Salome_780x906

Salome

Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enigmatic and virtuous man, Salome is ready to do anything to possess him, dead or alive.Drawing on Oscar Wilde’s scandalous play of the same name, in 1905 Richard Strauss produced the work that was to ensure his status as Wagner’s successor in the history of German opera.“Dance for me, Salome”. From Herod’s lubricious injunction to the young woman stems one of the most emblematic orchestral passages in opera: the dance of the seven veils. A hypnotic interlude in itself sufficient to capture the fatal mounting desire that suffuses this work whose orchestration is as rich as it is modern.A dazzling hour and forty minutes, decadent in its very essence, which, for her debut at the Paris Opera, Lydia Steier treats as a dystopia in which amorality rules.   The Paris Opera OrchestraA co-production of the Paris Opera and Telmondis, with the participation of Mezzo and medici.tv With the support of the Orange Foundation, patron of the Paris Opera's audiovisual broadcasts, and the Centre National du Cinéma et de l'image animée.Director: François-René Martin © Opéra national de Paris - 2022Picture: © Agathe Poupeney / OnP

<ul><li>Herod: Tetrarch of Judea</li><li>Herodias: Herod’s wife, mother of Salome</li><li>Salome: Princess of Judea, fascinated by Jochanaan</li><li>Jochanaan: Prophet, prisoner of Herod</li><li>Narraboth: Captain of the guard, in love with Salome</li><li>Herodias’ Page: serving in the palace</li><li>Five Jews: who claim Jochanaan from Herod</li><li>Two Nazarenes: who report the miracles of Christ  </li></ul>

2022-23-SALOM-166

fr / en

Bastille salle

Performance at the Opera Bastille, from 09 to 28 May 2024

Salome, princess of Judea, the daughter‑in‑law of King Herod, finds life in her father‑in‑law’s palace dreary. Her curiosity is roused when she hears the voice of Jochanaan, a prophet held prisoner by Herod who is afraid of him. Obsessed by this enig

Richard Strauss

Artistic director of the Vienna State Opera from 1919 to 1925, Richard Strauss was one of the most famous conductors of his time, an eminent interpreter of his own works, but also of the operas of Mozart and Wagner. His stylistic and aesthetic importance was considerable. Born in Munich in 1864, the son of a famous Munich horn player and musical prodigy (he was composing by the age of six and conducting an orchestra by the age of nine), in 1884 he met the conductor Hans von Bülow, who invited him the following year to become second conductor at the Meiningen Opera. He held a number of positions (Director of Court Music in Munich, Assistant Court Kapellmeister in Weimar, Principal Conductor of the Munich Opera, etc.), before succeeding von Bülow at the helm of the Berlin Philharmonic Orchestra. In 1894, he conducted Tannhäuser in Bayreuth. As a composer, he first established his reputation with great symphonic poems such as Don Juan, Death and Transfiguration, Till the Mischievous, Thus Spoke Zarathustra, Don Quixote and A Hero's Life. His first operas, Guntram and Feuersnot, strongly influenced by the music of Wagner, met with little success, but Salome, based on Oscar Wilde's play, brought him fame in 1905 as much for the innovative nature of the music as for the sulphurous subject matter. Elektra, in 1909, marked the beginning of a long collaboration with the Austrian poet Hugo von Hofmannsthal, and displayed a violence rarely seen in opera. With Le Chevalier à la rose (1911), Strauss seems to have mellowed, returning to the Viennese tradition of character opera. This was followed by Ariane à Naxos (1912), La Femme sans ombre (1919), Intermezzo (1924), Hélène d'Égypte (1928), Arabella (1933), La Femme silencieuse (1935), Friedenstag (1938), Daphné (1938), L'Amour de Danaé (1938-1940). In his last opera, Capriccio, composed in 1942 to a libretto he wrote himself in collaboration with his friend the conductor Clemens Krauss, he succeeded, at almost 80 years of age, in surpassing himself. A few months before his death, he composed the Four Last Lieder for soprano and orchestra. He died in Garmisch-Partenkirchen in 1949.&nbsp;&nbsp;

Born in South Africa, Elza van den Heever has both French and South-African nationalities and lives in France. From 2008 to 2013 she was a member of the Frankfurt Opera Company where she made her debut as Giorgetta (Il Tabarro) and where she subsequently acquired a wide repertoire.She was quickly invited to perform on international stages (Vienna Staatsoper, New York Metropolitan Opera, San Francisco, Chicago, Zurich, Munich, Hamburg, Baden-Baden Festival) where she sang numerous roles, from Mozart (Vitellia in La Clemenza di Tito, Elettra in Idomeneo, Donna Anna in Don Giovanni) and Beethoven (Leonore in Fidelio), to Berg (Marie in Wozzeck), Strauss (Chrysothémis in Elektra, Salome) and Britten (Ellen Orford in Peter Grimes), as well as the bel canto repertoire (the title-roles of Norma and Anna Bolena, Elisabetta in Maria Stuarda), Verdi (Elisabetta in Don Carlo, Desdemona in Otello, Elvira in Ernani, Leonora in Il Trovatore),&nbsp;Puccini (Giorgetta et Suor Angelica) and Wagner (Elsa in Lohengrin, Senta in The Flying Dutchman). She added to her repertoire the roles of the Empress in a concert version of Die Frau ohne Schatten at the Théâtre des Champs-Elysées, Julia (La Vestale) at the Theater an der Wien and Marie in Wozzeck at the New York Metropolitan Opera.Concert performances include Beethoven's Symphony N°9, Verdi's Messa di Requiem, Wagner's Wesendonck Lieder&nbsp;with Simone Young, Kirill Petrenko, Bertrand de Billy and Yannick Nézet-Seguin. She has recorded Il Tabarro for the Capriccio label and her debut at the New York Metropolitan Opera as Maria Stuarda was released on DVD.During season 2023/2024, she portrays among other Elisabeth (Tannhaüser) at the Metropolitan Opera in New York, Chrysothemis (Elektra) at the Baden-Baden Festival and Sieglinde (Die Walküre) in Rotterdam, Dortmund and at the Théâtre des Champs-Élysées.At the Paris Opera:&nbsp;Così fan tutte (Fiordiligi), 2011 ; Elektra (Chrysothemis), 2022 ; Salome (title role), 2022

Elza van den Heever_portrait2022NB

Iain Paterson studied at the Royal Scottish Academy of Music and Drama with Neilson Taylor and made his debut at the Opera North. His career quickly took on an international dimension and he soon found himself cast in a variety of roles, including Kurwenal (Tristan und Isolde), Amfortas (Parsifal), Hans Sachs (Die Meistersinger von Nürnberg), Gunther (Götterdämmerung), Jochanaan (Salomé), Oreste (Elektra), the Forester (The Cunning Little Vixen), Balstrode (Peter Grimes), and Wotan (The Ring) appearing in prestigious venues such as the Berlin Staatsoper Unter den Linden, the Vienna Staatsoper, the Royal Opera House in London, the Lyric Opera in Chicago, the Houston Grand Opera, the Leipzig Opera, the Dresden Semperoper, the Dutch National Opera in Amsterdam, the Rome Opera, La Monnaie in Brussels, and the Frankfurt Opera. He was also a member of the English National Opera Company, during which time he sang the roles of Gunther, Leporello (Don Giovanni), Colline (La Bohème), and Amonasro (Aida) and performed in the world premiere production of Ryan Wiggleworth’s new opera The Winter’s Tales (the role of Leontes). He has made guest appearances at the Bayreuth Festival (Kurwenal, Wotan), the BBC Proms in London and the Edinburgh Festival (Schönberg’s Gurre-Lieder, and Elgar’s The Dream of Gerontius). He has also sung the bass section of Beethoven’s Ninth Symphony on numerous occasions. These last seasons, he has appeared as the Dutchman (Der Fliegende Holländer) in Leipzig, Wotan in Leipzig, Amsterdam and at the Paris Opera, Créon (Cherubini’s Médée) at the Berlin Staatsoper Unter den Linden, Wotan and Der Wanderer (Siegfried) at the Deutsche Oper Berlin, Balstrode at the Bayerische Staatsoper in Munich, Kurwenal at the Vienna Staatsoper, Mahler’s Symphony No. 8 with the Vienna Symphony conducted by Philippe Jordan.During the 22/23 season, he will portray Jochanaan at the Bayerische Staatsoper in Munich and at the Vienna Staatsoper, as well as Kurwenal at the Bayerische Staatsoper in Munich.

Paterson.Iain.2

John Daszak made his debut at the English National Opera performing the role of Steva in Jenůfa.&nbsp;Soon thereafter, he was making guest appearances at some of the most prestigious international theatres performing a roster of roles that included Hérode (Salomé) at the Royal Opera House in London; Grishka Kuterma (The Legend of the Invisible City of Kitezh and the Maiden Fevroniya) at the Dutch National Opera in Amsterdam; the title role in Zemlinsky’s Der Zwerg at the Bayerische Staatsoper in Munich; the Drum Major (Wozzeck) at the Berlin Staatsoper Unter den Linden and the Salzburg Festival; and Capitain Vere (Billy Budd) at the Frankfurt Opera.&nbsp;He has also performed at the Paris Opera in Kátia Kabanová (Boris),&nbsp;Salammbô (Mâtho), Lady Macbeth of the Mtsensk District&nbsp;(Zinovy), La Khovantchina (Prince Golitsine) and Wozzeck (the Drum Major).&nbsp;He made his Bayreuth Festival debut in 2015 as Loge in Das Rheingold&nbsp;and his house debut at the New York Metropolitan Opera in Billy Budd. He also sang the title role of Peter Grimes at Milan’s La Scala, as well as the role of the Male Chorus (The Rape of Lucretia) and Peter Quint (The Turn of the Screw) at the Maggio Musicale Fiorentino. His other performances include the roles of Gustav von Aschenbach (Death in Venice) at the Teatro Real in Madrid; Aron (Moses und Aron) at the Vienna Staatsoper and the Berlin Komische Oper; Sergei (Lady Macbeth of the Mtsensk District) at the English National Opera and the Bolshoi Theatre in Moscow; the title role of Siegfried at the Grand Théâtre in Geneva; Aegisth (Elektra) at the Royal Opera House in London and at the Hamburg Staatsoper; Erik (Der Fliegende Holländer) in Sydney; Andrei Khovansky (Khovanshchina) in Frankfurt; Kaufman (Jakob Lenz) at the 2019 Aix Festival; Hérode (Salomé) at the Salzburg Festival and the Theater an der Wien; and Shuysky (Boris Godunov) at the Zurich Opera.&nbsp;John Daszak makes frequent guest appearances at the Bayerische Staatsoper in Munich, where he recently sang the roles of the Drum Major in Wozzeck. He also performs in concert (Mahler’s Symphony N°8, Janáček’s Glagolitic Mass, Beethoven’s Ninth Symphony, and Verdi’s Requiem).During the season 2022/2023, he will perform Aegisth at the Munich&nbsp;Bayerische Staatsoper and the Hamburg Staatsoper, and Zinovy at the Grand Théâtre in Geneva.

Daszak

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

Born in Berlin, Tansel Akzeybek grew up in Izmir, Turkey, where he took singing lessons and started learning piano at a young age, before entering the Dokuz-Eylül National Conservatory in Izmir.&nbsp;In 1998, he made his operatic debut in Fidelio, in the role of the First Prisoner. He left Turkey to Germany where he got in the Lübeck Academy of Music and studied under Anke Eggers. In 2009 he obtained the Richard Wagner Association's scholarship in Bayreuth, a grant that opened him the door to Dortmund, Bonn, Salzburg and Berlin, where he joined the Komische Oper Ensemble.&nbsp;His repertoire includes the roles of Tamino (The Magic Flute), Tony (West Side Story), the title-role in the opera&nbsp;Harry Potter (Murat Göksu), Lindoro (L'italiana in Algeri), Nemorino (L’Elisir d’amore), Don Ramiro (La Cenerentola), Almaviva (The Barber of Seville), Lysander (A Midsummer Night’s Dream) and Froh (Das Rheingold).&nbsp;He worked with various conductors, including Christian Thielemann, Thomas Hengelbrock, Marek Janowski and Andris Nelsons, and has sung on the most prestigious international stages (Salzburg Festival, Bayreuth Festival, Opéra National de Lyon, Théâtre du Capitole de Toulouse, Teatro Municipal Santiago de Chile, La Monnaie in Brussels, Shanghai Opera House, Semperoper in Dresde, Grand Théâtre in Geneva…).&nbsp;During the 21/22 season, he made his Paris Opera debuts in the role of Andres (Wozzeck). He also sang Tamino, Orpheus (Orpheus in the Underworld)&nbsp;and Pâris (La Belle Hélène) at the Komische Oper in Berlin, and Froh in Cologne.

Akzeybek.Tansel (c) Kartal Karagedik Photography NB

Katharina Magiera began studying piano at the age of six. She studied singing at the Frankfurt Conservatory in the class of Hedwig Fassbender. She received a Villa Musica scholarship from the Rheinland-Pfalz state government. In 2005, she was a prizewinner in the Yehudi Menuhin Foundation's Live Music Now program, and in 2006 she won the special prize at the Mozart-Gesang competition in Würzburg. In concert, she sings Bach's Mass in B minor and Handel's Messiah, the Christmas Oratorio, Bach's cantatas and passions, the Requiems of Mozart, Duruflé, Dvořák and Schnittke, and Pergolesi's Stabat Mater. She is a member of the Frankfurt Opera company, where she has sung the Third Lady (The Magic Flute), Zofe (Der Zwerg), Douniacha (The Tsar's Bride), Alisa (Lucia di Lammermoor), Carmela (La Vida breve), Orfeo (Orphée et Eurydice), Tisbe (La Cenerentola), the First Maid (Elektra), Hua-Qui (L'Oracolo de Leoni), a flower-girl (Parsifal), Flosshilde and Schwertleite (The Ring), Cornelia (Giulio Cesare), Dryade (Ariadne auf Naxos), Jezibaba (Rusalka), Marzelline (Fidelio), Vania (Ivan Soussanine), Nancy (Martha), la Récitante (La Damoiselle élue), Teresa (La Somnambule), Emilia (Otello), Margret (Wozzeck), Eduige (Rodelinda), Annina (Le Chevalier à la rose), Hänsel (Hänsel et Gretel)... She has been invited to Strasbourg and the Salzburg Easter Festival, the Theater an der Wien, the Glyndebourne Festival and the BBC Proms in London. In recent seasons, she has performed the roles of Jocaste (Œdipus Rex) and the Witch (Die Königskinder) at the Frankfurt Opera, Amastre (Xerxes) in Rendsbourg, the Witch (Dido and Aeneas) in Melk and Circe / Melanto (Ulisse) in Frankfurt, Jezibaba in Stuttgart. In the 2023-2024 season, her roles include Gaea (Daphne) and Marcellina (The Marriage of Figaro) in Frankfurt.At the Opéra national de Paris: The Magic Flute (Third Lady), 2015, 2022; Valkyrie (Schwertleite), 2020; Elektra (Erste Magd), 2022; Salome (Page der Herodias), 2022

Katharina Magiera nb

Matthäus Schmidlechner took his first singing lessons at the Salzburg School of Music before entering Linz's private Anton Bruckner University in 2009 to study with William Mason, Thomas Kerbl and Kurt Azesberger. For his graduation concert, he sang Ernst Krenek's Travel Diary in the Austrian Alps, a cycle he recorded on CD some time later in an orchestral version. He has attended masterclasses and workshops with artists such as Michael Schade, Dame Felicity Lott, Barbara Bonney, Gerhard Kahry, Artur Korn... Matthäus Schmidlechner has been a member of the Linz Landestheater Ensemble since the 2007-2008 season. He has performed Mime (Ring) - a role he reprised at the International May Festival of the Staatstheater Wiesbaden and at the Vienna Staatsoper - Herodes (Salome), Adam (Der Vogelhändler), Basilio and Don Curzio (The Marriage of Figaro), David (The Master Singers of Nuremberg). In addition to his duties in Linz, Matthäus Schmidlechner made his debut at La Scala de Milan in the 2020-2021 season in Salome, as well as in Kurt Weill's Mahagonny Songspiel and The Seven Deadly Sins. He also appears regularly at the Salzburg Festival, where he played Michelis (The Greek Passion) in 2023. In the 2023-2024 season, he will perform the roles of Peppe (Pagliacci) and Doktor Keene (Benjamin Button) in Linz. In September 2024, he will join the Vienna Staatsoper Ensemble. Matthäus Schmidlechner has worked with directors such as Olivier Tambosi, Romeo Castellucci, Damiano Michieletto, Irina Brook and Anthony Pilavachi, and with conductors such as Franz Welser Möst, Riccardo Chailly, Dennis Russel Davies and Markus Poschner. His concert repertoire includes Bach passions and Haydn oratorios, Handel's Messiah, Mendelssohn's Elias and Bruckner's Te Deum.At the Opéra national de Paris: Salome (Erster Jude), 2022

Schmidlechner.Matthäus (c) Reinhard Winkler NB

Éric Huchet was unanimously awarded first prize at the CNR de Paris in 1992, and was awarded a grant from the Marcel Bleustein-Blanchet Vocation Foundation to continue his studies in Vienna with Walter Berry. He performed the roles of Le Peintre (Lulu) at Opéra national du Rhin, Peter Quint (Le Tour d'écrou) in Bordeaux and Professeur d'art (Charlotte Salomon) at the Salzburg Festival. His operatic and operetta repertoire includes the roles of Piquillo (La Périchole), Aristée / Pluton (Orphée aux Enfers), Achille (La Belle Hélène), King Ouf 1er (L'Étoile), the four valets (Les Contes d'Hoffmann), Alfred (La Chauve-souris), Falsacappa (Les Brigands), Cantarelli (Le Pré aux Clercs). More recently, he sang the roles of Panatellas (La Périchole) at the Salzburg Festival and Opéra Comique, Ménélas (La Belle Hélène) in Nancy, the title role of Maître Peronilla at Théâtre des Champs-Élysées, Nathanaël and Schlemil (Les Contes d'Hoffmann) in Bordeaux, Amrou (La Reine de Saba) at Opéra de Marseille, the Marquis de Pontsablé (Madame Favart) at Opéra Comique, Limoges and Caen, Monsieur Triquet (Eugène Onéguine) in Marseille, Torquemada (L'Heure espagnole) in Monte-Carlo, the Brazilian, Gontran and Frick (La Vie parisienne) in Rouen and at Théâtre des Champs-Élysées, Don Rodilard, the Neapolitan Sergeant and Saint Boniface (Le Soulier de Satin). In the 2023-2024 season, he is Pong (Turandot) at Opéra national du Rhin and l'Aumonier (Dialogues des carmélites) at Opéra de Massy.At the Opéra national de Paris : participation in numerous productions including Salome (Zweiter Jude), 2006, 2009, 2011, 2022; Gianni Schicchi (Gherardo), 2010; Il Tabarro (Il Tinca), 2010; Arabella (Graf Elemer), 2012; Tannhäuser (Heinrich der Schreiber), 2011 ; The Girl from the Far West (Harry), 2014; The Magic Flute (First Man-at-Arms), 2014, 2015; Lucia di Lammermoor (Normanno), 2013, 2023; Tosca (Spoletta), 2014; Oedipus (Laoïs), 2021; The Marriage of Figaro (Don Basilio), 2022

Huchet.Eric (c) Karo Cottier

Polish tenor Maciej Kwaśnikowski began his vocal studies with Robert Nakoneczny in 2014. In 2015, he entered the Academy of the National Opera in Warsaw, where he worked with Izabela Kłosińska, Eytan Pessen and Matthias Rexroth. In 2017, he graduated in physics engineering from Poznań University of Technology, sang the role of Florville in Il Signor Bruschino with the Orchestre national d'Île-de-France, entered the Académie de l'Opéra national de Paris, was part of the Salzburg Festival's Young Singers Project and the Académie du Festival d'Aix-en-Provence. At the Académie de l'Opéra national de Paris, he plays Alfred in La Chauve-souris and Jeune Homme in La Ronde. He received the Cercle Carpeaux Lyric Prize 2018 and the AROP Lyric Prize 2019. He has performed the solo part in oratorios by Bach, Handel, Mozart, and notably Schubert's Mass in E-flat major with the Wiener Philharmoniker at the Salzburg Festival (2018) and with the Symphonieorchester des Bayerischen Rundfunks in Munich (2019). In 2019, he joins the Lindemann Program at New York's Metropolitan Opera, where his debuts and engagements are cancelled following Covid-19 until the end of the 2021 season. In 2022, he makes his debut as Ferrando (Così fan tutte) at the Opéra de Dijon and returns to the Salzburg Festival to perform Schubert's Mass in E-flat major with Camerata Salzburg under Franz Welser-Most. Next season, he will be Tamino (The Magic Flute) in Warsaw and Tours, as well as Tybalt (Romeo and Juliet) in Dresden. Maciej Kwaśnikowski has been studying with tenor Neil Shicoff since 2016. He is a member of the Troupe lyrique de l'Opéra national de Paris for the 2023-2024 season.At the Opéra national de Paris: Rigoletto (Matteo Borsa), 2021; Parsifal (a squire), 2022; Salomé (the Third Jew), 2022; Tristan and Isolde (a shepherd, a sailor), 2023; Hamlet (Second Gravedigger), 2023; Romeo and Juliet (Tybalt), 2023; Turandot (Pang), 2023; La Traviata (Gastone), 2024; Don Quixote (Rodriguez), 2024

Kwasnikowski.Maciej 2 © So'Art Studio

After studying musicology in Nice, Mathias Vidal studied singing with Christiane Patard and entered the Paris National Conservatory of Music. He is a winner of the Centre français de promotion lyrique (2003) and Classical Revelation of the ADAMI (2007).&nbsp;He took part in numerous productions of operas by Rameau, Campra and Boismortier. His repertoire includes Aristae and Pluto in Orpheus in the Underworld, the Brazilian in La Vie Parisienne, Piquillo and Don Pedro in La Périchole, Lorenzo in Fra Diavolo, Orestes in La Belle Hélène, Camille de Coutançon in The Merry Widow, the title role in Offenbach's Bluebeard, Médor in Hervé's The Knights of the Round Table, and Halévy's The Dilettante of Avignon.&nbsp;He performs Italian bel canto roles such as Ernesto in Don Pasquale, Elvino in La Somnambule, Almaviva in The Barber of Seville, Ramiro in La Cenerentola, as well as modern and contemporary repertoire roles such as the title role in Zemlinsky's Le Nain, Thierry Pécou's L'Amour coupable, Henri Sauguet's Les Caprices de Marianne, and the creation of Benoît Menut's Fando et Lis.&nbsp;In recent seasons he has sung the title roles in Haydn's Orlando Paladin (Munich) and Gounod's Cinq-Mars (Munich, Leipzig), Orpheus in Orpheus and Eurydice (Japan), the Chaplain in Dialogues des carmélites (Angers, Nantes), the Remendado in Carmen (Aix-en-Provence Festival), Faust in The Damnation of Faust (Versailles), the title role in Count Ory (Rennes, Rouen), Abaris in Les Boréades (Dijon, Versailles, Staatstheater Oldenburg), the title role in Le Nain (Caen), Monteverdi's L'Orfeo and Basilio in Le Nozze di Figaro (Théâtre des Champs-Élysées), Tamino in The Magic Flute (Avignon, Versailles), Atis in Les Paladins (Versailles), Platée (Toulouse and Versailles), Ernesto in Don Pasquale (Oldenburg), Leopold in The White Horse Inn (Lausanne).&nbsp;He made his Paris Opera debut in 2019 in The Magic Flute (Monostatos) and Les Indes galantes (Valère) and came back last season to perform Thespis in Rameau's Platée.

Vidal.Mathias

Born in Belgrade, Sava Vemić studied music and voice at the University of Arts in his hometown and continued it as a member of the Metropolitan Opera’s Lindemann Young Artist Development Program from 2014 to 2017. He received several awards, including first Prizes at the 2016 Opera Index International Vocal Competition in New York and the 2014 Gerda Lissner International Vocal Competition. He made his professional debut as Sarastro (The Magic Flute) in Belgrade, and then performed Count Rodolfo in Bellini’s La Sonnambula at the Juilliard Theatre, Osmin (Il Seraglio) and Bartolo (Le Nozze di Figaro) with the International Vocal Arts Institute in Tel Aviv. He made his stage debut at the Metropolitan Opera New York during the 2016/17 season in Nabucco (High Priest), before singing Prince Gremin (Eugen Onegin) with the Boston Youth Symphony Orchestra, Sparafucile (Rigoletto) at the Guatemalan National Theatre, and the bass part in Haydn’s Nelson Mass at the Carnegie Hall. The following seasons, he sang Prince Gremine in Hawaii and made his debut in the Aix-en-Provence Festival (a servant in Ariadne auf Naxos) and the Verbier Festival (Sparafucile and Quinault in Adriana Lecouvreur). He has sung Sarastro at the New National Theatre Tokyo, the Death (Der Kaiser von Atlantis) at the Maestranza in Seville, Sarastro, Sparafucile, Henri VIII (Anna Bolena), Crespel (Les Contes d’Hoffmann) and the Commander (Don Giovanni) at Staattheater am Gärtnerplatz in Munich, and the King of Egypt (Aida) at the Arena di Verona. During the 2023/24 season, he is Oroveso (Norma) at the Odeon Herodes Atticus Theater in Athens, Don Fernando (Fidelio) with the Canadian Opera Company in Toronto, Méphistophélès (Faust) at the Serbian National Theatre in Novi Sad, Bauer (Gurrelieder) with the Sydney Symphony Orchestra, and Faust (The Fiery Angel) at Teatro Petruzzelli in Bari.



At the Paris Opera: Lady Macbeth of Mtsensk (Chief of Police/an Officer), 2019; Tosca (Cesare Angelotti), 2019, 2022; Don Carlo (a Monk), 2019; Salomé (Fifth Jew), 2022

Vemic.Sava (c) Miloš Lužanin 2020 NB

Born in Australia, Luke Stoker studied at Queensland University and Conservatorium of Music, then became a member of the Queensland Opera Young Artists program. He made his Australian debut in 2013 with West Australian Opera as Masetto (Don Giovanni). He has performed Sarastro (The Magic Flute), Méphistophélès (Gounod's Faust), Prince Grémine (Eugène Onéguine) at the Dortmund Opera, Escamillo (Carmen) and Sarastro at the Vienna Volksoper, Sparafucile (Rigoletto) and Sarastro at the Sankt Margarethen Festival in Austria, Abimélech (Samson et Dalila), Colline (La Bohème), Death (L'Empereur d'Atlantis), Sarastro and Raimondo (Lucia di Lammermoor) at the Deutsche Oper am Rhein in Düsseldorf, where he is still a member of the Ensemble. Prior to 2017, he was a member of the Opera Studio and then the Cologne Opera Ensemble, where he sang numerous roles, including Masetto, the Bonze (Madame Butterfly), Brander (La Damnation de Faust), Schaunard (La Bohème), the Sacristan (Tosca), Death (Holst's Savîtrî) and Nunte (Hasse's Leucippe). In recent seasons, he has performed the roles of Sarastro at the Vienna Volksoper, Don Pedro (Béatrice et Bénédict) at the Cologne Opera, Sarastro, the Marquis d'Obigny (La Traviata), Death (The Emperor of Atlantis) and Raimondo at the Deutsche Oper am Rhein in Düsseldorf, and Patriarcheas (The Greek Passion) at the Salzburg Festival. In the 2023-2024 season, he plays Titurel (Parsifal), Timur (Turandot) and the Marquis d'Obigny in Düsseldorf, and Alidoro (La Cenerentola) in Duisburg.At the Opéra national de Paris: The Magic Flute (Second Man-at-Arms), 2017, 2019; Parsifal (A Knight of the Grail), 2018; Salome (Erster Nazarener), 2022

Stoker.Luke (c) 

Trained at the Académie de l'Opéra national de ParisBorn in Cyprus, Yiorgo Ioannou studied at the Royal College of Music in London. He completed his training at masterclasses, notably in Milan, Italy, where he received advice from Leo Nucci on Haydn's Il Mondo della Luna, which he performed with the Royal College of Music. Throughout his training, he performed in concert with the Cyprus Symphony Orchestra, at New York's Lincoln Center with pianist Cyprien Katsaris and, at Plácido Domingo's invitation, at Europa Nostra in Athens. Yiorgo Ioannou will join the Académie de l'Opéra national de Paris in September 2021.He sang the role of Mercurio (Il Nerone - L'Incoronazione di Poppea) with the Académie artists and Le Poème Harmonique, directed by Alain Françon and conducted by Vincent Dumestre, at the Athénée Théâtre Louis-Jouvet and on tour at the Dijon Opera and the Maison de la Culture in Amiens. This season, still with the Académie, he sings the role of Germano in La Scala di seta, directed by Pascal Neyron and conducted by Elizabeth Askren at the Athénée Théâtre Louis-Jouvet.At the Opéra national de Paris: Salome (Zweiter Nazarener), 2022; Roméo et Juliette (Grégorio), 2023

An alumnus of the Royal Conservatoire of Scotland, Dominic Barberi attended masterclasses with David Syrus, John Treleaven, Roderick Williams, Malcolm Martineau and Sir Thomas Allen. In 2017, he represented England at the BBC Cardiff Singer of the World competition and was a finalist at the Hertogenbosch International Singing Competition, where he was awarded the Handel Prize. In 2019, he took part in the Operalia Plácido Domingo competition and reached the semi-finals of the Wigmore Hall singing competition. In 2014, he made his debut in the role of a Seneca familiar (The Coronation of Poppea) at Opera North. A member of the Opera Studio at Berlin's Staatsoper Unter den Linden between 2015 and 2018, his roles included Pietro (Simon Boccanegra), Baron Douphol (La Traviata), Tom (A Masked Ball), Sarastro (The Magic Flute) and Colline (La Bohème). In summer 2016, he made his debut in the roles of Colas (Bastien et Bastienne) and the Commander (Don Giovanni) at the Bregenz Festival. He then performed Ferrando (Le Trouvère) at the Dessau Theater, Publio (La Clémence de Titus) and Zuniga (Carmen) at the Staatstheater Braunschweig. A member of the Mannheim National Theater Ensemble from 2018 to 2020, he appeared there in the roles of Colline, Alidoro (La Cenerentola) and Angelotti (Tosca). He made his French debut as Bottom (Le Songe d'une nuit d'été) at Opéra de Lille, before performing Alidoro at Opéra de Montpellier. He appeared in Shostakovich's Le Nez at Berlin's Komische Oper and sang Angelotti at Leipzig Opera. He has appeared as guest soloist throughout Europe, notably in Handel's Messiah, Bach's St John Passion and St Matthew Passion, Haydn's Creation, Mozart's Requiem, Dvořák's Stabat Mater, Mendelssohn's Elias and Luther's Oratorio.At the Opéra national de Paris: Salome (Erster Soldat), 2022

Barberi (c)Hans-Joerg- Michel NB

Bastian Thomas Kohl studied singing at the University of Music and Theater in Leipzig and the University of Music and Performing Arts in Vienna. He has received scholarships from the DAAD and the Bayreuth Festival. From the age of 19, he sang with the Leipzig Opera Choir and performed in concerts at the Leipzig Opera, KKL Lucerne, Munich Philharmonie, Leipzig Gewandhaus, Rotterdam Concertgebouw and Luxembourg Philharmonie. In 2013, he was engaged by the Opera Studio of the Zurich Opera, where he appeared in Parsifal, Lohengrin, The Maverick, Elektra, La Bohème, The Magic Flute and The Queen of Spades. During this period, he also made his international debut, appearing in concert at Vienna's Musikverein in Handel's Saul. He also appeared on ARTE's "Stars von morgen" after winning first prize and the Audience Prize at the 25th Clermont-Ferrand International Singing Competition. Other engagements include Pulcinella at the Opéra de Genève, his debut as Sarastro (The Magic Flute) at the Teatro della Fortuna in Fano and the Teatro Ventidio Basso in Ascoli Piceno, and Schreker's Les Stigmatisés at the St. Gallen Opera, Margherita d'Anjou at the Itria Valley Festival in Martina Franca, Rubinstein's Moses at Warner with the Warsaw Philharmonic, and the roles of Allazim and Osmin (Zaide) at the Swiss Chamber Opera. He has performed in numerous concerts, including at the St. Petersburg Philharmonic, the Casa da Música in Porto, the Théâtre du Vellein in France, the Kurhaus in Wiesbaden, the Heyuan Arts Center and the Beijing Concert Hall. In 2021, he sang for the first time at New York's Carnegie Hall before appearing at the Schlossfestspiele in Zwingenberg, the George Enescu Festival in Bucharest and the Berlin Philharmonic. In 2023, he made his debut at La Scala in Milan in Salome and sang Sarastro at the Bregenz Festival.At the Opéra national de Paris: Salome (Zweiter Soldat), 2022

Kohl.Tristan 2 (c) Tristan Kohl

Born in Santiago de Compostela, Alejandro Baliñas Vieites first studied piano in his hometown until 2017, before dedicating himself to singing first in Santiago and then in La Coruña until 2019. The same year, he entered the Conservatory of Music of the Gran Teatre del Liceu in Barcelona and the Luigi Cherubini Conservatory in Florence. He decided to continue his training at the Liceu Conservatoire, having obtained a grant from the Ferrer-Salat Foundation. There, he worked with Carlos Chausson and Manuel Burgueras. He took part in the last two opera seasons organised by the Friends of La Coruña Opera, and has performed in Sabadell, where he took part in three opera academies (Falstaff, in the role of Pistola; La Cenerentola, as Alidoro; The Magic Flute, for Sarastro). In 2021, he performed the roles of Angelotti (Tosca) and the Kingi (Aida), still for the Sabadell Opera. He also sang Tom Johnson’s The Four-Note Opera and the role of Martino (L'occasione fa il ladro) at the Sarria Opera.In July 2021, he took part in the Rossini Festival in Pesaro, where he performed the role of Don Profondo (Il viaggio a Reims). He joined the Paris Opera Academy in September 2021 and performed, in March 2022, the role of Seneca (L'Incoronazione di Poppea). During the summer of 2022, he sang the role of Anselmo at the Rossini Festival (La Gazzetta). During the 2022/23 season, he also sang Il Marchese (La forza del destino) in La Coruña. In 2023, he won the AROP Award and the Cercle Carpeaux Award.During the summer of 2023, he took part in the Salzburg Festival Young Singers projects and performed in Martinu’s opera The Greek Passion (Kostandis). In September 2023, he portrayed Surin (The Queen of Spade) in Valencia. Alejandro Baliñas Vieites is a member of the Paris Opera Company for the 2023/24.



At the Paris Opera: Salomé (a Cappadocian), 2022; Carmen (Zuniga), 2022; Hamlet (First gravedigger), 2023; Les Contes d’Hoffmann (Schlémil), 2023

Balinas Vieites.Alejandro (c) J'adore ce que vous faites ! OnP

Grange.Marion

Born in Hartford, Connecticut, Lydia Steier studied voice at the Oberlin Conservatory in Ohio. She then took advantage of a Fullbright scholarship to move to Germany. She directed Eugène Ionesco's The Lesson at Berlin's HAU and Peter Maxwell Davies' Eight Songs for a Mad King in Chicago, Cleveland, New York and Mexico City.She subsequently directed La clemenza di Tito and Brundibar at the Pittsburgh Opera-Theater, Lohengrin at the Los Angeles Opera, Madama Butterfly in Bremen and The Merry Widow at the Deutsches Nationaltheater in Weimar. Her work has been presented at international festivals in Hong Kong, Dublin and New York.Her stagings of Busoni's Turandot and Leoncavallo's Pagliacci earned her the title of Revelation of the Year by Deutschlandradio Kultur. Her staging of Stockhausen's Donnerstag aus Licht was chosen by Opernwelt magazine as the best staging of the 2015-2016 season, and her productions of Handel's Saul at the Staatstheater Oldenburg and Pascal Dusapin's Perelà at the Staatstheater Mainz were nominated for the FAUST-Theater prize.Recent productions include Julius Caesar at the Komische Oper Berlin, Turandot at the Cologne Opera, Les Troyens at the Semperoper Dresden, The Magic Flute at the Salzburg Festival, Œdipus Rex / Iolanta at the Frankfurt Opera, Diodati. Unendlich by Michael Wertmüller at the Theater Basel, The Queen of Spades at the Deutsche Oper am Rhein, La Juive, Alcina and The Marriage of Figaro at the Staatsoper Hannover, Carmen at the Cologne Opera, Les Indes galantes at the Grand Théâtre de Genève, A Dream of Armageddon by Dai Fujikura at the New National Theater Tokyo and La Femme sans ombre at the Baden-Baden Festival.In the 2023-2024 season, she will direct Don Carlos at the Grand Théâtre de Genève, Aida at the Frankfurt Opera and Candide at the Theater an der Wien.At the Opéra national de Paris: Salome, 2022

Simone Young was born in Sydney. She began her career in Germany and soon found herself making guest appearances at many of the great international opera houses. Prior to that, she was the Principal Guest Conductor of the Lausanne Chamber Orchestra (2017-2020), Principal Conductor of the Bergen Philharmonic (1998-2002), Artistic Director of the Opera Australia (2001-2003), Principal Guest Conductor of the Gulbenkian Orchestra in Lisbon, Artistic Director of the Hamburg Staatsoper and Musical Director of the Hamburg Philharmonic (2005-2015). Since July 2022, she is the chief conductor of the Sydney Symphony Orchestra.She is considered by many to be a specialist of the operas of Wagner and Richard Strauss and performs on the world's most prestigious stages, including the Staatsoper in Vienna and the Staatsoper Unter den Linden in Berlin (where she directed the full cycle of the Ring), the Bayerische Staatsoper in Munich and the Metropolitan Opera in New York. During her tenure in Hamburg, she conducted numerous world premieres of new contemporary works as well as a vast repertoire of operas (by Mozart, Verdi, Puccini, Wagner, Strauss, Hindemith, Britten, and Henze). Last season, she has conducted Parsifal at the Paris Opera. During the 2022-2023 season, she will conduct Elektra and Die Fledermaus at the Vienna Staatsoper, Der Rosenkavalier at the Metropolitan Opera in New York, as well as concerts with the Berliner Philharmoniker, the Royal Stockholm Philharmonic, the Orchestre national de France, the Orquesta nacional de España, the Orchestre de la Suisse romande, the Philharmonia Zurich and the Orchestre national de Lyon.Her recordings include Mathis der Maler and The Ring with the Hamburg Staatsoper and the entire catalogue of symphonies by Bruckner in their original version as well as the symphonies of Brahms.

Co-founder, with Torge Møller, of the artistic duo fettFilm, Momme Hinrichs has played a major role in the development of video projection and the role of video artists in theaters since the early 2000s. He has also been active as a set designer since 2007, and as a director in his own right since 2014. He proposes a symbiosis between stage and projections, a fusion between music and stage action. His work has taken him to numerous European festivals, including Salzburg, Bayreuth and Bregenz, as well as the opera houses of Berlin, Hamburg, Munich, Cologne, Hanover, Oslo, Paris, Toulouse, Nancy, Copenhagen, Amsterdam, Vienna, Budapest, Barcelona and Florence, not to mention international theaters in North America, China, India and the Middle East. Among the honors he has received is Ukraine's highest award for culture and the arts, the Shevchenko National Prize, which was awarded in 2021 for the production of The Flying Dutchman for the Donetsk-Donbass Opera, for which he designed the sets and projections with fettFilm. He recently designed the sets for La Femme sans ombre at the Baden-Baden Festival, Anatevka at the Würzburg Theater, The Magic Flute at Munich's Gärtnerplatztheater, Candide at the Theater an der Wien and Jesus Christ Superstar at the Staatstheater Nürnberg.At the Opéra national de Paris: Salome, 2022

Born in Berlin in 1983, Andy Besuch studied set and costume design at the Dresden Academy of Fine Arts. He has worked for various theaters (in Cologne, Hanover, Düsseldorf, Stuttgart, Munich, Hamburg, Berlin, Copenhagen, Weimar, Karlsruhe, Graz, Bremen, Vienna...) and film productions. At Hamburg's Thalia Theater, he designed the costumes for L'Histoire sans fin (Eva Bonacker Prize) and Ibsenkomplex (directed by Thorleifur Örn Arnarsson). His musical theater creations for Mischa Spoliansky's revue Wie werde ich Reich &amp; Glücklich at Weimar's DNT, for Monty Python's musical Spamelot at Karlsruhe's Staatstheater, and for Sweeny Todd at Halle Opera (directed by Martin Miotk) have been much talked about. Together with Aleksander Bach and Hanna Maria Heidrich, he has directed several commercials, some of which won gold medals at Cannes. He develops costume concepts for series and feature films, including Summer Houses, Otsravanganza and Bolzanogold. With set designer and director Martin Miotk, he produced Love &amp; Diversity by Manos Tsangaris in Berlin. He created the costumes for Elfriede Jelinek's Abraumhalde at the Bonn Theater (directed by Simone Blattner) and for the world premiere of Am Königsweg at the Hamburg Theater (directed by Falk Richter). For the latter, he received the Costume Designer of the Year award for the 2018-2019 season. With Falk Richter, he designed costumes for David Bowie's musical Lazarus and for Édouard Louis' Qui a tué mon père? at the Hamburg Theater, for In My Room at the Maxim Gorki Theater in Berlin, Touch and Die heilige Schrift at the Munich Kammerspiele, and Pride at the Royal Theater in Copenhagen. After collaborating with Valentin Schwarz at the Cologne Opera on The Master and Margarita, he will design the costumes for The Ring at the Bayreuth Festival in 2022 and 2023.At the Opéra national de Paris: Salome, 2022

Olaf Freese was born in Berlin in 1968. After completing his technical training, he worked at the Berliner Ensemble and Schauspielhaus Hamburg, before becoming lighting director at Schauspiel Hannover (2000-2003), Deutsches Theater Berlin (2003-2007) and Staatsoper Unter den Linden Berlin (2007-2020). Since 1992, he has worked as a lighting designer at Deutsches Schauspielhaus Hamburg, Residenztheater Munich, Burgtheater Vienna, Staatsoper and Schauspiel Hannover, Staatsoper Hamburg, Staatsoper Vienna, Bayerische Staatsoper Munich, National Opera Amsterdam, Royal Opera House London, La Scala Milan, Bolshoi Theatre Moscow, New National Theatre Tokyo.He is a regular guest at the Salzburg Festival. Olaf Freese has recently designed lighting for productions by Claus Guth, Jossi Wieler, Lydia Steier, Wim Wenders, Andre Heller and Johannes Erath. In 2016, he designed the lighting for Stockhausen's Donnerstag aus Licht for the Theater Basel, directed by Lydia Steier, named best director of the 2015-2016 season by Opernwelt magazine. He worked on the 2019 Berlin production of Violetter Schnee directed by Claus Guth, whose set by Étienne Pluss won the FAUST-Theater prize. His work on Salome at Moscow's Bolshoi Theatre has been nominated for the Masque d'Or 2021 in the Lighting Design category. Olaf Freese teaches lighting design at Dresden's Hochschule für Bildende Künste, scenography department, and at Hamburg's HfBK. He recently designed the lighting for Don Carlo in Naples, The Magic Flute in Montpellier, Così fan tutte and Hamlet in Berlin.At the Opéra national de Paris: Les Maîtres chanteurs de Nuremberg, 2016; Salome, 2022

Maurice Lenhard first studied singing at the Hochschule für Musik und darstellende Kunst in Frankfurt am Main, then opera and musical theater direction at the Hochschule für Musik und Theater in Hamburg with Willy Decker and Philipp Himmelmann. His stagings have been presented at Deutsche Oper am Rhein, Stadttheater Aschaffenburg, Stadttheater Rüsselsheim and Studiotheater Belvedere in Weimar. Since 2018, he has also been working as a dramaturge.From 2018 to 2020, he worked as assistant director at the Staatsoper Stuttgart, where he assisted Lotte de Beer and Marco Štorman, among others. He staged two productions for this institution: Bernd Alois Zimmermann's white ballet Présence at the Kunstmuseum Stuttgart, and a touring production of Stravinsky's L'Histoire du soldat, nominated for the Opus Klassik 2020 award in the category of outstanding artistic achievement during the pandemic. From 2020 to 2022, Maurice Lenhard was part of the artistic direction of Düsseldorf/Duisburg's Ballett am Rhein as dramaturge, under the direction of Demis Volpi. From the 2022-2023 season, he is Artistic Director of the newly created Opera Studio at the Vienna Volksoper, where he creates L'Opéra de quat'sous, Les Mamelles de Tirésias and Così fan tutte. He also works closely with director Lydia Steier, whom he has accompanied on projects such as Les Indes galantes in Geneva, A Dream of Armageddon in Tokyo and The Magic Flute in Salzburg. In the 2023-2024 season, he will direct Le Barbier de Séville at the Deutsche Oper am Rhein.At the Opéra national de Paris: Salome, 2022

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Salome

Performance at the Opera Bastille, from 09 to 28 May 2024

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Salome

Performance at the Opera Bastille, from 09 to 28 May 2024