Three colours, three moods, three registers. And yet Puccini conceived this triptych as a whole from the outset. He interweaves these three one-act operas, from Il Tabarro, a drama of passion set on the quays of the Seine in the early 20th century, to Gianni Schicchi, a burlesque farce set in medieval Florence, and Suor Angelica, a mystical tragedy set in a 17th-century convent. Director Christof Loy, making his Paris Opera debut, places these works in an unusual order, progressing from comedy to drama.

IL-TRITTICO_HP-DESKTOP

Il Trittico

Bastille Vincent Lappartient

Il Trittico by Giacomo Puccini, from 29 April to 28 May 2025 at the Opéra Bastille

Three colours, three moods, three registers. And yet Puccini conceived this triptych as a whole from the outset. He interweaves these three one-act operas, from Il Tabarro, a drama of passion set on the quays of the Seine in the early 20th century, t

Giacomo Puccini

Giacomo Puccini was born in 1858 in Lucca, Italy, to a family of organists (his father was a notorious theoretician and music teacher). A performance of Verdi's Aida, which he saw in Pisa in 1876, convinced him that his vocation was to become a composer. He studied at the Milan Conservatory with, among others, Amilcare Ponchielli. On Ponchielli's advice, he took part in a composition competition launched by the Sonzogno publishing house in 1883 for a one-act opera. Although he did not win the prize his piece, Le Villi, was staged in 1884 in Milan with some success. The music publisher Ricordi then commissioned him a second opera, Edgar. His third opera, Manon Lescaut, brought him lasting fame and marked the beginning of a fruitful collaboration with the librettists Luigi Illica and Giuseppe Giacosa. Together, they wrote Puccini's three greatest masterpieces: La Bohème (1896), Tosca (1900) and Madama Butterfly (1904). In 1910, the premiere of La Fanciulla del West took place at the Metropolitan Opera in New York. Puccini then composed a lighter piece, La Rondine, performed without much success at the Monte-Carlo Opera. After that, Puccini slowed down his compositional work. A car accident left him lame for the rest of his life and it was not until 1918 that The Triptych (Il Tabarro, Suor Angelica and Gianni Schicchi) premiered at the Metropolitan Opera. He died in Brussels in 1924 of throat cancer. His last opera, Turandot, remained unfinished. The last two scenes were completed by Franco Alfano. However, when Toscanini premiered Turandot at La Scala in Milan on 25 April 1926, he hold his baton to mark the point Puccini had reached before dying and turned to the audience: “Here the master laid down his pen. He stopped there when he died”. Puccini also wrote a number of religious works (Salve regina, Messa di Gloria).

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

Christof Loy was born in Essen, Germany, and studied stage direction for Musical Theater at Arts Folkwang University. He completed his studies in Munich and was assistant to Luc Bondy and Dietrich Hilsdorf, and then made his stage director debut with his own creation called Gretchen, eine mädchentragödie, a “patchwork” musical based on Faust. It was followed by subsequent engagements in various theaters, first in Germany and then abroad.His first production in Austria was La finta giardiniera, in Klagenfurt in 1996. Christof Loy has worked with many opera houses and festivals. He has a long-standing collaboration with Teatro Real in Madrid, Deutsche Oper in Berlin, Theater Basel, Salzburg Festival, and Royal Opera House, Covent Garden. In 2019, he made his debut as choreographer in Amsterdam, in his own production of Tannhäuser, and then choreographed his productions of Humperdinck’s Königskinder in Amsterdam, the ballet The Miraculous Mandarin in Basel and Orphée et Eurydice for the Salzburg Festival in 2023.In addition to his work for the opera, Christof Loy enjoys directing freer projects, with a focus on staging programmes of melodies, such as the evening dedicated to Tchaikovsky, “Nur wer die Sehnsucht kennt”, at Frankfurt Opera, and “Eine Winterreise” with Anne Sofie von Otter at Theater Basel. In 2021 he pushed the boundaries of his artistic scope with his first feature film, Springtime in Amsterdam, which he directed, but also wrote the screenplay and selected the music.Future projects include productions in the zarzuela genre, an artform he wants to promote internationally. He will make his debut at Teatro alla Scala in Milan in 2024 and at Teatro de la Zarzuela in 2026.

Paris Opera debut

Etienne Pluss ran an art gallery in Geneva before obtaining a set design diploma at Berlin’s University of the Arts in 1996. He began his career in the theatre as design assistant to Achim Freyer and Karl-Ernst Herrmann. He has collaborated with many stage directors, including George Tabori, Nadja Loschky, Claus Guth, Richard Brunel, Christoph Loy, Enrico Lubbe, Adriana Altaras, Patrick Schlosser.His most recent work includes his sets for Beat Furrer’s Violetter Schnee at Berlin Staatsoper Unter den Linden, Elektra for Bonn Opera, Martha at Opera Frankfurt, Die Passagierin for Graz Opera and Winterreise at Leipzig Theatre. During the pandemic, he designed the sets for La serva padrona at Frankfurt Opera.In 2021, he designed the sets for Salomé at Bolshoi Theatre, Moscow. He also worked with Richard Brunel for the production of Rigoletto at Opéra national de Lorraine, with Immo Karaman for Otello at Hannover Staatsoper and with Evgeny Titov for Shakespeare’s Macbeth at Düsseldorf Schauspielhaus.In 2022, he designed the sets for The Makropulos Affair at Staatsoper Unter den Linden Berlin, for Bluthaus at Munich Staatsoper, Il Viaggio, Dante at the Aix-en-Provence Festival, Giacomo Puccini’s Triptych at the Salzburg Festival, Alice in Wonderland at Zurich Opernhaus, and On purge bébé! at La Monnaie in Brussels.He also designed the sets for Don Carlo for the 2022/23 season’s opening of Teatro di San Carlo in Naples and recently collaborated with director Katharina Thoma for Don Giovanni at the Leipzig Opera, and with Nadja Loschky for Hamlet at the Komische Oper Berlin.The 2023/24 season sees him design the sets for Giulio Cesare in Egitto in Frankfurt, staged by Nadja Loschky, Turandot at Staatsoper Vienna and Samson at the Aix-en-Provence Festival staged by Claus Guth.At the Paris Opera: La Bohème, 2017

Fabrice Kebour began his career in New York. He wins entry to the United Scenic Artists internship program which allows him to work with some of the leading American lighting designers on Broadway. Over the past 20 years, his work has been seen on the most prestigious international theatres: La Comédie Française, the Paris Opera, the Wiener Staatsoper, the Bregenzer Festival, the Teatro alla Scala, the Mariinsky Theatre in Saint Petersburg, the Théâtre Royal de la Monnaie in Brussels. He designed Giorgio Barberio Corsetti’s productions Un Chapeau de Paille d’Italie for La Comédie Française, Macbeth et Turandot for La Scala, as well as Don Carlo at the Mariinsky. He has been designing most of Sir David Pountney’s production amongst which La Forza del Destino for the Wiener Staatsoper, The Magic Flute for the Bregenz Festival and Philip Glass’ world premiere, Spuren der Verirrten for the opening of the new opera house in Linz. In 2011, the Prague Quadrennial invited him to be part of the Light Speaks exhibit which displayed the work of the world’s leading lighting designers. He was nominated in the 2005, 2009 and 2011 Molière Awards in Best lighting design, as well as in the Wales Theatre Awards in 2015. Recent engagements include Il Viaggio, Dante in Aix-en-Provence in a production by Claus Guth, Puccini’s Triptych at the Salzburg Festival in a production by Christof Loy, the Ring for the Lyric Opera Chicago, staged by Sir David Pountney and, finally, Die ägyptische Helena for Teatro alla Scala in a production by Sven-Eric Bechtolf.

At the Paris Opera: Faust, 2011 ; La Bohème, 2017 ; Bérénice, 2018

Born in Berlin in 1972, Yvonne Gebauer studied German literature, philosophy and religion at the Free University of Berlin. She has been working since 1998 as an opera and theatre dramaturg.She has been collaborating for many years with Hans Neuenfels and is also very close to Claus Guth, Christof Loy and Nadja Loschky. Other directors she has worked with include Kazuko Watanabe, Johan Simons, Amélie Niermeyer, Frank Hilbrich, Ben Frost, Tobias Kratzer and David Hermann.She has taught dramaturgy in the costumes class of Reinhard von der Thannen at the Hamburg University of Applied Sciences, in the design class of Erich Wonder at the Academy of Fine Arts Vienna, in the directing class of Amélie Niermeyer at the Mozarteum University of Salzburg, and in the design class of Stefan Hageneier both at the Hanns Eisler Academy of Music Berlin and at the Weißensee Academy of Art Berlin. From 2001 to 2008, she worked as a freelance journalist for the Süddeutsche Zeitung daily magazin. From 2009 to 2018, she was dramaturg at the Bayerische Staatsoper in Munich.At the Paris Opera: La Bohème, 2017 ; Jephta, 2018

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.

Georgian baritone Misha Kiria graduated from the Accademia Teatro alla Scala in Milan and Tbilisi State Conservatoire, and performs on the leading international operatic stages.He made his Verdi Opera Festival debut in Teatro Regio di Parma in 2017, in the title role of Falstaff, and was Lord Sidney (Il Viaggio a Reims), Alfio (Cavalleria rusticana) and Tonio (Paillasse) at Palau de les Arts Reina Sofia in Valencia, Blansac (La Scala di seta) at Teatro alla Scala in Milan, Cavaliere di Belfiore (Un giorno di regno) at Teatro Filarmonico in Verona, Don Magnifico (La Cenerentola) at the Frankfurt Opera, Zarete (Il Paria) at Barbican Hall in London, Fra Melitone (La forza del destino) in Berlin and Don Geronio (Il turco in Italia) in Madrid.Highlights of these past seasons include his Salzburg Festival debut in a new production of the Triptych, as well as performances at Deutsche Oper as Fra Melitone, Lord Sidney and Don Alfonso (Così fan tutte). He regularly performs at the Bayerische Staatsoper in Munich, where he appeared in Il signor Bruschino, Il turco in Italia, and The Barber of Seville. He made his Vienna Staatsoper debut as Dulcamara (L’elisir d’amore), and his Teatro Real Madrid debut in the title role of Falstaff. He was also Dulcamara at the Glyndebourne Festival.The 2023/24 season sees Misha Kiria in the roles of Michele and Gianni Schicchi in a new production of Puccini’s Triptych, and in The Barber of Seville at Deutsche Oper in Berlin. At Bayerische Staatsoper in Munich, he sings in La Cenerentola and The Barber of Seville.He is making his role debut as Michonnet (Adriana Lecouvreur) at Opéra national de Lyon and Théâtre des Champs-Élysées. He also returns to the Vienna Staatsoper in Don Pasquale and La Cenerentola and his also making Canadian Opera Company debut, in Toronto, in Don Pasquale.

Paris Opera debut

Kiria.Misha 3 (c) Simon Pauly

Grigorian.Asmik

Born in Tirana, Enkelejda Shkoza studied at the Conservatory of her hometown. She made her debut in Pergolesi’s Stabat Mater in Strasbourg. Settling in Italy, she obtained a diploma in lyrical singing from the Verdi Conservatory in Milan and won first prize at the Leyla Gencer International Competition in Istanbul.Since then, she has performed on major international opera stages in works such as Rigoletto, Così fan tutte, Madama Butterfly, The Queen of Spades, The Damnation of Faust, La Cenerentola, Gianni Schicchi, Suor Angelica, Carmen, Maometto II, Falstaff, La forza del destino, La straniera, Guillaume Tell, Maria Stuarda, Roberto Devereux, The Tales of Hoffmann, The Daughter of the Regiment, Aida, Un ballo in maschera, Il Trovatore, The Italian Girl in Algiers, Nabucco, Pelléas et Mélisande, Lakmé, La damoiselle élue, and Joan of Arc at the Stake.She has performed Verdi's Requiem many times, as well as Rossini's Stabat Mater. She took part in the world premiere of Menotti's Missa Solemnis pro Jubileo Domini Nostri Tertio Millennio at the Colosseum in Rome.More recently, she has performed as La Frugola, Suor Zelatrice, and Zita (Il trittico) at the Salzburg Festival, Azucena (Il trovatore) at the Verdi Festival in Parma, Ulrica / Madame Arvidson (Un ballo in maschera) in Tenerife and Marseille, Geneviève (Pelléas et Mélisande) in Modena and Piacenza, Mrs. Quickly (Falstaff) in Athens, La Frugola (Il tabarro) at the Rome Opera, Emilia (Otello, in concert) in Aix-en-Provence and on tour with the Teatro di San Carlo in Naples, Ježibaba (Rusalka) at the Palau de les Arts Reina Sofia in Valencia, and Suzuki (Madama Butterfly) at the Royal Opera House in London.During the 2024-2025 season, she will perform, among other roles, Solocha (The Night Before Christmas by Rimsky-Korsakov) in Frankfurt, Emilia at the Teatro Real in Madrid, and Zita with the Haydn Orchestra of Bolzano and Trento.At the Paris Opera: Madama Butterfly (Suzuki), 1998, 2011; The Tales of Hoffmann (Giulietta), 2000; Così fan tutte (Dorabella), 2003.

Shkoza.Enkelejda  1

Neklyudov.Alexey (c) the artist

Following nine years as an ensemble member at the Bayerische Staatsoper in Munich, Irish tenor Dean Power is now a guest artist on the international stage. He was born in Clarecastle, Ireland, and studied in Dublin with Mary Brennan and repetiteur Mairead Hurley at the Royal Irish Academy of Music and D.I.T. Conservatory of Music and Drama. He graduated from the Bayerische Staatsoper Opera Studio at the end of the 2011/12 season before becoming a full member of the ensemble.Recent projects include debut at Teatro Real Madrid as Graf Elemer (Arabella), Salzburg Festival as Gherardo (Gianni Schicchi) and a venditore (Il Tabarro), at Easter Festival in Salzburg as Heinrich der Schreiber (Tannhäuser), and his return to Irish National Opera for a role debut as Ferrando (Così fan tutte). He also joined the Dudamel Foundation to sing Jaquino in a unique semi-staged performance of Fidelio under the baton of Gustavo Dudamel. The performance was created especially for both deaf and hearing audiences.The 2023/24 season sees Dean Power join the Cork Opera House as associate artist of Cara O'Sullivan, with performances such as Tamino (The Magic Flute), a programme of arias for their Cultural Evening, a Christmas concert and an opening gala concert. He also sings Verdi’s Messa di Requiem at Cadogan Hall and in Limerick and Maynooth, in Ireland, and performs the world premiere of new songs commissioned in Munich. He also joins the Armenian National Philharmonic Orchestra for St John’s Passion, and the Blackwater Valley Opera Festival as Salieri (La Zingarella).

Paris Opera debut

Power.Dean 3 (c) Fritz Beck

Lavinia Bini graduated in singing with honor from the Conservatorio Cherubini in Florence and won the Renata Tebaldi International Competition. She made her professional debut in the role of Despina (Così fan tutte) in Rome and took part in the production of The Barber of Seville in Fermo, staged by Damiano Michieletto. Other appearances include Il Cappello di Paglia di Firenze and Gianni Schicchi in Florence, Rinaldo, Il Matrimonio Segreto (Cimarosa) and Così fan tutte in Ravenne, I Due Figaro in Buenos Aires, L’elisir d'amore, Don Giovanni andI Lombardi alla prima crociata in Turin and Bologna, Don Giovanni at the Macerata Festival, La Rondine for an Italian tour, La Sonnambula, Don Giovanni, Idoménée and the triptych in Salzburg, La Bohème in Genoa, Cagliari and Liège, Don Carlo in Parma, Fidalba and Artabano (Hasse) at the Lugo Purtimiro Festival, Un Ballo in Maschera, La Ciociara (Tutino) and Don Pasquale in Cagliari, Rigoletto in Liège, L'italiana in Algeri in Paris, 7 Minuti (Battistelli) in Nancy, L'ammalato immaginario (Vinci) in Martina Franca, The Merry Widow, Gianni Schicchi, La Voix humaine and Il Segreto di Susanna in Verona, The Barber of Seville at Teatro alla Scala, Milan, Carmen at the Arena of Verona. More recently, she made her role debut as Mimi (La Bohème) at Teatro Verdi in Trieste. She appeared in a concert in Muscat, where she also sang the role of Despina. She has sung Der Kaiser von Atlantis in Palermo, Oscar/Otto (Un Ballo in Maschera) for an Italian tour, Rossini’s Little solemn Mass in Taranto, Musetta (La Bohème) in a concert version in in Haifa and Tel Aviv with the Israel Philharmonic Orchestra, Berta (The Barber of Seville) in Muscat, Adina (L’elisir d’amore) in Bologna and Norina (Don Pasquale) in Tokyo. Other projects include Le Maschere (Mascagni) at the Wexford Festival and Così fan tutte in Liège.



Paris Opera debut

Bini.Lavinia (c) Michele Monasta

Born in Barcelona in 1978, Manel Esteve Madrid studied music at the city conservatoire and singing with his father, baritone Vicenç Esteve. He completed his training with Joan Pons, Jaume Aragall, Bonaldo Giaiotti, Eduard Giménez, Carlos Chausson and Rolando Panerai. He won the singing international competitions of Pedro Lavirgen and Manuel Ausensi. In 1999, he made his debut at the Gran Teatre del Liceu in Barcelona as Uberto (La Serva padrona). Since 2000, he has been performing at the most important Spanish music stages and festivals, including Gran Teatre del Liceu in Barcelona, Teatro Real in Madrid, Teatro de la Zarzuela, Palau de la Música catalana, ABAO in Bilbao, Teatro de la Maestranza, Oviedo Opera, Auditorio Nacional in Madrid, Menorca Opera, Palau de les Arts Reina Sofía in Valencia, Teatre Principal in Majorca, Teatro Calderón, Teatro Arriaga, San Sebastián Musical Fortnight, Castell de Peralada Festival… He also worked with major orchestras, with whom he mostly performed concert repertoire, and appeared in Carmina Burana at Palau de la Música catalana in Barcelona as part of the commemoration of the 50th anniversary of Spanish Radio and Television in Catalonia. Recent highlights include the roles of Betto di Signa (Gianni Schicchi) at Salzburg Festival, Hajný (Rusalka) at Teatro Real in Madrid, Gran Teatre del Liceu and Palau de les Arts Reina Sofía, Schaunard (La Bohème) at Teatro Real, in Bilbao and at Teatro Regio in Turin, Papageno (The Magic Flute) at Oviedo Opera, Lescaut (Manon) in Santiago de Chile and Oviedo, Michonnet (Adriana Lecouvreur) at Teatro Real, Ping (Turandot) and Sharpless (Madama Butterfly) at Gran Teatre del Liceu.

Paris Opera debut

Esteve Madrid.Manel 1 (c) Anna Forcada

Iurii Samoilov has worked with many conductors, such as Richard Bonynge, Sir Antonio Pappano, Antonello Manacorda, Marc Soustrot, Marc Albrecht, Gustav Kuhn, Jonathan Cohen, Roberto Abbado, Sebastian Weigle, Riccardo Frizza, Pablo Heras-Casado, Theodor Guschlbauer, Pier Giorgio Morandi, Erki Pehk, Lorenzo Viotti, Alain Altinoglu, Tadaaki Otaka, Joana Mallwitz, and numerous stage director, including Sir Jonathan Miller, Claus Guth, Pierre Audi, Dmitri Tcherniakov, Harry Kupfer, Keith Warner, Laurent Pelly, Jens-Daniel Herzog, Peter Stein, David Alden, Sven-Eric Bechtolf, Christof Loy and Damiano Michieletto.&nbsp;He sang Papageno (The Magic Flute), Sir Riccardo Forth (Il Puritani), Danilo (The Merry Widow), Eugene Onegin (title role), Marcello (La Bohème), Mr Astley (The Gambler), Guglielmo (Così fan tutte), Don Giovanni (rôle-titre), le Comte Almaviva (Les Nozze di Figaro) and Enrico Ashton (Lucia di Lammermoor).&nbsp;Recent highlights include his US debut in the title part of Eugene Onegin at the Michigan Opera Theater in Detroit, his BBC Proms debut, his role debut as Belcore in L’Elisir d’amore in Macerata, the title role in Billy Budd at the Bolshoi Theater in Moscow, Omar in Rossini’s The Siege of Corinth at the Rossini Festival in Pesaro, Masetto in Don Giovanni at the Salzburg Festival and the Dutch National Opera, as well as his debut at the Teatro Real in Madrid in The Golden Cockerel.&nbsp;In the 2021/22 season, he performed in L’italiana in Londra, The Merry Widow and Così fan tutte in Frankfurt. He also made his Metropolitan Opera debut as Schaunard in La Bohème and returned in Salzburg. Future projects include his Gran Teatro del Liceu debut and new appearances at the Metropolitan Opera and the Festival Rossini in Pesaro.

Paris Opera debut

Samoilov.Iurii 3 (c) Tatyana Bogashova

Kronthaler.Theresa 3 (c) 

Member of the Paris Opera TroupeCanadian-Armenian bass-baritone Vartan Gabrielian holds a Bachelor’s and Master’s Degree in Vocal Performance from the Curtis Institute of Music. He is also an alumnus of the Canadian Opera Company’s ensemble and the Santa Fe Opera Apprentice program. In 2022, Gabrielian was a finalist at the Belvedere Competition as well as a Semi-Finalist of the 2023 Metropolitan Opera Laffont Competition. He is also a recipient of awards from numerous organisations including the Metropolitan Opera National Council, Career Bridges Schuyler Foundation, Gerda Lissner Foundation, Jacqueline Desmarais Foundation and the George London Foundation. Highlights of the 2023/24 season have included Nick Shadow (The Rake’s Progress) at Festival de Verbier, Basilio (The Barber of Seville) at at the Des Moines Metro Opera, Fasolt (Das Rheingold) with the Edmonton Opera, as well as Basilio, Brother Laurent (Romeo and Julier) and The Captain (Florencia en el Amazonas) at Opera San Jose. He has joined the Paris Opera Troupe for the 2024/25 season.







À l’Opéra national de Paris : La Traviata (Dottore Grenvil), 2024 ; Madame Butterfly (Lo Zio Bonzo), 2024 ; The Rake’s Progress (Keeper of the madhouse), 2024

Gabrielian.Vartan 2 (c) Sam Gaetz

Gianni Schicchi

Born in Barnaoul in Russia, Roman Burdenko has won numerous prestigious singing competitions, including the 1st Prize for the Competizione dell'Opera in Moscow and the 2nd Prize of the 2011 Long-Thibaud-Crespin Competition in Paris, the 3rd Prize for the 2012 World Opera Competition “Operalia” in Beijing, and the 2nd Prize for the 2013 Hans Gabor-Belvedere Competition in Amsterdam. Past projects include Alfio in Cavalleria rusticana, Tonio in Paillasse at the Grand-Théâtre in Geneva, the title-role in Prince Igor at the Bolshoi Theatre in Moscow, Stankar in Stiffelio at the Bilbao Opera, Dunois in a shortened version of Tchaikovsky's The Maid of Orleans at the Grand-Théâtre in Geneva, Renato in Un ballo in maschera at the Deutsche Oper in Berlin, Enrico in Lucia di Lammermoor at the Las Palmas Opera, Alfio and Tonio at the Zurich Opera. He made his debut at the Gergiev Festival in Rotterdam in Prokofiev's Ivan the Terrible, and he sang Ford in Falstaff at the Glyndebourne Festival alongside with Mark Elder and Richard Jones, Tomsky in The Queen of Spades at the Mariinsky Theatre, the title-role in Nabucco at the Grand-Théâtre in Geneva. He made his debut at the Munich Staatsoper in the role of Belcore in L'Elisir d'amore, and performed Germont in La Traviata with the Glyndebourne Touring and at the Mariinsky Theatre. Next season will see him in Tosca and La Forza del destino at the Berlin Deutsche Oper, Aida and Nabucco at the Verona Arena, Il Tabarro in Salzburg, La Gioconda in Las Palmas and The Queen of Spades at the Munich Staatsoper.

Paris Opera debut

Burdenko.Roman (c) Daniil Rabovsky NB

Joshua Guerrero is a graduate of the Young Artist Program and a winner of the Los Angeles Opera’s Eva and Marc Stern Artist Award. He won Second Prize at the Plácido Domingo Operalia Competition in 2014 and was the recipient of a grant from the Richard Tucker Foundation in 2016.He performed at the Washington Opera (La Traviata), the Houston Grand Opera (Florencia en el Amazonas), the Canadian Opera Company in Toronto (La Bohème and Rigoletto), the Glyndebourne Festival (Madama Butterfly), the Florida Grand Opera (Lucia di Lammermoor).He then returned to Los Angeles for his role debut as Macduff (Macbeth) and made his stage debut in that same role at the Zurich Opernhaus. In Los Angeles, he also sang Moby Dick and in Ghosts of Versailles. He made his house debut at the Opéra national de Bordeaux in Simon Boccanegra, at Teatro de la Maestranza, Seville, in L’elisir d’amore and at the Santa Fe Opera in Roméo et Juliette.In concert, he performed under Gustavo Dudamel in Beethoven’s Symphony n°9 with the Los Angeles Philharmonic Orchestra, and in Verdi’s Requiem with the Santa Fe Symphony Orchestra. He made his role debut as de Rodolfo (La Bohème) in Caracas.More recently, he made several debuts: at the Lyric Opera Chicago in Macbeth, the Teatro Real Madrid and Royal Opera House Covent Garden in La Bohème, the Dutch National Opera in Amsterdam in Tosca and the Salzburg Festival in Il Tabarro. In the 2022-23 season, he also made house debuts at the Wiener Staatsoper (Macbeth), the Bayerische Staatsoper Munich (Manon Lescaut) and returned to the Royal Opera House (Madama Butterfly), the Lyric Opera Chicago (Don Carlos), the Frankfurt Opera (Manon Lescaut) and the Santa Fe Opera (Tosca). He will soon make his debut at the Teatro dell'Opera Rome.Paris Opera debut

Guerrero.Joshua

After his diploma from the Galante Garrone School of Dramatic Arts in Bologna, and after a few years in several theatre companies, Andrea Giovannini began studying singing and made his operatic debut in the role of Danilo (The Merry Widow) under the baton of Massimo de Bernart.He has since performed the roles of Fenton (Falstaff) at the Grange Park Festival in London, Rodolfo (La Bohème) in Dublin, Alfredo (La Traviata) in Nuremberg and Dijon, before making his debut in several roles: Rinuccio (Gianni Schicchi) in Modena, Camille de Rossillon (The Merry Widow) in Naples and Rome, Edgardo (Lucia di Lammermoor) in Dijon, Tamino (The Magic Flute) in Massy, Nemorino (L’elisir d’amore) with Opera Zuid, Verdi’s Requiem with the Brabant Orchestra in Eindhoven and Poznan.Past engagements include Normanno (Lucia di Lammermoor), Basilio (Le nozze di Figaro) and Spoletta (Tosca) in Rome, Edmondo (Manon Lescaut) in Florence, Goro (Madama Butterfly) in Naples and Parma, Abdallo (Nabucco) in Cagliari, Flavio (Norma) in Turin, Prunier (La Rondine) in Lucca, Pisa, Livorno, Modena, Ravenna and Rome.Recent projects include Pepe (Paillasse), Dr Cajus (Falstaff) and Don Girolamo (Agnese) at Teatro Regio in Turin, Edmondo in Verona, Action (West Side Story) in Rome, Monostatos (The Magic Flute) in Catania, The Abbé de Chazeuil (Adriana Lecouvreur) at the Salzburg Festival, where he came back for Il Tinca (Il Tabarro), Pang (Turandot) at the Festival Puccini Torre del Lago and Maestro Trabuco (La forza del destino) in Parma.As a member of the Vienna Staatsoper Ensemble, Andrea Giovannini sang in productions such as Madama Butterfly, Salomé, Tosca, Falstaff, Le nozze di Figaro, Adriana Lecouvreur, Werther, Boris Godunov, Der Rosenkavalier, La fanciulla del West and Dialogues des carmélites.Future projects include, among others, Dido and Æneas / The Seven Deadly Sins in Bologna and in Reggio Emilia.Paris Opera debut

Giovannini.Andrea

Trained at the Académie de l'Opéra national de Paris Member of the Troupe lyrique de l'Opéra national de ParisOriginally from New York, Ilanah Lobel-Torres obtained her Bachelor's degree from the New England Conservatory and her Master's degree in Vocal Performance from the Mannes School of Music. Upon completion of her Master's degree in 2019, she will join the Académie de l'Opéra national de Paris. As part of this program, she sings at the Opéra Bastille and the Palais Garnier, as well as on tour in Beirut, at La Grange au Lac in Evian and at the Opéra de Dijon.In September 2020, she was diagnosed with primary mediastinal B-cell lymphoma and underwent six cycles of chemotherapy. Six months after completing her treatment, she returns to Paris for the 2021-2022 Opéra national de Paris season. She appeared on the stages of La Grange au Lac as Ozia (La Giuditta) conducted by Thibault Noally, and Opéra de Dijon as Costanza (L'isola disabitata) conducted by Faycal Karoui.She has also appeared in concerts with the Académie and as soloist in chamber music concert series with the Orchestre de l'Opéra national de Paris. In the 2022-2023 season, Ilanah Lobel-Torres reprises the role of Ozia at the Festival de la Chaise-Dieu and the Festival Sinfonia en Perigord with Les Accents and Thibault Noally, makes her debut at the Santa Fe Opera as the First Nymph (Rusalka) under Lidiya Yankovskaya and as understudy to Proserpina (L'Orfeo) under Harry Bicket. She has been a member of the Troupe lyrique de l'Opéra national de Paris since the 2023-2024 season.At the Opéra national de Paris: L'Enfant et les Sortilèges (la Bergère, la Chauve-souris), 2020; Manon (Javotte), 2022; Les Noces de Figaro (una donna, Barbarina), 2022; Peter Grimes (Second Niece), 2023; L'Affaire Makropoulos (Krista), 2023; Adriana Lecouvreur (Madamigella Jouvenot), 2024; Salomé (ein sklave), 2024; Les Brigands (Zerlina), 2024

Ilanah Lobel Torres © Barbara Torres

chae hoon baek

Member of the Chœurs de l'Opéra national de ParisPranvera Lehnert Ciko studied violin and voice in her native Tirana, Albania. At the age of 18 she moved to Paris and joined the class of Peggy Bouveret at the Conservatoire National Supérieur de Musique de Paris, where she was awarded first prize in 1999. She sang in Menotti's Le Téléphone (1997) in Toulouse under the direction of Marc Bleuze and in a concert version of Don Pasquale (1998) at the Conservatoire National Supérieur de Musique de Paris. Between 1998 and 1999, she toured with L'Opéra Éclaté in Manon and Les Noces de Figaro.She was also invited twice to the Festival de Saint-Céré, notably for a recital of Schubert lieder. Concert appearances include Pergolesi's Stabat Mater with the Orchestre des Archets de Paris in Sainte-Chapelle and Schubert's Mass in G major in Béziers. She has been a member of the Paris Opera Chorus since 1999. She regularly participates in chamber music recitals at the Studio and Amphithéâtre de l'Opéra Bastille with a very varied repertoire (Brahms, Schubert, Mendelssohn, Rossini, Donizetti or Viennese operettas).At the Opéra national de Paris: Dialogues des carmélites (Sœur Saint Charles), 2004; Le Nain (l'Amie de l'Infante), 2013; Madame Butterfly (la Cugina), 2014; Le Songe d'une nuit d'été (soloist), 2017, 2022; Yvonne, princesse de Bourgogne (la Troisième Dame), 2019; Turandot (Ancella), 2023

pranvera lehnert ciko

Il Tabarro

Mattila.Karita.5.(c) Marica Rosengard NB

After initially studying psychology, Hanna Schwarz began her musical training at the Hanover Academy of Music where she made her debut in Die Walküre (Siegrune). She then joined the company of the Hamburg Staatsoper. Since 1975 she has made numerous guest appearances at the Bayreuth Festival, performing the roles of Erda, Fricka, Waltraute (the Ring Cycle) and Brangäne (Tristan und Isolde). She has since recorded the role of Waltraute for Deutsche Grammophon under the musical direction of James Levine. Her career then took on an international dimension and she found herself performing the Ring Cycle all over the world (The San Francisco Opera and New York’s Metropolitan Opera with James Levine, the Bayerische Staatsoper in Munich with Wolfgang Sawallisch, the Deutsche Oper in Berlin, the Hamburg Staatsoper, and London’s Royal Opera House Covent Garden with Bernard Haitink). She was invited to the Salzburg Festival to perform in Parsifal and The Magic Flute under the baton of Herbert von Karajan, then in Lulu (Countess Geschwitz) and Salomé (Herodias). The other roles that have marked her career include Octavian (Der Rosenkavalier), the title role in Carmen (which she performed alongside Plácido Domingo in the production by Jean-Pierre Ponnelle), the Nurse (Die Frau ohne Schatten) and Klytaemnestra in Elektra (a role for which she was named “Singer of the Year” in 1997). Hanna Schwarz also devotes her time to contemporary music (Hans Werner Henze, Mauricio Kagel, Pierre Boulez, Alfred Schnittke, and Leonard Bernstein) as well as concerts and recitals. She has sung under the baton of Karl Böhm, Seiji Ozawa, Zubin Mehta, Giuseppe Sinopoli, Lorin Maazel, Christoph von Dohnányi, and Leonard Bernstein. Her Paris Opera appearances include Die Fledermaus (Prince Orlofsky), Don Quichotte (Dulcinée) and Giulio Cesare (Cornelia) among others. More recently, she sang in the productions of The Threepenny Opera in Vienna, London, Paris (Théâtre des Champs-Élysées) and Hamburg, Dialogues des Carmélites and The Queen of Spades in Basle, Die Soldaten at Munich’s Bayerische Staatsoper and the Zurich Opera, Jenůfa, Salomé, and Elektra in Zurich, The Enchantress and Peter Grimes at the Theater an der Wien, Daphné in Basle and Hamburg, Jenůfa at the Deutsche Oper in Berlin and in Munich, the New National Theatre in Tokyo and the Metropolitan Opera in New York.

Schwarz

Trained at the Paris Opera Academy Member of the Paris Opera Lyric TroupeOriginally from Moscow, Margarita Polonskaya began studying music and theater at an early age. In 2016, she won first prize at the Karpacz International Opera Festival (Poland) and third place in the Russian singing competition Masterpieces of Russian Music. In 2017, she graduated from Moscow's Gnessin Academy. A student at Salzburg's Mozarteum University since 2018, she was a finalist and scholarship holder at the 25th Ferruccio Tagliavini International Singing Competition in Deutschlandsberg and received the Ein Gianna Szel scholarship. She won a scholarship from the Amicitia Association of Friends of Young Artists.

She appears at the Mozarteum University's Opera Studio, where she sings the roles of Marguerite (Faust), Poppea (The Coronation of Poppea), and Ritualist (Tea by Tan Dun). In 2022, she performed Pamina (The Magic Flute) at the Immling Festival. With the Paris Opera Academy, that she joined in September 2022 for two seasons, she sang Giulia (La Scala di seta) at the Athénée Théâtre Louis-Jouvet and Anna Maurrant (Street Scenes) at the MC93 in Bobigny, among others. She sang the role of Prince Ozia (La Giuditta) at the Auditorium du Musée du Louvre. Margarita Polonskaya took part in the concert tour Les compositrices et la mélodie française, in partnership with the Palazzetto Bru Zane, performing in Paris, Venice, and at the Internationale Musikfestspiele Saar.

Margarita Polonskaya has won the AROP 2022-2023 prize, the 29th Cercle Carpeaux lyric prize, and was a prizewinner at the 15th Concours international de la mélodie de Gordes. She has recently performed Stabat Mater by Pergolèse in Oppède-le-Vieux, Mimi (La Bohème) in Autun, and Eurydice (Orphée et Eurydice) in Saint-Guillaume and Strasbourg.She is a member of the Paris Opera Lyric Troupe for the 2024-2025 season.
At the Paris Opera: The Magic Flute (Erste Dame), 2022, 2024; L'Enfant et les Sortilèges (la Princesse), 2023

Margarita Polonskaya

Daryl Freedman is a graduate of the Cafritz Young Artist Program at Washington National Opera where she sang the roles of Princess Eboli (Don Carlo), Gertrude (Hansel and Gretel), and Marcellina (Le nozze di Figaro).Past engagements include Fricka (Das Rheingold) at Virginia Opera, the title role of Julius Caesar at The Opera Atlanta, The Third Layd (The Magic Flute) at Metropolitan Opera in New York, Powerful Woman / Adelaide Johnson (Kamala Sankaram’s Rise) at Washington National Opera, Suor Dolcina (Suor Angelica) at the Salzburg Festival.On the concert stage she debuted with the Erie Philharmonic in Mahler’s Symphony No. 2, and performed with the Fairfax Symphony for Beethoven’s Symphony No. 9. During the 2022/23 season she made her role debut as Ulrica (Un ballo in maschera) at the Maryland Lyric Opera. She then returned to the Cleveland Orchestra for Schubert’s Mass No. 6, performed at the Severance Hall and Carnegie Hall. She sang The Messiah at the Santa Fe Symphony and returned to the Metropolitan Opera for Amneris (Aida).During the 2023/24 season, she sang The Third Lady and Ulrica at the Metropolitan Opera, as well as Amneris at the Chicago Lyric Opera.

Paris Opera debut&nbsp;

Freedman.Daryl (c) Arielle Doneson

Member of the Paris Opera TroupeDutch mezzo-soprano Maria Warenberg finished her studies with distinction at the Conservatoire of Amsterdam under the guidance of Sasja Hunnego. She is a laureate of the Queen Elisabeth Competition 2023 and a multiple prize winner at the Classic Young Masters competition.In 2021 she debuted as Stéphano (Roméo et Juliette) at Opera Zuid. As a former member of the Dutch National Opera Academy in Amsterdam she made her debut in various opera productions, including d Costanza (Haydn’s L’isola disabitata) with the Orchestra of the Eighteenth Century under the baton of Kenneth Montgomery.Other highlights of her career include concerts at Tivoli Vredenburg Hall in Utrecht and at Concertgebouw Amsterdam with the Radio Philharmonic Orchestra. She also took part in the convert verison of Janacek’s The Makropulos affair with the Radio Philharmonic orchestra conducted by Karina Canellakis, also at the Concertgebouw Amsterdam.Besides opera repertoire, Maria Warenberg has a passion for the Lied repertoire and has performed in the leading festivals and concert venues in the Netherlands. She has, among others, performed a recital at the International Lied Festival Zeist and sung Berlioz’s Les Nuits d'été with the Nordwestdeutsche Philharmonie during the Voices Festival at Gut Holzhausen.She recently made her role debut as Annio (La clemenza di Tito Clémence de Titus) at Opera Ballet Vlaanderen, in a production that was also presented in Luxemburg and in Vienna as part of the Wiener Festwochen. She is a member of the Troupe lyrique de l'Opéra national de Paris for the 2024-2025 season, and will also perform in recital at the Concertgebouw in Amsterdam.







At the Opéra national de Paris: Les Brigands (Bianca), 2024; La Petite Renarde rusée (le Chien), 2024

Warenberg.Maria 1 (c) Romy Treebusch

Nominated as a Talent Adami Classique 2023, Camille Chopin won the Nadia and Lili Boulanger Centre Prize and the Grand Revelation Prize at the Avignon Opera's Jeunes Espoirs Raymond Duffaut competition. She joined the Opera Comique’s Academy for the 2023/24 season. Camille Chopin made her stage debut at the age of 10 with the children choir Sotto Voce, then at 12 as Brigitta (The Sound of Music) at the Théâtre du Châtelet. In 2017 she obtained a degree in Arts and Literature from the Paris University (Paris 7 Diderot), and then trained at the Department for advanced young singers at the Conservatoire à rayonnement régional de Paris, before graduating from the Conservatoire national supérieur de musique de Paris with distinction in 2022. Following the Tutti Foundation’s programme, she is mentored by soprano Nicole Car. Appearances include Little Red Riding Hood (Sondheim’s Into the Woods) at the Paris Opera’s Amphitheatre, staged by Charlotte Nessi and Mike Guermyet, Servilia (L’Affaire Clemenza) at the Seine Musicale with the Plein Jour company, Susanna (Le Nozze di Figaro), Adina (L’elisir d’amore) with the Cosa Sento company, the Princess and the Cat (L’Enfant et les sortilèges) with the Ginette company, Barberina (Le Nozze di Figaro) with Opera Fuoco. 

She also took part in Emmanuelle Haïm’s production of Le Retour à Versailles. Her duet with pianist Heloïse Bertrand-Oleari was supported by the Jeunes Talents Association. In 2024, she sang the soprano part in Mozart’s Mass in C minor, conducted by Marc Korovitch at the Montpellier Corum, and Pulcinella by Stravinsky at the Opéra Comique, conducted by Louis Langrée and staged by Guillaume Gallienne.

Paris Opera debut

Chopin.Camille 4 (c) Marie-Louise Le Goff

Originally
from Toulouse, Lisa Chaïb-Auriol began singing at the Théâtre du Capitole. She
joined the regional conservatory of her native city and obtained her singing
and alto diplomas. The soprano also trained in theater and at the Toulouse
School of Fine Arts. At the age of 18, she entered the Conservatoire National
Supérieur de Musique et de Danse de Paris in the class of Frédéric Gindraux.
She obtained her master’s degree after studying with Léa Pasquel, Jean-Philippe
Clerc and Antoine Palloc.Awarded twice, in 2016 and 2018, at the Concours de
l’Opéra Grand Avignon, Lisa Chaïb-Auriol is a regional finalist in the Voix
Nouvelles competition. She won the Engie - Revelation prize at the
international festival of the Arcachon basin « Les Escapades Musicales » as well
as the Young Hope prize at the international competition in Mâcon. She was
awarded the « Young Hope » prize at the first edition of the « Corsa lirica »
competition, and received the prize of the Opéra National de Montpellier at the
Gordes Melody Competition in partnership with the pianist Ninon
Hannecart-Ségal. She is a laureate of the Tarrazi fund and of the Maria
Godart-Kareska legacy, and in January 2020 she received the Vocation Prize of
the Marcel Bleustein-Blanchet Foundation.She has been invited to perform in
recital on stages such as the Opéra Grand Avignon, the Thalia Theatre in
Budapest and the Scène nationale de Mâcon. The public has heard her in the
roles of Pamina and Papagena in Mozart’s The Magic Flute, Isis in
Antonio Lotti’s Giove in Argo under the direction of Leonardo García
Alarcón, as well as Micaëla in Carmen directed by Béatrice Uria Monzon
at the Nuits Musicales en Armagnac, and as Susanna in The Marriage of Figaro
and Sylvia in Haydn’s L’Isola disabitata.Trained in the sacred
repertoire, she is a soloist in Bach’s St. Matthew Passion conducted by Jos Van
Veldhoven at Notre-Dame de Paris, in Poulenc’s Gloria at the Basilica of Saint
Sernin in Toulouse, in Fauré’s Requiem at the Madeleine Church in Paris, as
well as in Mozart’s Requiem at the Basilica of Reims. In 2021, she performed in
a recital with Julie Depardieu and La Diane Française, directed by
Stéphanie-Marie Degand for the Festival Baroque de Pontoise. She completes her
training by participating in masterclasses with Karine Deshayes (at the Opéra
Comique), Sandrine Piau, Jean-Yves Ossonce, Regina Werner, Brigine Jäger,
Mireille Delunsch and Jean-Jacques Cubaynes.Lisa Chaïb-Auriol joins the Académie de l’Opéra
national de Paris in September 2023. She played the roles of the Shepherdess and the
Bat in Richard Jones and Antony McDonald's staging of Ravel's L'Enfant et les
sortilèges at the Palais Garnier, and Shirley Kaplan in Street SceneS directed
by Yshani Perinpanayagam and staged by Ted Huffman at the MC93-Maison de la
Culture de Seine-Saint-Denis.

Lisa Chaïb-Auriol

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

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Il Trittico

Creatives

Gianni Schicchi

Il Tabarro

Suor Angelica

Il Trittico by Giacomo Puccini, from 29 April to 28 May 2025 at the Opéra Bastille