Act I

Act II

Act III

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Libretto

Don Pasquale 17.18  Vincent Pontet  OnP (15)

Interview with Nadine Sierra

Florian Sempey

Interview with Florian Sempey 

Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of bride-to-be to Norina, his own betrothed. Docile, then intractable, Norina excels in playing at false appearances.The conflict between the two generations smoulders and stokes the comedy whilst producing an undercurrent of wistful yearning.With sincerity and dramatic profundity, Damiano Michieletto opens a pathway to the heart of an apparently light-hearted work, renowned as the apotheosis of opera buffa. The Paris Opera Orchestra and ChorusA co-production of the Opéra national de Paris and La Belle Télé With the participation of France Télévisions, 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: Vincent Massip © Opéra national de Paris – La Belle Télé – 2018Picture: © Vincent Pontet / OnP

Don Pasquale: A rich old bachelor who decides to marry at the last minute in order to deprive his nephew of his inheritance. Ernesto: Don Pasquale’s nephew who is in love with Norina. Norina: A penniless young woman who, under the pseudonym of Sofronia, pretends to be Don Pasquale’s wife. Doctor Malatesta: A friend of the family and an ally of Ernesto and Norina, he is the mastermind of the plan to fool Don Pasquale.

Don Pasquale

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Don Pasquale, an old greybeard, decides to take a wife in order to overturn his nephew Ernesto’s plans. Ernesto, however, with the help of Doctor Malatesta, undertakes to ensnare Don Pasquale in the meshes of his own trap, entrusting the role of brid

Gaetano Donizetti

Born in Bergamo in 1797, Gaetano Donizetti played a central role between Rossini and Verdi. Less influenced by the Romanticism than Bellini, and despite an easy and mostly excessively large work (more than sixty operas composed between 1816 and 1843, most of which have been forgotten since), Donizetti forged the bond between too artistic trends to which Italy owes its most authentic masterpieces.He first studied at the Musical School of Bergamo with Simon Mayr and, with the help of his teacher who quickly noticed his talent, had his first opera, Enrico di Borgogna, staged in 1818. His Zoraide di Granata had a remarkable success in 1822. Donizetti was then commissioned for a series of operas, making the artist a full-time composer. From 1822 to 1830, he wrote no less than 26 operas.His first genuine triumph came with Anna Bolena (1830). Bellini’s death and Rossini’s early retirement contributed to Donizetti’s growing fame in Europe. He composed Les Martyrs, La Favorite and Dom Sebastian for the Paris Opera,&nbsp;La Fille du régiment for the Opéra Comique, and Linda di Chamounix and Maria di Rohan for the Vienna Opera. His last great masterpiece, Don Pasquale, was premiered in 1843 at the Théâtre des Italien, in Paris.While he was at the peak of his fame, his health deteriorated rapidly. Hospitalised in Ivry, France, in 1846, he died in 1848 in his native city of Bergamo after being diagnosed with cerebro-spinal syphilis. His operas that have gone down in history also include Lucrèce Borgia (1833), Lucia di Lammermoor (1835), Maria Stuarda (1835), Roberto Devereux (1837), Maria di Rudenz (1838) and Caterina Cornaro (1844).

Michele Pertusi was born in Parma and studied voice under Arrigo Pola, Carlo Bergonzi and Rodolfo Celletti. A renowned performer of the Rossinian repertoire, he has appeared regularly at the Pesaro Festival since 1997 and was awarded the Festival’s prestigious “Rossini d’oro” Prize. He also makes regular guest appearances at Milan’s La Scala (Count Almaviva in Le Nozze di Figaro, the title role in Don Giovanni, the Count in Nina o sia la pazza per amore, Selim in Il turco in Italia, Gottardo in La gazza ladra, Philip II in Don Carlo, and Don Ruy Gomez in Ernani). He sings on the great international stages under the musical direction of Daniel Barenboim, Semyon Bychkov, Riccardo Chailly, Riccardo Muti, Myung-Whun Chung, Sir Colin Davis, Daniele Gatti, Carlo Maria Giulini, Vladimir Jurowski, James Levine, Zubin Mehta, Riccardo Muti, Antonio Pappano, and Sir Georg Solti… He recently appeared in Don Carlos at the Lyon Opera, Lucia di Lammermoor (Raimondo) and Semiramis (Assur) at London’s Royal Opera House, Jerusalem (Roger) and the title roles in Macbeth and Attila at the Verdi Festival in Parma, Don Pasquale at the Vienna Staatsoper and La Monnaie in Brussels, Simon Boccanegra (Fiesco) at Bologna’s Teatro Comunale, Il Barbiere di Siviglia (Basilio) at the Rossini Festival in Pesaro, I Masnadieri (Massimiliano) at the Palau de les Arts in Valencia, Rossini’s Stabat Mater with the London Philharmonic Orchestra, and Verdi’s Requiem at the Barcelona Auditorium under the direction of Kazushi Ono. In 1995, he received the Abbiati Italian Critics’ Prize and in 2005 he won a Grammy Award for his recording in the title role of Falstaff under the direction of Sir Colin Davis. His other recordings include La Cenerentola and Il turco in Italia (Riccardo Chailly), Don Giovanni and Così fan tutte (Georg Solti), Le Nozze di Figaro (Zubin Mehta), Don Giovanni (Daniel Barenboim), and La Damnation de Faust (Sir Colin Davis).Projects: I Masnadieri at Milan’s La Scala, Don Carlo at the Teatro Real in Madrid and the New National Theatre de Tokyo, Jérusalem in Bilbao, Les Vêpres siciliennes at the Rome Opera, Les Huguenots (Marcel) at the Grand Théâtre in Geneva, La Cenerentola at the Vienna Staatsoper, Maria Stuarda and Medea at the Metropolitan Opera, Simon Boccanegra at the Teatro Regio in Turin, La Forza del destino in Liege, and Pelléas et Mélisande (Arkel) at the Gran Teatre del Liceu in Barcelona.

Pertusi

Nadine Sierra was born in Florida and studied at the Mannes College of Music in New York before joining the Adler Fellowship Program at the San Francisco Opera where she made her debut in the company in 2011. In 2007 and 2009 she was the youngest prize-winner at the Marilyn Horne Foundation Vocal Competition and the Metropolitan Opera National Council Auditions.She has won numerous competitions in the United States, including the Richard Tucker Award in 2017 and the Beverly Sills Artist Award in 2018. Soon thereafter, her career took on an international dimension. She made debut appearances at Milan’s La Scala and the New York Metropolitan Opera in Rigoletto (Gilda), the Paris Opera in Don Giovanni (Zerlina) and the Berlin Staatsoper as Amor in Gluck’s Orfeo ed Euridice under the direction of Daniel Barenboim.She has appeared as Flavia (Eliogabalo), Pamina (Die Zauberflöte) and Gilda at the Paris Opera, and Zerlina and Ilia (Idomeneo) at the New York Metropolitan Opera. She also makes regular guest appearances at the San Francisco Opera (La Bohème, Le Nozze di Figaro, Die Zauberflöte, Lucia di Lammermoor).During the 2017-2018 season, she made debuts in the roles of Susanna (Le Nozze di Figaro) at the Metropolitan Opera, Nanetta (Falstaff) at the Berlin Staatsoper, Norina (Don Pasquale) at the Paris Opera and she sang the title role in Lucia di Lammermoor at La Fenice in Venice. The following season, she performed the role of Manon at the Bordeaux Opera and appeared in a new production of Rigoletto at the Berlin Staatsoper. She also sang the role of Maria in a concert version of West Side Story conducted by Antonio Pappano at the Accademia Nazionale di Santa Cecilia.During the 2019-2020 season, she made her role debut as Violetta (La Traviata) at the Teatro Real in Madrid and sang the roles of Juliette (Roméo et Juliette) in San Francisco and Bordeaux, Susanna at the Metropolitan Opera, Sophie (Der Rosenkavalier) and Nannetta at the Berlin Staatsoper and Lucia at the Royal Opera House in London.

Sierra.Nadine 2 (c) 

Trained at the Atelier lyrique de l'Opéra national de ParisAlongside his piano studies, Florian Sempey began his lyric singing training at the Conservatoire de Libourne. In 2007, he entered the Conservatoire national de Bordeaux, and the following year won first prize for opera, as well as the audience prize in the singing competition organized by the Amis du Grand Théâtre - Opéra national de Bordeaux. In 2010, he joined the Atelier lyrique de l'Opéra national de Paris for two years, and was awarded the Prix Carpeaux in 2012.In 2013, he was nominated in the “Révélation artiste lyrique” category at the Victoires de la Musique awards. He performs the roles of Figaro (The Barber of Seville), Papageno (The Magic Flute), Enrico Ashton (Lucia di Lammermoor), Valentin (Faust), the title role in Hamlet, Count Almaviva (The Marriage of Figaro), Zurga (The Pearl Fishers), Escamillo (Carmen), Alfonse XI (La Favorite). He also performs a vast concert repertoire (Mahler, Chausson, Puccini, Berlioz, Rameau, Vivaldi). He recently sang Zurga at the Opéra national de Bordeaux, Dandini (La Cenerentola) at the Théâtre du Capitole in Toulouse and the Gran Teatre del Liceu in Barcelona, and Orestes (Iphigénie en Tauride) at the Festival d'Aix-en-Provence.In the 2024-2025 season, his roles include Marcello (La Bohème) and Ramiro (L'Heure espagnole) in Monte-Carlo, Prosdocimo (Le Turc en Italie) in Lyon, the title role of Don Giovanni at the Théâtre des Champs-Élysées, Albert (Werther) in Geneva, Dottor Malatesta (Don Pasquale) in Zurich and Count Almaviva in Santa Fe.At the Opéra national de Paris: The Barber of Seville (Figaro), 2014, 2018; Platée (Momus), 2015; Béatrice et Bénédict (Claudio), 2017; The Magic Flute (Papageno), 2017, 2019; Don Pasquale (Dottor Malatesta), 2018, 2019, 2023 ; La Cenerentola (Dandini), 2018; Les Huguenots (le Comte de Nevers), 2018; Les Indes galantes (Adario / Bellone), 2019; Faust (Valentin), 2021, 2022; Florian Sempey recital, 2022; Roméo et Juliette (Mercutio), 2023 (among others)

Member of the Paris Opera ChorusBorn in Milan, Frédéric Guieu began his musical studies with piano. He earned a CAPES in musicology from the Sorbonne and studied vocal art with Gina Gigna and Ugo Ugaro.He has performed a wide range of roles, including Golaud in Pelléas et Mélisande, Belcore in L'Elisir d'Amore, and the title role in Don Giovanni. He joined the Paris Opera Chorus in 2003.At the Paris Opera: Don Pasquale (un notaro), 2018, 2019

Guieu.Frédéric.2 (c) Adrien Poupin

Acclaimed as one of the world’s leading interpreters of the Italian and French repertoire, Evelino Pidò’s is invited to perform on the greatest opera houses throughout the world, collaborating with numerous artists, directors and orchestras. Some of his career’s highlights include La sonnambula for the Semperoper Dresden, La fille du régiment for the Teatro Regio di Torino, Don Pasquale, La fille du régiment and Il turco in Italia for Royal Opera House Covent Garden, L’elisir d’amore and Lucia di Lammermoor for the Bayerische Staatsoper, Les Huguenots for La Monnaie in Brussels, Viva La Mamma for the Teatro Real, Madrid, Lucia di Lammermoor and Don Pasquale for the Wiener Staatsoper, La traviata for the Gran Teatre del Liceu in Barcelona, Rigoletto for the Bolshoi Theatre in Moscow, La traviata for the Teatro Colón, Buenos Aires, and Simon Boccanegra for the Palau de les Arts Reina Sofia in Valencia with Placido Domingo. Last season, he made his debut at Staatsoper Hamburg with Turandot and at the Teatro Municipal de Santiago de Chile with a concert staging of Don Pasquale. He also conducted L’elisir d’amore at Wiener Staatsoper, La Bohème at Royal Opera House Covent Garden, Don Pasquale at Teatro alla Scala, Milan and The Barber of Seville at Dresden Semperoper. The 2024/25 season sees him conducting, among other works, Manon at Teatro Regio di Torino. In 2012, Evelino Pidò received the Bellini d’Oro prize for best interpreter of the music of Bellini.-



At the Paris Opera: I Capuleti e i Montecchi, 1996, 2008; L'italiana in Algeri, 2000; Lucia di Lammermoor, 2006; L’elisir d’amore, 2007; La sonnambula, 2010; Manon, 2012; Le nozze di Figaro, 2012; Tosca, 2014; Don Pasquale, 2018; La Cenerentola, 2018

Born in Venice, Italy, Damiano Michieletto made his international debut at the Wexford Festival in 2003. In 2012, he made his debut at the Salzburg Festival with La Bohème and returned there for Falstaff in 2013, La Cenerentola in 2014 and Alcina in 2019.His productions include La gazza ladra and La Scala di seta at the Pesaro Festival, Lucia di Lammermoor, Il Corsaro, Luisa Miller and Poliuto in Zurich, Roméo et Juliette, the Mozart / Da Ponte cycle, The Rake’s Progress, The Magic Flute, Aquagranda,The Merry Widow, Macbeth, Rigoletto and the world premiere of Baruffe at La Fenice, Venice, Il Serraglio in Naples, Madama Butterfly in Turin, L’elisir d’amore in Valencia, Graz and Madrid, Un ballo in maschera, La Scala di seta and Falstaff at Teatro alla Scala in Milan, Luisa Miller, Rigoletto and La Damnation de Faust in Rome, Il viaggio a Reims at the Dutch National Opera, Così fan tutte and Don Pasquale at Gran Teatre del Liceu in Barcelona, Jenůfa, Cendrillon and Orfeo ed Euridice in Berlin, Idomeneo, The Barber of Seville and Alcina in Florence, Guillaume Tell, Cavalleria rusticana and Pagliacci, Don Pasquale at Royal Opera House Covent Garden.These last seasons, he staged Kátia Kabanová in Glyndebourne and Copenhague, Der Rosenkavalier in Vilnius and Brussels, Bernstein’s Mass in Rome, Béatrice et Bénédict in Lyon and Genoa, Salomé in Milan, Giulio Cesare in Egitto at Théâtre des Champs-Élysées and in Leipzig, the world premiere of Raskatov’s Animal Farm in Amsterdam, Aida in Munich, The Tales of Hoffmann in Sydney.For the theatre, he staged Goldoni’s Il ventaglio, Gogol’s The Government Inspector and Tchekov’s A Marriage Proposal / The Bear at Teatro Stabile del Veneto, Ramón Maria del Valle-Inclán’s Divinas palabras and Bertolt Brecht’s The Threepenny Opera at Piccolo Teatro in Milan. He also directed the movie Gianni Schicchi for Genoma Films and the opera-movie Rigoletto al Circo Massimo for Indigo Film.At the Paris Opera: The Barber of Seville, 2014; Samson et Dalila, 2016; Don Pasquale, 2018

Paolo Fantin was born in Castelfranco and earned a degree in scenography and stagecraft from the Academy of Fine Arts in Venice.In 2004, he began collaborating with Damiano Michieletto. In 2011, his sets for Madame Butterfly (Turin’s Teatro Regio), Sigismondo (Pesaro’s Rossini Festival) and Don Giovanni (Venice’s La Fenice) earned him the coveted Franco Abbiati Music Critics’ Prize. In 2005, he designed the sets for the world premiere production of Marco Tutino’s Beauty and the Beast in Modena. Still with Damiano Michieletto, he created the scenography for La Gazza ladra (Pesaro Festival, which earned the 2008 Abbiati Prize for staging), Nino Rota’s Il Cappello di paglia di Firenze (Genoa), Michael Daugherty’s Jackie O (Lugo Opera Festival), Das Land des Lächelns (Trieste), Lucia di Lammermoor, Il Corsaro, Luisa Miller, Poliuto (Zurich), Romeo and Juliet (La Fenice), Die Entführung aus dem Serail (Naples), La Scala di seta (Pesaro Festival, Palau de les Arts Reina Sofia), Sigismondo and La Donna del lago (Pesaro), Don Giovanni, Le nozze di Figaro, Così fan tutte (La Fenice), Il Barbiere di Siviglia (Geneva’s Grand Théâtre), Madama Butterfly (Turin), L’elisir d’amore (Valencia, Madrid), Così fan tutte (sets and costumes, Tokyo), Martinů’s The Greek Passion (Palermo), Il trittico (Theater an der Wien, Copenhagen Opera), La Bohème, Falstaff (Salzburg Festival), Un ballo in maschera (Milan’s La Scala), The Rake’s Progress (Leipzig Opera), Guillaume Tell, Cavalleria rusticana and Pagliacci (London’s Royal Opera House), Otello (Theater an der Wien), Cinderella (Berlin’s Komische Oper), Samson et Dalila, Don Pasquale (Paris Opera), Aquagranda (a world premiere production by Filippo Perocco) and Die Lustige Witwe (Venice’s La Fenice), Il viaggio a Reims and Rigoletto (Dutch National Opera, Amsterdam), Die Zauberflöte (Florence and Venice), A Midsummer Night’s Dream (Theater an der Wien), La Donna del lago (the Royal Opera of Wallonia), and Der ferne Klange (Frankfurt). Paolo Fantin has also worked in Italy with Stefano Patarino on Britten’s The Little Sweep, Menotti’s Amahl and the Night Visitors, and with Paolo Valerio on the play Sette piani, based on the work by Buzzati. He also paired up with Andrea Bernard for La Scala di seta.Projects: Alcina at the Salzburg Festival.

Born in Italy, Agostino Cavalca moved to Paris in 1980.He has designed the costumes for many classic plays (Iphigénie, Phèdre, The Misanthrope, Othello, Richard III, The Surprise of Love), as well as as plays by contemporary authors and operatic works, including for the Théâtre des Champs-Élysées (Fidelio, Maria Stuarda, La clemenza di Tito), Welsh National Opera (Carmen, Fidelio, La Traviata, Orphée et Eurydice, Mazeppa, The Merry Widow), Lausanne Opera (Die Fledermaus, Aufstieg und Fall der Stadt Mahagonny and The Nose), Basel Opera (L’Amour des trois oranges), Zurich Opera (Halévy’s Clari, Marc-André Dalbavie’s Gesualdo and Rossini’s Mosè in Egitto, Le Comte Ory and Otello), Opéra national de Lyon (Ariane and Barbe-Bleue, Lucia di Lammermoor), Scottish Opera (La Belle Hélène, Carmen), Opera North (A Midsummer Night’s Dream), Mariinsky Theatre in St Petersburg (Eugene Onegin), Royal Opera House Covent Garden (La Cenerentola, Madama Butterfly, Hamlet, Il turco in Italia, The Barber of Seville, Hänsel und Gretel, Maria Stuarda), Gran Teatre del Liceu in Barcelona (Madama Butterfly, Maria Stuarda), Opéra royal de Wallonie (Luisa Miller), a the Aix-en-Provence Festival (Euryanthe, Le Comte Ory), Grand Théâtre de Genève (Hamlet, Betrothal in a Monastery, Der Rosenkavalier, Pelléas et Mélisande, Don Carlos, Wagner’s Tetralogy), Teatro alla in Milan (Giovanna d’Arco), Metropolitan Opera in New York (Hamlet), Salzburg Festival (Giulio Cesare, Norma, Iphigénie en Tauride, L'italiana in Algeri), Staatsoper in Vienna (The Magic Flute), Angers Nantes Opéra (Falstaff, Jenůfa, The Makropulos Case, La Damnation de Faust, Le Nozze di Figaro, L’incoronazione di Poppea).He works regularly with Damiano Michieletto and the directing duo Moshe Leiser and Patrice Caurier.At the Paris Opera: Don Pasquale, 2018

Born in Rome, Alessandro Carletti studied photography and painting. He very soon discovered his passion for lighting design and had his first experiences with the productions directed by Carmelo Bene at the Teatro Eliseo. In the late 1990s he started working at the Rossini Opera Festival. He collaborates regularly with director Damiano Michieletto.Among other works, his productions include Il Trittico (Theater an der Wien), Don Carlo (Wiener Staatsoper), Cavalleria Rusticana (Teatro San Carlo, Naples), Ballo in Maschera (Teatro La Scala), Il Viaggio A Reims (De Nederlandse Opera, Amsterdam), Guillaume Tell and an evening Cavalleria rusticana / Pagliacci at Royal Opera House Covent Garden, Rigoletto (Amsterdam and La Fenice, Venice), Aquagranda (La Fenice, Venice), Alcina (Salzburg Festival) and Aida (Bayerische Staatsoper in Munich).Other major works include La Damnation de Faust, Luisa Miller, The Merry Widow, A Midsummer Night’s Dream, Don Pasquale, Béatrice et Bénédict, Jenůfa, Katia Kabanova, Der Rosenkavalier, Giulio Cesare, Leonard Bernstein’s Mass and Alexander Raskatov’s Animal Farm. He works regularly with director Barrie Kosky: Sémélé, Candide, La Bohème, Der Rosenkavalier, Turandot and Dialogues with the Carmelites.He also worked on La Pucelle d’Orléans with director Lotte de Beer at Theater an der Wien, Nabucco with directors ricci/forte at the Verdi Festival in Parma, Lucrezia Borgia and I Capuleti e i Montecchi with director Silvia Paoli, Rigoletto in Palermo in collaboration with stage director and filmmaker John Turturro and Bluebeard’s Castle / Il Tabarro in Rome with diretor Johannes Erath.He won the Knight of Illumination Award 2015 for the opera Guillaume Tell, production of the Royal Opera House Covent Garden. At the Paris Opera: Samson et Dalila, 2016; Don Pasquale, 2018

The production company rocafilm was founded in 2010 by filmmakers Carmen Zimmermann and Roland Horvath to produce videos for operas and plays as well as documentary films.Their operatic works include productions at the Salzburg Festival (Giulio Cesare, 2012,staged by Moshe Leiser and Patrice Caurier; Marc‑André Dalbavie’s Charlotte Salomon, 2014, staged by Luc Bondy; Cavalleria rusticana / Pagliacci, 2015, staged by Philip Stolz; Die Walküre, 2017, staged by Vera Nemirova), but also Altes Testament at Schauspielhaus in Graz with director Volker Hesse.They first worked with Damiano Michieletto on his production of La Bohème at the 2012 Salzburg Festival. Later collaborations have included Falstaff and La Cenerentola at the 2013 and 2014 Salzburg Festivals, Idomeneo at the Theater an der Wien in 2013, The Magic Flute (2015) and Aquagranda (2016) at the Teatro La Fenice in Venice, Rigoletto at the Dutch National Opera (2017), La Damnation de Faust at the Rome Opera (2017).They work regularly with Claus Guth: Orlando at the Theater an der Wien, Heart Chamber at Deutsche Oper in Berlin, Salomé at Bolshoi Theater in Moscow, and Jenůfa at Royal Opera House Covent Garden.In 2020, they worked on Madama Butterfly at Cologne Opera and with Jürgen Flimm on Schiller’s Don Karlos at Schauspiel in Cologne. In 2021, they worked with Robert Carsen on The Triumph of Time and Truth for the Salzburg Festival and with Damiano Michieletto on La Cenerentola at Semperoper in Dresden.In 2022, they created the video of The Barber of Seville staged by Rolando Villazón in Salzburg and worked with Claus Guth on Bluthaus at Bayerische Staatsoper in Munich, Il Viaggio, Dante at the Aix-en-Provence Festival and Don Carlo at Teatro di San Carlo in Naples. At the Paris Opera: Don Pasquale, 2018; Bérénice, 2018

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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Interview with Nadine Sierra

Interview with Florian Sempey

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Creatives

Libretto

Interview with Nadine Sierra

Interview with Florian Sempey