at the Palais Garnier.She also sang the roles of Fiordiligi (Così fan tutte) at the Chorégies d'Orange and Blanche (Dialogues des carmélites) in Saint-Jean-de-Luz. She also excels in oratorio, giving recitals of French mélodies at the Opéra national de Lyon Amphithéâtre, the Abbaye de Royaumont and the Biennale de la voix in Clermont-Ferrand. She was a member of the 20th-century workshop at the Conservatoire national supérieur de musique de Lyon.She has won numerous competitions: the AROP lyric prize, first prize for opera at the Symphonies d'Automne de Mâcon, the Adami Oratorio prize in Clermont-Ferrand, the opera, melody and audience prizes at the Voix d'Or de Metz, first prize for contemporary melody in Mâcon with orchestra and piano. She plays the role of the singer in Bruno Chiche's film Hell. She sang Brahms's Liebeslieder opus 52 and opus 65, as part of a ballet choreographed by Balanchine at the Palais Garnier.At the Opéra national de Paris: Rigoletto (la Contessa), 2001; La Femme sans ombre (eine Kinderstimme), 2003; La Petite Renarde rusée (la Femme de l'aubergiste), 2010; Le Triptyque (Un'amante, Prima conversa), 2010; Tannhäuser (Edelknaben), 2011; L'Enfant et les Sortilèges (un animal), 2013; Elektra (Dienerin), 2013; Cendrillon (un Esprit) 2022, 2023

Ducret.Anne-Sophie 2

Born in Belgium, Sophie Van de Woestyne made her professional debut at the Opéra royal de Wallonie. Soon after, she moved to Paris to pursue her artistic career and appeared at the Théâtre du Châtelet, Théâtre des Champs-Élysées, Opéra Comique, Opéra national de Lyon, but also at the Vienna Konzerthaus. She toured in the leading French operatic venues with the Ambronay Baroque Music Festival. She has portrayed Juno in Actéon. At the Opéra national de Lyon, she sang Nicklausse (The Tales of Hoffmann), the Mother (Der Jasager) and Mozart’s Requiem. At the Théâtre du Châtelet, she was Zoé (Véronique), Scientist (The Fly), Sister Margareta (Sound of Music). She was also one of the Six Spirits in Cendrillon at the Opéra Comique, a Carmelite in Dialogues with the Carmelites at the Théâtre des Champs-Élysées. In the same theatre, she sang Mrs Noe (L’Arche de Noé), Zulma (L'Italiana in Algeri) and Clotilde (Norma). In 2014, she joined the Paris Opera Chorus as a supernumerary artist where she became, in 2018, a tenured artist.

At the Paris Opera: Cendrillon (a Spirit), 2022 ; Peter Grimes (Fisherwoman), 2023

Van de Woestyne.Sophie (c) Julien Benhamou OnP

Carlo Rizzi has worked extensively in the domain of symphonic music and opera, conducting the canons of the repertoire with the same flair as rarities by Bellini, Cimarosa and Donizetti. He has been invited to some of the most prestigious international theatres and festivals and conducted some of the greatest symphonic orchestras.Even so, it is opera which forms the central pillar of his career. Since making his debut in 1982 with Donizetti’s L’ajo nell’imbarazzo, he has conducted around a hundred operatic works, in a repertoire focused not only on Italian opera but also works by Richard Strauss, Richard Wagner, Benjamin Britten, and Leoš Janáček.He was musical director of Welsh National Opera from 1992 to 2001, and from 2004 to 2008, and was named conductor emeritus of Welsh National Opera in 2015.&nbsp;Since Septembre 2019, he has been the Music Director of the Opera Rara, a British Company dedicated to revive unknown or forgotten operatic works, with which he has recently recorded Leoncavallo’s Zingari.He is frequently invited to perform at New York’s Metropolitan Opera, the Royal Opera House Covent Garden in London, La Scala in Milan, the Paris Opera, the Teatro Real in Madrid... He has conducted ensembles such as the Hallé Orchestra, London Philharmonic, Orchestre symphonique de Montréal…Recently, he conducted The Sicilian Vespers, Le Nozze di Figaro and Madama Butterfly at the Welsh National Opera, Rigoletto for his Oslo debut, La Cenerentola at the Palau de les Arts Reina Sofia, Valencia, Tosca at the Bayerische Staatsoper in Munich, Tosca, La Bohème, Médée and Don Carlos at the Metropolitan Opera, New York, I due Foscari at the Maggio Musicale Fiorentino, Il Proscritto at the Barbican Centre in London, La Gazetta at the Rossini Festival in Pesaro.&nbsp;His extensive discography, includes Faust, Kátia Kabanová, Rigoletto&nbsp;and La Traviata recorded at the Salzburg Festival, which won the 2006 Grammy for Best Opera Recording.At the Paris Opera: Norma, 1996 ; Simon Boccanegra, 1997 ; Rigoletto, 1998 ; La Cenerentola, 2002 ; Don Carlo, 2010 ; La Fanciulla del West, 2014 ; Cavalleria rusticana / Sancta Susanna, 2016 ; Cendrillon, 2022 ; Il Trovatore, 2023

Mariame Clément was born in Paris. After graduating from the École Normale Supérieure in Literature and History of Arts she moved to New York and then to Berlin, where she had her first operatic experience at the Staatsoper Unter den Linden. She then worked as an assistant director for various opera houses in Europe. In 2003, she won the third prize at the European Opera Directing Competition organised by Camerata Nuova and Opera Europa. Her first production was SignorBruschino / Gianni Schicchi in 2004 for the Lausanne Opera. Mariame Clément has worked in Athens (Le Comte Ory), Bern (Il viaggio a Reims, La Traviata, The Barber of Seville, La Bohème), Nancy (Rigoletto), Strasbourg (La Belle Hélène, Werther, Platée, Der Rosenkavalier, The Magic Flute, La Calisto), Anvers / Ghent (Giasone, Agrippina), at the Theater an der Wien (Castor and Pollux, The FairyQueen), in Graz (Faust, The Magic Flute), Dortmund (Le Nozze di Figaro), Nuremberg (Platée, Le Nozze di Figaro, Il Ritorno d'Ulisse in patria), Glyndebourne (Don Pasquale, Poliuto), at the Paris Opera (Hänsel und Gretel), in Essen (Le Grand Macabre, Salomé), at the Royal Opera House in London (L'Étoile), at the Théâtre des Champs-Élysées (Il Ritorno d'Ulisse in patria), in Santiago de Chili (Lulu), at the Semperoper in Dresden (The Bartered Bride), at the Bregenz Festival (Don Quixote), in Seville (Agrippina). In 2014 she created Philippe Hurel's first opera, Les Pigeons d'argile, at the Théâtre du Capitole in Toulouse. In 2016, she staged the French premiere of Wagner's second opera, Das Liebesverbot, at the Opéra national du Rhin. She also staged there Barkouf in 2018. This major piece by Offenbach, newly rediscovered, had not been performed since 1860. The production received the Best Rediscovery award at the 2019 Opera Awards. In 2020, her production of Don Quixote for the Bregenzer Festspiele received Best production of the Year Award at the Österreichischer Musiktheaterpreis. Further projects will take her, among other places, to Paris, Santa Fe, Glyndebourne and Geneva.

Etienne Guiol is a painter and video designer. In 2006, he entered the Émile-Cohl school in Lyon, where he was trained in drawing and animation. Since 2012, he has been working in the field of video creation for theater, opera and monumental projection. Founder of the BK International studio in 2012, he and his team produce video creations for live performances and monumental architecture all over the world (Lyon, Paris, Versailles, Strasbourg, Rouen, Bucharest, Rome, Casablanca, Dubai, Jerusalem...).His stage creations have taken him to some of the world's greatest opera stages (La Scala, Milan; Bolshoi Theatre, Moscow; Opéra national de Paris; Operas de Versailles, Athens, Karlsruhe, Basel, Geneva, Budapest, Muscat, Hong Kong).In 2024, he was part of the set design team for the Opening Ceremonies of the Paris 2024 Olympic and Paralympic Games under the direction of director Thomas Jolly. His work has won several awards: Maria Republica, a creation of the Angers Nantes Opéra, won the prize for best creation in 2016, and Le Coq d'Or, after Rimsky-Korsakov, won the Critics' Prize for best creator of scenic elements in 2014 with set designer Bruno de Lavenère.At the Opéra national de Paris: Cendrillon, 2022; La Vestale, 2024

A graduate of the Taiwan Teacher Training College (Music Department), Ching-Lien Wu continued her studies at the Conservatoire National Supérieur de Musique in Lyon, where she was awarded the First Prize in Choral Conducting in 1987. She attended courses and workshops in orchestral conducting with JeanSébastien Béreau, Helmut Rilling, Michael Gielen and Pierre Boulez. 
In 1989, she was appointed Chorus Master at the Nantes Opera and in 1990, Assistant Chorus Master at the Théâtre du Capitole in Toulouse. From 1991 to 2001, Ching-Lien Wu served as Chorus Master at the Opéra National du Rhin in Strasbourg. The work she accomplished there was acclaimed by French and international critics. During this period, she was guest Chorus Master at the operas of Montpellier, Rouen and Shanghai as well as at Radio France for various operatic works and oratorios. In 1996, she was assistant to Norbert Balatsch at the Bayreuth Festival.
From 2001 to 2014, Ching-Lien Wu was Chorus Master of the Grand Théâtre de Genève. In September 2014, she was appointed Chorus Master of the Dutch National Opera in Amsterdam. In 2016, the German magazine Opernwelt awarded the Dutch National Opera Chorus under the direction of Ching-Lien Wu the best Chorus of the Year label. She has also conducted numerous concerts with her own choir «Le Motet de Genève» with the Suisse Romande Orchestra, the Geneva Chamber Orchestra and the Orchestratus Genevensis. She was at the helm
of this vocal ensemble from 2002 to 2012.
Since 1996, she has been invited to give master classes in choral conducting at the CNSM in Lyon. In her native country, she has been responsible for musical studies for several opera productions, including The Barber of Seville, an opera she also staged in Taipei. Ching-Lien Wu was appointed Chorus Master of the Paris Opera in February 2021 and took up her post on 26 April of the same year.

Creatives

Cast

Extras

Libretto

Interview with Mariame Clément

Interview with Tara Erraught

Cendrillon, Massenet

Show more

The characters

The acts

Creatives

Libretto

Interview with Mariame Clément

Interview with Tara Erraught

Cendrillon, Massenet