Act I

Act II

Couv_DonGiovanni_780x906

Libretto

2018-19-GIOVA-029

Interview with Étienne Dupuis

What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? For his second collaboration with Da Ponte, Mozart was to brand the history of opera with a hot iron and forever haunt European culture. In this Libertine Punished, Kierkegaard invites us to hear “the whisperings of temptation, the whirlwind of seduction, the silence of the moment”. The Mozart-Da Ponte cycle continues with a Don Giovanni entrusted to director Ivo Van Hove, accustomed to examining the political meaning of works. Orchestra and Chorus of the National Opera of Paris.A co-production of the Opéra national de Paris and Bel air media. With the participation of France Télévisions.With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animée.Director : Don Kent © Opéra de Paris - Bel air media - 2019Picture: © Charles Duprat / OnP

Don Giovanni: A rake who revels in female conquests Leporello: Don Giovanni’s valet Donna Anna: A young woman assaulted by Don Giovanni Don Ottavio: Donna Anna’s fiancé The Commendatore: Donna Anna’s father, killed by Don Giovanni Donna Elvira: A former conquest of Don Giovanni Zerlina: A young woman of modest means Masetto: Zerlina’s fiancé

Don Giovanni (saison 18/19) - Jacquelyn Wagner (Donna Anna), Étienne Dupuis (Don Giovanni), Philippe Sly (Leporello)

Don Giovanni (saison 18/19) - 20

Don Giovanni

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What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? 

Wolfgang Amadeus Mozart

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.

Born in Montreal, Étienne Dupuis completed his vocal studies at the McGill University, after which he became a member of l’Atelier Lyrique de l’Opéra de Montréal. He made his debut at the Deutsche Oper, Berlin as Zurga in The Pearl Fishers, and has returned since to sing Posa (Don Carlo), Figaro (The Barber of Seville), Germont (La Traviata), Marcello (La Bohème), Silvio (Paillasse) and the title-role in Eugene Onegin. He made his New York Metropolitan Opera debut as Marcello and then returned there to sing the Count Almaviva (Le Nozze di Figaro) and Rodrigue (Don Carlos). He performs regularly in opera houses such as the Paris Opera, the Zurich Opernhaus, the Bayerische Staatsoper, Munich, the Royal Opera House Covent Garden, the Montreal Opera, the Deutsche Oper, Berlin. His discography features a solo album “Love Blows as the Wind Blows” (ATMA Classique), Honegger and Ibert’s L’Aiglon, a duet of Thaïs with Sonya Yoncheva on the album “Paris, mon amour”, and Massenet: Songs with Orchestra.Recent engagements include Figaro (Il Barbiere di Siviglia), Valentin (Faust), Marcello and Albert (Werther) at the Vienna Staatstoper, Posa at the Deutsche Oper Berlin, Don Giovanni in San Francisco, Il Conte di Luna (Il Trovatore) in Montreal, Hérode (Hérodiade) in Lyon and Berlin, Onegin (Eugene Onegin) at the Bayerische Staatsoper Munich and the Vienna Staatsoper. During the 2023-2024 season, he will perform the role of Don Carlo di Vargas (La Forza del destino) at the Royal Opera House in London, the title role in Rigoletto at the Teatro Real in Madrid and the role of Sancho Panza (Don Quichotte) at the Paris Opera. Étienne Dupuis was named Chevalier dans l'ordre des Arts et des Lettres in 2021.At the Paris Opera: Un ballo in maschera (Silvano), 2009; Iphigénie en Tauride (Orestes), 2016; Pelléas et Mélisande (Pelléas), 2017; Don Giovanni (title role), 2019; L'Elisir d'amore (Belcore), 2018; Don Carlo (Rodrigue), 2019; Carmen (Escamillo), 2023; Il Trovatore (Il Conte de Luna), 2023.

Dupuis.Etienne (c) Dario Acosta

Jacquelyn Wagner studied at the Manhattan School of Music and at the Oakland University of Michigan. She made her opera debut at the Berlin Deutsche Oper where she first performed the main roles of her current repertoire (Pamina in The Magic Flute; the Countess in Le Nozze Di Figaro, Micaela in Carmen, Musetta in La Bohème…). She was invited to perform on many international stages: Frankfurt (the Countess), Toulon (Agathe in Freischütz), Miami (Donna Anna in Don Giovanni), Dresden (Micaela), Geneva (Fiordiligi in Così fan tutte), Stuttgart, at the The Vlaamse Opera, the Marseille Opera… For the 2017/2018 season, she performed Alice (Falstaff) at the The Vlaamse Opera, Strauss’ Vier letzte Lieder at the Gran Teatre del Liceu in Barcelona and made her debut in the roles of Leonore (Fidelio) in Saint-Gall, and Marschallin (Der Rosenkavalier) at the Deutsche Oper am Rhein in Düsseldorf. She also sang the title-role in Arabella at the De Nederlandse Opera Amsterdam and the Deutsche Oper am Rhein in Düsseldorf, Pamina, Fiordiligi (Così fan tutte) and Donna Anna (Don Giovanni) at the Paris Opera, Eva (Die Meistersinger von Nürnberg) and Leonore (Fidelio) at La Scala de Milan, the title-role of Giovanna d’Arco in Bonn, Vitellia (La clemenza di Tito) at the Opéra national du Rhin, a concert performance of Feuersnot/Diemut in New York Carnegie Hall, the Countess (Le nozze di Figaro) at the Staatsoper in Hamburg, Mimì (La bohème) at the Oper Köln, Donna Anna at the Munich State Opera and the Deutsche Oper in Berlin, Desdemona (Otello) in Düsseldorf, Violetta (La Traviata) in Berlin, Leonore at the Semperoper in Dresden, the title-role of Euryanthe at the Theater an der Wien, Agathe (Freischütz) at Zurich Opera, Elsa (Lohengrin) at the Landestheater in Salzburg, Rosalinde (Die Fledermaus) at the Deutsche Oper in Berlin, and Alcina’s title-role in Düsseldorf. She made her debut at the Salzburg Easter Festival in 2019 in Die Meistersinger von Nürnberg. During summer 2021, she sang the Countess Almaviva in Aix-en-Provence. She recently took part in symphonic under the baton of Jonathan Nott, Andris Nelsons or Silvia Spinnato.

Wagner.Jacquelyn

Stanislas de Barbeyrac studied with Lionel Sarrazin at the Bordeaux Conservatoire and went on to join the Paris Opera’s Atelier Lyrique in 2008. He has won numerous prizes including the 2011 Queen Elizabeth International Competition in Brussels and was named Best New Opera Artist at the 2014 Victoires de la Musique. He made a highly acclaimed debut at the Aix Festival performing the role of Tamino (Die Zauberflöte), and then appeared at the Royal Opera House in London as Arbace in a new production of Idomeneo. He also played Narraboth (Salomé) at the Teatro Municipal in São Paulo and sang the role of Pâris (La Belle Hélène) at the Avignon Opera. In 2015, he made his Salzburg Festival debut in Mozart’s Davide penitente and he returned to the Paris Opera to perform the role of Admète (Alceste). More recently, he sang the role of the Chevalier de La Force (Dialogues des carmélites), first at La Monnaie in Brussels, then at the Dutch National Opera in Amsterdam, the Bayerische Staatsoper in Munich, the Théâtre des Champs-Elysées in Paris, the Théâtre de Caen and the Teatro Comunale in Bologna. He also played Tamino and Léandre (Le Médecin malgré lui) at the Grand Théâtre in Geneva, Macduff (Macbeth) at the Marseille Opera, Renaud (Armide) at both the Vienna Staatsoper and the Bordeaux Opera, Pylade (Iphigénie en Tauride), Tamino and Gonzalve (L’Heure espagnole) at the Paris Opera, Don Carlos and Damon (Les Indes galantes) at the Paris Opera, Pelléas (Pelléas et Mélisande) at the Bordeaux Opera, Tamino at the Aix Festival, the Dutch National Opera in Amsterdam and the Teatro Real in Madrid, Piquillo (La Périchole) at the Bordeaux Opera, Alfredo Germont (La Traviata) at the Dresden Semperoper, Don Ottavio at New York’s Metropolitan Opera, the Bayerische Staatsoper and the Paris Opera; and Max (Der Freischütz) at the Théâtre des Champs-Elysées and the Normandy Opera in Rouen. He also performs in concert with a repertoire that encompasses Mendelssohn’s Elias, Haydn’s Creation, Mozart’s Requiem, Puccini’s Messa di Gloria, and Berlioz’ L’Enfance du Christ and Te Deum. He sang the role of Hylas in a recording of Les Troyens conducted by John Nelson (Erato).

Stanislas de Barbeyrac

Ain Anger

Nicole Car was born in Australia and made her debut at the Opera Australia in 2011 singing the role of Micaela (Carmen). She performed a number of other roles with the Australian Company, including Pamina in Die Zauberflöte, Valencienne (Die Lustige Witwe), Donna Anna (Don Giovanni), Mimi (La Bohème), Marguerite (Faust), the Countess (Le nozze di Figaro), Fiordiligi (Così fan tutte), Violetta Valery (La Traviata).In 2015, she made her debut at the Royal Opera House in London performing the roles of Tatiana in Eugene Onegin and Micaela (Carmen). She made her American debut in Dallas in Le Nozze di Figaro, at the Berlin's Deutsche Oper in Eugene Onegin and at Dresden’s Sächsische Staatsoper in Così fan tutte.In 2016, she received the Helpmann Award for Best Female Performer in Opera for her performance in the title role of Luisa Miller at the Opera Australia. She has appeared in Brahms' A German Requiem, Mahler’s Das Klagende Lied, Mozart’s Requiem. She has made several recordings, including Massenet: Songs with Orchestra, Passionnément by André Messager and Heroines.These last seasons, she has sung Mimì in London, New York and Vienna, Tatiana in Munich, Berlin, Montreal and Vienna, Fiordiligi in New York, Salomé (Hérodiade) at the Théâtre des Champs-Élysées and in Berlin, Blanche de La Force (Dialogues des carmélites) in Vienna, Ellen Orford (Peter Grimes) in New York, Leonora (Il Trovatore) in Montreal, Donna Elvira (Don Giovanni) in San Francisco and in Dresden and Elisabetta (Don Carlo) in Berlin.This season, she is portraying among others Ellen Orford at La Scala in Milan, Desdemona (Otello), Blanche de La Force, Donna Elvira and Marguerite at the Staatsoper in Vienna, Mimì at the Bayerische Staatsoper in Munich, and performs with the Lille National Orchestra and the Philadelphia Orchestra. In 2021, Nicole Car was named Chevalier dans l’ordre des Arts et des Lettres.

Car.Nicole.3 (c) Yan Bleney

A graduate of Montreal's McGill University, Philippe Sly made his professional stage debut with Toronto's Canadian Opera Company, then went on to appear on major international stages: Salzburg Festival, San Francisco Opera, Opéra national de Paris, Opéra Comique, Opéra national de Lyon, Festival d'Aix-en-Provence, Hamburg Staatsoper, Glyndebourne Festival, Vienna Staatsoper... His repertoire ranges from Baroque (Jephtha...) to contemporary (Au Monde by Boesmans), via Mozart (title role and Leporello in Don Giovanni, Figaro in The Marriage of Figaro, Guglielmo in Così fan tutte) and Debussy (Golaud in Pelléas et Mélisande). He has worked with directors such as Joël Pommerat, Ivo van Hove, Jean-François Sivadier, Claus Guth, Romeo Castellucci and Barrie Kosky, and conductors including Yannick Nézet-Séguin, Jaap van Zweden, Philippe Jordan, Kent Nagano, Alain Altinoglu and Bernard Labadie. His concert repertoire includes Bach (St. Matthew Passion, St. John Passion, Christmas Oratorio), Handel (Solomon, Messiah), Mozart (Mass in C, Requiem), Haydn (Nelson Mass) Brahms (A German Requiem), Fauré (Requiem)... Recent and future projects include Les Noces de Figaro, Don Giovanni and Kurtág's Fin de partie at the Vienna Staatsoper, Lakmé in Zurich, Sémélé in Munich, Carmen in Lausanne, and numerous concerts with the New York Philharmonic, Les Violons du Roy, the Metropolitan Orchestra, the Orchestra of St Luke's...At the Opéra national de Paris: Così fan tutte (Guglielmo), 2017; Jephtha (Zebul), 2018; Don Giovanni (Leporello), 2019

Sly.Philippe © 

French-Danish soprano Elsa Dreisig studied at the Paris Conservatoire and the Hochschule für Musik, Leipzig. In 2016, she won the First Female Voice Prize of the Operalia Plácido Domingo competition. She was also voted Young Artist of the Year by the Opernwelt magazine and Vocal Discovery at the Victoires de la Musique Awards.In 2015, she joined the Staatsoper Unter den Linden’s Opera Studio (Berlin), and became a member of the Ensemble in 2017. She performed, among other roles, Fiordiligi (Così fan tutte) at the Salzburg Festival in 2020 and 2021, and the Countess Almaviva (Le Nozze de Figaro) and Donna Elvira (Don Giovanni) at the Staatsoper Unter den Linden in Berlin. She made her role debut as Anna Bolena at the Grand Théâtre de Genève in 2021, and returned there in 2022 in the role of Elisabetta (Maria Stuarda).In the summer 2023, she will make her debut in the title-role of Salomé at the Aix-en-Provence Festival, where she has already performed Micaëla (Carmen). She will also return at the Salzburg Festival as Juliette (I Capuleti e i Montecchi) and to perform concerts with the Vienna Philharmonic Orchestra.Elsa thrives on participating in what she identifies as exceptional events, even if they involve some risk. In 2017, she jumped in on a day’s notice to sing Haydn’s Creation with the Berlin Philharmonic under Simon Rattle. Last season, after giving concerts with two different orchestras in Copenhagen, the Berlin Staatsoper Unter den Linden called on her to appear as Pamina (The Magic Flute) just a few hours later.As an exclusive recording artist with the label Erato, she released in January 2022 her third album, Mozart x 3.

At the Paris Opera: The Magic Flute (Pamina), 2017; Gianni Schicchi (Lauretta), 2018; Don Giovanni (Zerlina), 2019 ; I Puritani (Elvira), 2019

Dreisig.Elsa 2 (c) Simon Fowler

Trained at the Paris Opera Academy Born in Russia, Mikhail Timoshenko began his musical and theatrical training in Mednogorsk, then at the Franz Liszt University in Weimar and the Hans Eisler in Berlin. From 2015 to 2017, he was a member of the Académie de l'Opéra national de Paris, where he sang Pluton (L'Orfeo), Spencer Coyle (Owen Wingrave) and Silvano (Un bal masqué). He won the Cercle Carpeaux prize and the AROP prize in 2016, and the Maria Callas International Grand Prix in Greece in 2017. In 2018, in duo with pianist Elitsa Desseva, he won First Prize at the Chamber Music Competition in Graz, First Prize at the Hugo Wolf Academy Competition in Stuttgart, Second Prize and Audience Prize at the Schubert-Wettbewerb Competition in Dortmund and First Prize at the Wigmore Hall / Independent Opera Song Competition in London. He took part in the world premiere of Alexandre Desplat's chamber opera En Silence in Paris, sang Masetto (Don Giovanni) in Düsseldorf, Figaro (The Marriage of Figaro) in Nancy, Ottokar (Le Franc-tireur) at the Konzerthaus Berlin, Mozart's Requiem in Antwerp, Fauré's Requiem in Baden Baden, Albert (Werther) in Lausanne and Tours, Mozart's Mass in C minor at the Salzburg Festival and in Antwerp, Marcello (La Bohème) in Toulouse, Papageno (The Magic Flute) in Montpellier, Franck Martin's Golgotha in Linz, Leporello (Don Giovanni) at the Glyndebourne Festival. Recent roles include Prosdocimo (The Turk in Italy) in Lausanne, Shchelkalov (Boris Godunov) in Toulouse and at the Théâtre des Champs-Élysées, Marcello at London's Royal Opera House and Hadjar (Le Tribut de Zamora) in Saint-Étienne. Other projects include Belcore (L'Élixir d'amour) in Nancy and Taddeo (L'Italienne à Alger) at the Théâtre des Champs-Élysées.À l'Opéra national de Paris : Rigoletto (Il Conte di Ceprano), 2017 ; Don Carlos (Député flamand), 2017 ; Wozzeck (Erster Handwerksbursch), 2017, 2022 ; Un bal masqué (Silvano), 2018 ; Boris Godounov (Mitioukha), 2018 ; Simon Boccanegra (Pietro), 2018 ; Don Giovanni (Masetto), 2019, 2022

Timoshenko.Mikhail

Coming from an artistic Swiss family, Philippe Jordan’s is regarded as one of the most established and important conductors of our time. He has been appointed Music Director of the Wiener Staatsoper beginning in September 2020. 
Jordan started his career at the age of 20 as musical director at Theater Ulm. In 1998 he became assistant to Daniel Barenboim at the Berlin State Opera. From 2001-2004 he was principal conductor of Graz Opera and the Graz Philharmonic Orchestra. During this period he also debuted at several of the world’s leading opera houses and festivals, for example the Metropolitan Opera New York, Royal Opera House Covent Garden, Teatro alla Scala, Bavarian State Opera, the Wiener Staatsoper and Festspielhaus Baden-Baden, and the festivals of Aix-en-Provence, Glyndebourne and Salzburg. From 2006-2010 Jordan returned to the Berlin State Opera as principal guest conductor. During this time he also appeared regularly in his hometown at the Zurich Opera. In the summer of 2012 Philippe Jordan debuted at the Bayreuth Festival. In Summer 2021, Philippe Jordan will leave his post as musical director of the Opéra national de Paris, which he has helmed since 2009. During his time as musical director in Paris he has conducted numerous premieres and revivals, including Moses und Aaron, La Damnation de Faust, Der Rosenkavalier, Samson et Dalila, Lohengrin, Don Carlos (French original version), Benvenuto Cellini, Bérénice and Les Troyens, Don Giovanni and the new production of Borodin’s Prince Igor. In his last season as musical director at Opéra national de Paris he will conduct Wagner’s “Ring” cycle in a concert version. 
As a symphonic conductor, Philippe Jordan has conducted the world’s most famous orchestras. He has also been principal conductor of the Wiener Symphoniker from 2014 to 2020. Together with the orchestra he has developed complete cycles of Schubert’s symphonies and Beethoven’s symphonies and piano concerti, and a cycle of J. S. Bach’s major masses and oratorios. In a three-part Bruckner project at the Wiener Musikverein, he performed the composer’s seventh, eighth and ninth symphonies in a contrast-filled dialogue with modern classics by Kurtág, Ligeti and Scelsi. For the Beethoven anniversary year, he also performed a reconstruction of the legendary Grand Concert of 22 December 1808 with performances in Paris and Vienna. 
His recording work with the Paris Opera Orchestra includes discs of Strauss’ Eine Alpensinfonie, Stravinski’s The Rite of Spring, Ravel’s Daphnis et Chloé, Verdi’s Requiem and Beethoven’s and Tchaikovsky’s Symphonies.

Ivo van Hove was born in Heist-op-den-Berg (Belgium) in 1958. He headed the Zuidelijk Toneel in Eindhoven from 1990 to 2000, and the Holland Festival from 1998 to 2004. He was appointed director of Amsterdam’s Toneelgroep in 2001. He has directed numerous works, including Tony Kushner’s Angels in America, John Cassavetes’ Opening Night and Husbands, Luchino Visconti’s Rocco and His Brothers, Pier Paolo Pasolini’s Theorem, Antonioni-project, a work based on the films of Michelangelo Antonioni, Ingmar Bergman’s Cries and Whispers, Jean Cocteau’s La Voix humaine, Carlo Goldoni’s Trilogia della villeggiatura, Maxim Gorky’s Children of the Sun, and the Nico Muhly adaptation of Thomas Mann’s Death in Venice. He has also staged numerous operas: Lulu and Wagner’s Ring Cycle at the Flanders Opera, The Makropulos Affair and Salomé at the Dutch National Opera in Amsterdam, Macbeth and The Diary of One Who Disappeared at the Lyon Opera, Mazeppa at the Berlin Komische Oper, La clemenza di Tito at La Monnaie in Brussels, and the world premiere production of Charles Wuorinen’s Brokeback Mountain at the Teatro Real in Madrid. In 2010, he directed a version of Molière’s Misanthrope (Der Menschenfeind) at Berlin’s Schaubühne which was later restaged at the Odéon-Théâtre de l’Europe’s Ateliers Berthier in March 2012. His 2014 production of Arthur Miller’s A View from the Bridge at the Young Vic Theatre in London and then on Broadway received a Tony Award and an Olivier Award for Best Production and Best Director. In 2015, he directed Sophocles’ Antigone in Paris with Juliette Binoche (Théâtre de la Ville), then A View from the Bridge at the Ateliers Berthier. In 2016, he directed a stage adaptation of Visconti’s The Damned in the Cour d’honneur of the Palais des Papes in Avignon featuring the troupe of the Comédie-Française (which earned the Molière award for Best Production). In November 2015 he directed the first stage production of David Bowie’s final project, Lazarus and returned to the Théâtre de Chaillot in January 2016 with Kings of War, a gripping adaptation of Shakespeare’s Henry V, Henry VI and Richard III. That same year, he also staged Arthur Miller’s The Crucible on Broadway. In 2018, he directed Boris Godunov at the Paris Opera. In 2019, he presented an adaptation of Louis Couperus’ The Hidden Force at the Théâtre de La Villette, then staged two of Euripides’ plays, Electra and Orestes, in an evening double bill at the Comédie-Française. He also directed Don Giovanni at the Paris Opera, The Rise and Fall of the City of Mahagonny at the Aix Festival and West Side Story on Broadway.

Born in Belgium, An D’Huys studied fashion at the Royal Academy of Fine Arts in Antwerp. She has been working with Ivo van Hove since 2002, both for the theatre and opera worlds. Her productions include The Fountainhead (Internationaal Theater Amsterdam), Vu du pont (Young Vic in London and Broadway, Odéon-Théâtre de l’Europe), Lazarus by David Bowie (New York &amp; West End), Les Damnés (Comédie-Française), Network (Broadway), Électre / Oreste (Comédie-Française), Rise and Fall of the City of Mahagonny (Festival d’Aix-en-Provence), All About Eve (Noël Coward Theatre), La Ménagerie de Verre (Odéon-Théâtre de l'Europe), West Side Story (Broadway), Le Tartuffe ou l’Hypocrite (Comédie-Française and tours), Ingolstadt (Salzburg Festival), A Little Life (Internationaal Theater Amsterdam, West End), Forêt (Louvre), Nabucco (Grand Théâtre de Genève), Tristan et Isolde (Opera Ballet Vlaanderen), Dead Man Walking and Don Giovanni (Metropolitan Opera New York), Miss Julie (Internationaal Theater Amsterdam), Opening Night (West End). She also designed the costumes for Medea, Husbands and Wives staged by Simon Stone at Toneelgroep in Amsterdam, and worked with STAN in Antwerp for Point Blank, Les Estivants, Poquelin, La Cerisaie. She designed the costumes for Anne Teresa De Keersmaeker’s shows Bitches Brew / Tacoma Narrow and Kassandra-Speaking in Twelve Voices for the Rosas company. For the cinema, she created the costumes for Toto le héros by Jaco Van Dormael and Rosie, sa vie est dans sa tête by Patrice Toye. She was a member of Ann Demeulemeester's styling team for eleven years.

At the Paris Opera: Così fan tutte, 2017; Boris Godunov, 2018; The Six Brandenburg Concertos, 2019; Don Giovanni, 2019

After music studies at the Leuven and Berlin Universities, Jan Vandenhouwe started his career as a music critic for the Belgian newspaper De Standaard. From 2005 to 2008, he worked with Gerard Mortier at the Paris Opera as a dramaturge. During the same period, he was also head of the artistic programming at the Amphithéâtre Bastille. From 2009 to 2011, he was in charge of concert programming at the Bruges Concertgebouw. He then worked as a freelance musical dramaturge for the Teatro Real in Madrid, the Ensemble Intercontemporain in Paris and the Klara Festival in Brussels and worked with stage directors Alain Platel (C(H)ŒURS in Madrid, Nicht Schlafen at the Ruhrtriennale), Ivo van Hove (Macbeth in Lyon, Brokeback Mountain in Madrid, Salomé in Amsterdam), Anne Teresa De Keersmaeker and Johan Simons (Fidelio in Paris, Boris Godunov in Madrid, Das Rheingold and Alceste at the Ruhrtriennale). After serving as dramaturgy director at the Ruhrtriennale, he has been artistic director of the Opera Ballet Vlaanderen since the 2019-2020 season.

At the Paris Opera: Così fan tutte, 2017; Boris Godunov, 2018; Don Giovanni, 2019; The Six Brandenburg Concertos, 2019; Don Giovanni, 2019

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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