Act 1

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Livret La Cenerentola

Libretto

Relieved of her traditional attributes – velvet slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s La Cenerentola plays with the traditional figures of the fairy tale.Cinderella lives, nonetheless, in a closed and loveless world, under the yoke of the tyrant she protects. Beneath her goodness smoulders a fire to be unleashed by her encounter with the prince...In this drama giocoso written for the Roman Carnival in 1871 in only 24 days, the young Rossini, with 19 operas to his name already, including Il barbiere di Siviglia, composed a jubilatory score with his famous “crescendi” that stoke up the dramatic tension.Taking up this brilliant and highly contrasted score, Guillaume Gallienne delicately underlines its subtle shades, from sombre melancholy to burlesque. Orchestre et Chœurs de l’Opéra national de Paris A co-production by Opéra national de Paris and Cinétévé, with the participation of France Télévisions, and the support of La Fondation Orange and the Centre national du Cinéma et de l'image animée. © Opéra national de Paris – Cinétévé – 2017 Director: Louise NarboniPicture: © Vincent Pontet / OnP

<ul><li>Angelina: alias Cinderella - Don Magnifico’s step-daughter</li><li>Don Ramiro: Prince of Salerno</li><li>Don Magnifico: Father of Clorinda and Tisbe</li><li>Clorinda et Tisbe: Don Magnifico’s daughters</li><li>Alidoro: Philosopher, Don Ramiro’s private tutor</li><li>Dandini: Equerry to the prince  </li></ul>

2016-17-CENER-247

La Cenerentola

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Relieved of her traditional attributes – velvet slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s La Cenerentola plays with the traditional figures of the fairy tale. Cinderella lives, no

Gioacchino Rossini

Gioacchino Rossini was born in Pesaro on February 29, 1792. Son of musicians (his father played the horn and his mother sang in troupes of fairground operas), he studied singing and harmony in Bologna under the guidance of the abbot Mattei. At the age of 18, he had his first opera buffa performed in Venice, La Cambiale di matrimonio, which was soon followed by works of the same genre (L'Inganno felice, L'Occasione fa il ladro...). At the age of 20, three of his operas had already been performed, and a year later the number would rise to ten. In 1813, the creation of Tancredi, also in Venice, opened the doors to success and made him the undisputed master of the Italian opera scene for many years. The works follow one another at a frenetic pace: The Barber of Seville and Otello in 1816, La Cenerentola and Armide in 1817, La Donna del lago in 1819, Maometto II in 1821, Semiramis in 1823... Between 1818 and 1822, he is artistic director of the Teatro San Carlo in Naples. In 1822, he married the singer Isabella Colbran (1785-1845). From 1824, he settled in Paris. He was appointed head of the Théâtre Italien, a position he kept for two years, then First Composer to the King and General Inspector of singing in France. Le Voyage à Reims was created at the Théâtre Italien for the coronation of Charles X. Rossini reused part of the music in Le Comte Ory in 1828. His last opera, Guillaume Tell, created at the Paris Opera on August 3, 1829, was a triumph. In 1830, the revolution made him lose his royal offices; he separated from his wife and practically abandoned his musical activity. He remarried Olympe Pélissier and composed a Stabat Mater, commissioned by a Spanish prelate, as well as a number of occasional pieces, and numerous chamber music works, collected in a series of books entitled Péchés de vieillesse, often tinged with humor. From 1836 to 1848, he lived in Italy and then settled permanently in France. He died in Passy on November 13, 1868. Rossini left all his belongings to his native town, Pesaro, where a festival is held every year that has brought back to life many of the composer's forgotten works, some of which have since entered the repertoire of major opera houses.

Born in Bracciano near Rome, Teresa Iervolino was admitted to the D. Cimarosa Conservatory in Avellino in 2007. Within a year she was participating in a series of concerts in Campania in Italy and in 2010 was awarded third prize in the Opera Città di Ravello International Competition. In 2012 she was the AsLiCo (Associazione Lirica E Concertistica Italiana) candidate in the 63rd edition of the European Community Competition for young singers, which she won. In the same year, she was awarded first prize in the Opera Città di Bologna International Competition as well as both the “Gigliola Frazzoni” and the “Anselmo Colzani” special prizes and won first prizes in the Salicedoro and “Maria Caniglia” International Opera Competitions. In 2013, she was awarded First Prize in the Etta Limits International Competition and the AsLiCo prize for her performance in the title role of Tancredi.She made her debut at the Teatro Filarmonico in Verona in May 2012 in Stravinsky’s Pulcinella, followed by the roles of Maddalena in Rigoletto in Chieti, Isabella in L’Italiana in Algeri in Como and Ravenna, Miss Bagott in Il Picollo Spazzacamino at the Teatro Regio in Turin, Fidalma in Il Matrimonio Segreto at the Spoleto Festival, Maffio Orsini in Lucrezia Borgia in Padua, the title role in Tancredi in Como, Brescia and Padua, Clarice in La Pietra Del Paragone at the Châtelet Theatre in Paris, Calbo in Maometto II, Rosina in Il Barbiere di Siviglia at the Teatro dell’Opera in Rome, Rossini’s Giovanna d’Arco with the Tokyo Philharmonic Orchestra and Stravinsky’s Pulcinella for the opening of the concert season at the Teatro San Carlo in Naples. She has worked with a number of renowned conductors such as Roberto Abbado, Alberto Zedda, Jean-Christophe Spinosi, Stefano Montanari and Ivor Bolton.Recent and future engagements include a recording with Erato/Warner Classics of Handel’s Partenope in the role of Rosmira conducted by Riccardo Minasi; she will be singing Cornelia in Giulio Cesare in Toulon conducted by Rinaldo Alessandrini, Holofernes in Juditha Triumphans in Venice with Alessandro De Marchi, Lucia in La Gazza Ladra at the Rossini Opera Festival conducted by Donato Renzetti, Rosina in Il Barbiere di Siviglia at the Teatro dell’Opera in Rome and Maffio Orsini in Lucrezia Borgia in Bilbao. She will be making her debut at the Paris Opera in the role of Angelina in Rossini’s La Cenerentola.

Teresa Iervolino

Born in Texas, Juan José De León has distinguished himself in numerous competitions (a finalist in the Metropolitan Opera National Council Auditions in 2011, first prize in the Mildred Miller International Voice Competition, the critics prize at the Marcello Giordani Vocal Competition, second prize at the Sergio Franchi Competition, and third prize at the Dallas Opera Guild Vocal Competition). As a resident artist at the Pittsburgh Opera for two years, he performed the roles of Matteo Borsa in Rigoletto, Paolino in Il matrimonio segreto, Don Ramiro in La Cenerentola, Tamino in The Magic Flute and Nadir in the Pêcheurs de perles. In the course of the 2010 / 2011 season, he made his debut at the Dallas Opera in the role of Benvolio in Gounod’s Roméo et Juliette. In 2013 / 2014, he participated in the American premiere of Nico Muhly’s Two Boys at the Metropolitan Opera in New York and then sang Falstaff (Dr Cajus) at the Santa Barbara Opera. The following season he made his debut at the Chicago Opera in Capriccio (the Italian tenor), at the Tel-Aviv Opera in the Barber of Seville (Count Almaviva) and at Milan’s La Scala in Lucia di Lammermoor (Arturo) and Pagliacci (Beppe). He has also performed the role of Count Almaviva at the Baths of Caracalla in Rome, at the Atlanta Opera, in Palma de Mallorca, at the Madison Opera, at the Verona Arenas and the role of Don Ramiro at the Stuttgart Staatstheater. In December 2015, he participated in the premiere of Mark Adamo’s Becoming Santa Claus at the Dallas Opera.Projects: The Barber of Seville in Sydney, Austin and Essen, and L'italiana in Algeri (Lindoro) at the Montreal Opera. Juan José De León is making his debut at the Paris Opera.

Juan José De Leon

Muraro

The young Swiss soprano Chiara Skerath recently made successful role debuts as Mélisande at the Bordeaux Opera and Poppea at the Nantes Opera. She has appeared in several productions for the Paris Opera, including the world premiere production of Luca Francesconi’s Trompe-la-Mort. She has won prizes at numerous competitions including the 2014 Queen Elisabeth Competition, the 2013 Nadia and Lili Boulanger Competition, the 2012 Emmerich Smola Prize and the 2011 Young Promising Singer Prize at the Marmande International Singing Competition. She also received the Pour-cent Culturel Migros scholarship as a soloist in 2011 and 2012. Chiara Skerath has already performed many of the Mozartian roles, including Zerlina (Don Giovanni) at the Versailles Opera, Despina (Così fan tutte) at the Frankfurt Opera, Servilia (La Clemenza di Tito) at the Rhine Opera, Ninetta (La Finta Semplice) at the Queen Elizabeth Hall in London, Cinna (Lucio Silla) at the Theater an der Wien, Susanna (Le Nozze di Figaro) at the Operklosterneuburg Festival and Pamina (Die Zauberflöte) at the Saint-Étienne Opera. Her eclectic repertoire includes the roles of Eurydice and Amour (Gluck’s Orphée et Eurydice), Adina (L’elisir d’amore), Norina (Don Pasquale), Rosalinde (Die Fledermaus), the Italian Singer (Capriccio), and Eliza Doolittle in the stage musical My Fair Lady… She has sung under the direction of many of the great conductors including Christian Thielemann, Marc Minkowski, Sir John Eliot Gardiner, Ingo Metzmacher and Laurence Equilbey. Chiara Skerath has a particular affinity for the Lied and melody repertoire which she studied with Ruben Lifschitz at the Royaumont Foundation and she performs regularly in recital all over Europe with Antoine Palloc. She trained with Glenn Chambers at the Conservatoire national supérieur de musique in Paris and perfected her vocal skills with Annick Massis.

Projects: Die Zauberflöte (First Lady) at the Paris Opera, Hasse’s Piramo e Tisbe at London’s Cadogan Hall and a European tour of Freischütz (Ännchen) with Laurence Equilbey.

Skerath.Chiara (c) Capucine de Chocqueuse

Isabelle Druet first trained in theatre then studied voice at the Conservatoire National Supérieur de Musique in Paris. Named an ECHO Rising Star in 2013, Opera Revelation at the Victoires de la Musique in 2010, she also earned the title of Adami’s classical opera Revelation of 2007. In 2008 she won 2nd prize at the Queen Elisabeth International Competition in Belgium. She made her Paris Opera debut in 2011 singing the role of a Page in Salomé. She has performed the title role of Carmen at the Lorraine Opera and in Düsseldorf and Duisburg, Her other roles include Orlofsky in Die Fledermaus at the Rhine Opera, the title role in L’Italiana in Algeri in Metz, Wisdom, Sidonie and Mélisse in Lully’s Armide at the Théâtre des Champs-Élysées under the baton of William Christie, Dido in Dido and Aeneas in Brussels, Arcabonne in Amadis in Avignon and Massy, the Third Lady in The Magic Flute at the Aix Festival, the Salle Pleyel, the Berlin Philharmonia and on tour with René Jacobs, the title role in La Périchole and Concepcion in L’Heure Espagnole at the Lyon Auditorium and the Salle Pleyel, Orpheo in Gluck’s Orpheo ed Eurydice in Limoges and Besançon, and Béatrice in Béatrice et Bénédict at the Berlioz Festival… More recently, she sang the role of Baba the Turk in The Rake’s Progress at the Théâtre de Caen, and in Reims, Rouen, Limoges and Luxembourg, and then Melanto and Fortuna (Il Ritorno d’Ulisse in patria) at the Théâtre des Champs-Élysées and the Dijon Opera, Tisbe (La Cenerentola), Annina (La Traviata) and La Ciesca (Gianni Schicchi) at the Paris Opera. She also appeared in Campra’s L’Europe galante at the Opéra Royal in Versailles. She also sings in concert and recital in prestigious venues like the Concertgebouw in Amsterdam, the Philharmonie in Luxembourg, the Palace of the Arts in Budapest, the Philharmonie in Paris, the Palazetto Bru Zane in Venice and the Palais des Beaux-Arts in Brussels in a repertoire that includes Mahler’s Das Lied von der Erde, Zemlinsky’s Maeterlinck Lieder, Haydn’s Nelson Mass, Mendelssohn’s Elias, Mozart’s Requiem, and Bach’s Mass in B... In 2011, she recorded a first recital devoted to the French melody Jardin Nocturne, on the Aparté, label which was much acclaimed by the French critics (Télérama’s FFFF). Several other productions in which she appeared with the Poème Harmonique have also been recorded. 

Projects: Baba the Turk at the Nice Opera and the title role in Carmen in Saint-Étienne.

Born in Parma, Roberto Tagliavini studied singing with baritone Romano Franceschetto. He performs regularly at leading international theaters, with a repertoire ranging from Rossini, Mozart, Bellini and Donizetti to the French and Verdian repertoires. His favorite roles include Alidoro (La Cenerentola), Fernando (La Pie voleuse), Lord Sidney (Le Voyage à Reims), Maometto (Maometto II), Moses (Moses and Pharaoh), the Governor (Count Ory), the Count and Figaro (The Marriage of Figaro), Leporello (Don Giovanni) Rodolfo (La Somnambula), Oroveso (Norma), Giorgio (The Puritans), Raimondo (Lucia di Lammermoor), Philippe II (Don Carlo), Attila (title role), Zaccaria (Nabucco), Pagano (I Lombardi), Silva (Ernani) Des Grieux (Manon), Escamillo (Carmen), Frère Laurent (Roméo et Juliette), Lindorf, Miracle, Coppelius and Dapertutto (Les Contes d'Hoffmann), Mephistopheles (Faust), as well as Mozart, Donizetti and Verdi Requiems and Rossini's Stabat Mater. He has performed at La Scala, Milan, Opéra national de Paris, Teatro Real, Madrid, Salzburg Festival, Metropolitan Opera, New York, Accademia Nazionale Santa Cecilia, Rome, Royal Opera House, London, Gran Teatre del Liceu, Barcelona, Deutsche Oper Berlin, Los Angeles Opera, Mariinsky Theatre St. Petersburg, Amsterdam National Opera, Vienna Staatsoper, Bayerische Staatsoper Munich, Zurich Opera, Rossini Opera Festival Pesaro. In the 2024-2025 season, his roles include Banco (Macbeth) and Philippe II at the Vienna Staatsoper, Giorgio Talbot (Maria Stuarda) at Madrid's Teatro Real, Ferrando (Le Trouvère) at London's Royal Opera House, Alidoro at Munich's Bayerische Staatsoper and Zaccaria at the Arena di Verona.At the Opéra national de Paris: Otello (Montano), 2011; Le Trouvère (Ferrando), 2016, 2023; Carmen (Escamillo), 2017, 2019; La Cenerentola (Alidoro), 2017; Les Contes d'Hoffmann (Capitaine Dapertutto, Coppélius, Docteur Miracle, Lindorf), 2016; La Bohème (Colline), 2017; Manon (Le Comte des Grieux), 2020

Tagliavini.Roberto

Alessio Arduini made his debut in 2010 in the title role of Don Giovanni at the Teatro Sociale in Como. Over the next few seasons, he performed the roles of the Count in The Marriage of Figaro with the Pocket Opera, the title role in Don Giovanni at the Teatro Comunale in Bologna and at the Teatro Petruzzelli in Bari, Riccardo in I Puritani at the Teatro Ponchielli in Cremona, Guglielmo in Così fan tutte at the Teatro Regio in Turin and La Fenice in Venice, Schaunard in La Bohème at La Fenice, the Salzburg Festival and the Vienna Staatsoper (where he also sang the role of Masetto in Don Giovanni). In 2012, he made his debut appearance at London’s Royal Opera House Covent Garden singing the role of Schaunard. The following year, he made his debut at Milan’s La Scala in Un ballo in maschera (Silvano) and at Munich’s Bayerische Staatsoper in Così fan tutte (Guglielmo). In 2014, he sang the roles of Belcore in L’Elisir d’amore, Dandini in La Cenerentola and Marcello in La Bohème at the Vienna Staatsoper, then Masetto at the Salzburg Festival. That same year, he also made his United States debut in the role of Schaunard at the New York Metropolitan Opera. In 2015, he returned to the Salzburg Festival to perform the role of Silvio in Pagliacci under the baton of Christian Thielemann and then went to the Vienna Staatsoper for a new production of Don Pasquale (Malatesta). He sang Schaunard in La Bohème at the Baths of Caracalla (Rome), then Dandini and Belcore in Vienna, and made his Paris Opera debut in the role of Leporello. He returned to Paris the following year to sing the role of Figaro (The Barber of Seville) before playing Guglielmo and Masetto at the Salzburg Festival. During the 2016 / 2017 season, he performed at London’s Royal Opera House Covent Garden (Guglielmo), New York’s Metropolitan Opera (Marcello), Vienna’s Staatsoper (Malatesta, Dandini, Belcore), the Florence Opera (Papageno in The Magic Flute), and the Paris Opera (Dandini). He began the 2017 / 2018 season in Lille (Guglielmo) before appearing as Belcore at the Staatsoper in Vienna.Projects: Silvio (Pagliacci) at the Metropolitan Opera, Ramiro (L’Heure espagnole) at the Paris Opera, Dandini and Marcello at the Vienna Staatsoper, Mercurio (La Calisto) at the Bayerische Staatsoper in Munich, and Papageno (The Magic Flute) at the Rome Opera.

Alessio Arduini

After studying the harp and harpsichord at the Giuseppe Verdi Conservatory in Milan, Ottavio Dantone began his career as a concert performer at a young age specialising in the Early Music repertoire. He was the first Italian instrumentalist to be awarded first prize in the two most important harpsichord competitions in the world: the Paris International Competition (1985) and the Bruges International Competition (1986). In 1996, he became musical director of the Accademia Bizantina Orchestra in Ravenna and performed with them in some of the world’s most prestigious concert halls, including the Berlin and Vienna Konzerthaus, The Barbican Centre in London, the Concertgebouw in Amsterdam, and the Théâtre des Champs-Elysées in Paris. He has conducted many of the great orchestras in concert including the Berlin Staatskapelle, the Orchestre national de France, the Philharmonic Orchestra of La Scala in Milan and the Orchestra of the Accademia di Santa Cecilia in Rome. In 1999, he made his debut as an opera conductor by conducting the world premiere of Giuseppe Sarti’s Giulio Sabino at the Teatro Alighieri in Ravenna. Since then, he has conducted numerous opera productions expanding his repertoire to include the classical and romantic periods with works such as Il Viaggio a Reims, Così fan Tutte and Rinaldo at Milan’s La Scala, Rinaldo at the Glyndebourne Festival and London’s Royal Albert Hall, L’Arbore di Diana at the Teatro Real in Madrid, L’Italiana in Algeri at the Berlin Staatsoper, the Lausanne Opera and the Palau de les Arts in Valencia, Così fan Tutte in Strasbourg, Orlando and Rinaldo at the Beaune Festival, Le Nozze di Teti e Peleo and Edipo a Colono at the Rossini Festival in Pesaro, Marin Faliero at the Teatro Regio in Parma, The Barber of Seville in Oviedo, Tancredi in Lausanne, La Verità in Cimento and La Clemenza di Tito in Zurich, The Magic Flute and La Clemenza di Tito at La Fenice in Venice, The Abduction from the Seraglio at the Teatro Piccini in Bari and the Teatro Verdi in Trieste, and The Marriage of Figaro at the Hamburg Staatsoper… More recently, he conducted Così fan Tutte at the Salzburg Festival, L’Orfeo at the Lausanne Opera and the Monteverdi Festival in Cremona, and L’Incoronazione di Dario at the Teatro Regio in Turin. Since 2003, he has recorded regularly for Decca and Naïve.Projects: Giulio Cesare in Essen (Alfried Krupp Saal) and at the Théâtre des Champs-Elysées, L’Incoronazione di Poppea, La Scala di seta, and The Marriage of Figaro at the Zurich Opera.Ottavio Dantone is making his debut appearance at the Paris Opera.

Guillaume Gallienne graduated from the national Conservatory of dramatic arts in 1998 (with Dominique Valadié, Stéphane Braunschweig, Daniel Mesguich). He then joined the Comédie-Française and became, in 2005, a full-time member. He performed in many plays of the repertoire, such as Feydeau’s Un fil à la patte, Hugo’s Lucrèce Borgia, Visconti’s Les Damnés, and more recently Le Malade imaginaire and Le Bourgeois Gentilhomme by Molière. Other projects include his work in 2005 on the scenario of the ballet Caligula choreographed by Nicolas Le Riche at the Paris Opera, for which he was responsible for the dramaturgy. In 2006, he directed Huit Clos by Jean-Paul Sartre at the Tessenkaï No Theatre in Tokyo. He created in 2008 Les Garçons et Guillaume, à table! at the Théâtre de l’Ouest Parisien. He also signed the dramaturgies of Alexeï Ratmansky’s ballets Illusions perdues at the Moscow Bolshoi, and Of Love and Rage with the American Ballet Theater in 2020. In 2017, he made his first lyrical production at the Paris Opera with Rossini’s La Cenerentola. His film credits include roles in Jet Set by Fabien Oteniente, Sofia Coppola’s Marie-Antoinette, Fauteuils d’orchestre and Cézanne et moi directed by Danièle Thompson, Niels Arestrup’s Le Candidat, Sagan by Diane Kurys, Yves Saint-Laurent and Le Dindon by Jalil Lespert, Éperdument by Pierre Godeau, Kaamelott by Alexandre Astier, The French Dispatch by Wes Anderson… In 2013, he turned Les Garçons et Guillaume, à table! into a movie, for which he won four Césars including ‘Best Actor’ and ‘Best Film’. His second feature film, Maryline, was released in 2017. From 2008 to 2010, he wrote and performed Les Bonus de Guillaume for Le Grand Journal on Canal + and, from 2009 to 2020, he hosted Ça peut pas faire de mal, a show on France Inter devoted to reading. He was named Chevalier de l’ordre national du Mérite and Officier de l’ordre des Arts et des Lettres.

Actor, stage director and set designer, Éric Ruf joined the Comédie-Française in 1993, where he became a member in 1998 and took the role of managing director in 2014. Stage director both for the theater and the opera, he directed, among others, Le Pré aux clercs at the Opéra Comique, Pelléas et Mélisande at the Théâtre des Champs-Élysées (Critics's Grand Prize, 2017) or, for the Comédie-Française, La Vie de Galilée (Salle Richelieu, 2019), Bajazet (Théâtre du Vieux-Colombier, 2017), Roméo et Juliette (Salle Richelieu, 2015), Peer Gynt (Grand Palais, 2012 – Grand Prix du syndicat de la Critique and the Figaro's Beaumarchais Prize), performances where he also designed the scenography. He also created the opera, theater and ballet decors for productions by Denis Podalydès, Clément Hervieu-Léger, Valérie Lesort and Christian Hecq, Véronique Vella, Jean-Yves Ruf, Hervé Pierre, Julie Deliquet, Guillaume Gallienne or Christine Montalbetti. As an actor, he has worked in the theatre under the direction of Jacques Lassalle, Patrice Chéreau, Alain Françon, Denis Podalydès, Christian Schiaretti, Anatoli Vassiliev, Yves Beaunesne, Jean-Yves Ruf, Éric Vignier, Jean-Pierre Vincent, Jean-Luc Boutté, Jean Dautremay, Jérôme Savary, Clément Hervieu-Léger… In films and television, he has appeared in the work of Yves Angelo, Nicole Garcia, Arnaud Desplechin, Nina Companeez, Josée Dayan, Valéria Bruni-Tedeschi, Emmanuel Bourdieu, Yvan Attal, Roman Polansky... A winner of the City of Paris's Gérard Philipe Award (1999), he won in 2007 the Molière for Best Stage Design/Set and Best Supporting Actor in Cyrano de Bergerac, and in 2016 the Molière for Best Visual Creation for 20,000 leagues under the sea. As managing director, he also won two Molières for Public Theatre: Les Damnés in 2017, and La Nuit des rois ou Tout ce que vous voulez in 2019. Éric Ruf is Commandeur <a name="firstHeading"></a>of the Ordre des Arts et des Lettres.

Olivier Bériot is costumes designer for series and films, dance and theatre. He designed the costumes of series such as Arsène Lupin (Netflix) and Theodosia (HBO). In the cinema, he has worked with Luc Besson on Anna, Valerian and the City of a Thousand Planets, Lucy, Malavita, The Extraordinary Adventures of Adèle Blanc-Sec, The Lady, Arthur and the Invisibles.&nbsp;He created the costumes for movies such as Le Roi danse (Gérard Corbiau), Femme fatale (Brian de Palma), Fanfan la Tulipe (Gérard Krawczyk), Taken (Pierre Morel), Taken 2, Taken 3, The Transporter 3, Colombiana (Olivier Megaton), Hitman (Xavier Gens), Danny the Dog (Louis Leterrier), Luky Luke (James Huth). He has worked with Julian Schnabel on The Diving Bell and the Butterfly (nominated at the Costume Designer Guild 2007) and with Guillaume Gallienne for Les Garçons et Guillaume, à table ! (nominated at the 2014 César).He also extended his costume designing for dance and performances with choreographers such as Kader Belarbi (Giselle, Toulouse Lautrec, la Reine Morte), Nicolas Le Riche, Robyn Orlin, Marie-Geneviève Masse and the Company L'Eventail.&nbsp;At the Paris Opera, he created the costumes for Nosferatu (Jean-Claude Gallotta, 2001, 2006), Le Mandarin merveilleux (Maurice Béjart, 2003, 2006), Ich bin… (Susanne Linke, 2005), Caligula (Nicolas Le Riche, 2005, 2008, 2011), L’Allegro, il Penseroso e il Moderato (Robyn Orlin, 2007), Siddharta (Angelin Preljocaj, 2010), D’Ores et déjà (Béatrice Massin and Nicolas Paul, 2013, 2015, 2019) and La Cenerentola (Guillaume Gallienne, 2017, 2018).

Bertrand Couderc is designing the lighting for numerous performances, both for the theatre and the opera, and is collaborating with the greatest worldwide stages. In 2005, he worked with Patrice Chéreau on Così fan tutte at the Aix-en-Provence Festival and at the Paris Opera. This was followed by Tristan and Isolde at La Scala in Milan conducted by Daniel Barenboim, as well as the play Night Just Before the Forests. His repertoire also includes From the House of the Dead under the direction of Pierre Boulez, which was performed at the Theater an der Wien, in Aix-en-Provence and in several major houses including the Paris Opera in 2017. He worked on Luc Bondy's last productions, Charlotte Salomon at the Salzburg Festival in 2014 and Ivanov at the Odéon-Théâtre de l'Europe in 2015. Since 2015, he has been working with Bartabas and the Académie équestre de Versailles for the choreography of Davide penitente, the Requiem at the Felsenreitschule in Salzburg and on The Rite of Spring. He has closely worked with Éric Ruf in the theatre for Romeo and Juliet, Life of Galileo and Bajazet staged at the Comédie-Française, as well as in the opera for Pelléas et Mélisande and recently for Romeo and Juliet at the Opéra Comique. A loyal collaborator of Raphaël Pichon, he designed the lighting for the Funeral of Louis XIV at Versailles and for Bach's St John Passion at the Paris Philharmonie. In 2019, he worked on Monteverdi's Vespers, and in 2020, Mein Traum, Dido and Aeneas and Immersions at the Bordeaux submarine base. His work has recently been seen in Manon at the Paris Opera, La Vie Parisienne at the Théâtre des Champs-Élysées, Anna Bolena at La Scala, Boris Godunov in Monte Carlo, Die Frau ohne Schatten in Vienna, La Cerisaie and Angels in America at the Comédie-Française, Silêncio in Lisbon, and L'incoronazione di Poppea in Aix-en-Provence. Bertrand Couderc was the theatre winner of the 2017 French Institute's Hors-les-murs grant for his project L'Esprit du vide, in Japan.

Born in Buenos Aires and of Italo-Argentian nationality, José Luis Basso studied piano and orchestral conducting at the University of his hometown. He was appointed Chorus Master at the Teatro Argentino in La Plata where he spent four years preparing operatic and choral works. In 1987, a grant permitted him to pursue his studies at Temple University in Philadelphia. In 1989, he took up the post of Chorus Master at the Teatro Colón in Buenos Aires. That same year, he conducted the chorus of the Buenos Aires Wagner Association and in 1994, he became assistant to the celebrated Chorus master at La Scala Milan, Romano Gandolfi. He was then appointed Chorus Master at the Teatro San Carlo in Naples where he brought to the Opera Chorus a new dynamism, his conducting of Lohengrin and Beethoven’s Ninth Symphony attracting considerable acclaim. In 1996, he joined the Maggio Musicale Fiorentine where he prepared the choir for Parsifal conducted by Semyon Bychkov, Turandot with Zubin Mehta and Lady Macbeth of Mtsensk for which he received the INA-Assitalia Galileo Prize for young conductors 2000. In April 2001, he accompanied the Orchestra and Chorus to Tokyo for the inauguration of the “Italy in Japan 2001” event. He has made a number of recordings for Decca including Turandot, La Bohème, Tosca and Aroldo. As chorus master, he has been invited to the Shanghai Opera, the Mariinski Theatre in Saint Petersburg and the Lyon Opera for Aïda and Carmina Burana. In 2003, he won a Grammy Award with the Chorus of the Maggio Musicale Fiorentino and the soprano Renée Fleming for the album Bel Canto. In the course of the last two decades, he has worked alongside many of the world’s leading conductors: Zubin Mehta, Giuseppe Sinopoli, Claudio Abbado, Riccardo Muti, Georges Prêtre, Antonio Pappano, Seiji Ozawa, Wolfgang Sawallisch, Carlo Maria Giulini, Myung-Whun Chung, Peter Schreier, Bruno Bartoletti, Rafael Frühbeck De Burgos, Semyon Bychkov, Daniel Oren, Valery Gergiev, Stéphane Denève, Jordi Savall, Fabio Luisi, Marc Piollet, Pinchas Steinberg, Michael Boder, Sebastian Weigle, Gerd Albrecht and Josep Pons. From 2004 to 2014 he was Chorus Master and Artistic Consultant at the Gran Teatre del Liceu in Barcelone. Since September 2014 he has been Chorus Master of the Paris Opera.

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