Act I

Act II

Couv_Le_Barbier_De_Seville_780x9065

Libretto

"To sharpen the mind of the most doleful of women and suddenly make her shrewd, all it takes is to lock her away and the deed is done." - Il Barbiere di Siviglia, Act I, scene 11 “The Barber is one of the century's masterpieces”. These words were written by the very Berlioz who in his youth had denounced not only Rossini, but also the “fanaticism he aroused in the fashionable circles of Paris”. Accordingly, the compliment, “repeated until exhaustion” – the composer's own words – is all the greater. The work was so “brilliant” and “so finely orchestrated” that the “dilettanti of Rome”, enraged by the “slightest unforeseen innovation in melody, harmony, rhythm or instrumentation were ready to kill the young maestro”. Il Barbiere di Siviglia has been performed continually since its turbulent premiere on February 16th 1816. The composer's opera buffa transcends the spirit of Beaumarchais’ comedy and combines the absurd with a touch of satirical realism in a score where rhythm and virtuosity place the comic effects in an ongoing dramatic narration. As a result, the characters – Rosina in particular – gain a new degree of realism and break with the usual archetypes. Damiano Michieletto’s giddying production embraces this perpetual motion and carries in its wake the happy couple formed by René Barbera and Karine Deshayes. Paris Opera Orchestra and Chorus A co-production of the Paris National Opera and A Prime Group, with the participation of France Télévisions, with the support of the Orange Foundation, patron of the Paris National Opera's audiovisual broadcasts, and the Centre national du cinéma et de l'image animée. Director : François Goetghebeur © Opéra national de Paris - A Prime Group - France 2015 Picture: © Bernard Coutant / OnP

<ul><li>Count Almaviva: A young Spanish nobleman in love with Rosina</li><li>Bartolo: An old greybeard who is Rosina’s guardian</li><li>Rosina: Bartolo’s ward</li><li>Figaro: Bartolo’s barber, formerly in the service of Count Almaviva</li><li>Don Basilio: Rosina’s music teacher</li><li>Fiorello: The Count’s servant</li><li>Bertha: Bartolo’s old maid&nbsp;&nbsp;</li></ul>

Barbier de Séville

Il Barbiere di Siviglia

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"To sharpen the mind of the most doleful of women and suddenly make her shrewd, all it takes is to lock her away and the deed is done." - Il Barbiere di Siviglia, Act I, scene 11“The Barber is one of the century's masterpieces”. These words were writ

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.

Karine Deshayes studied at the Paris Conservatoire with Mireille Alcantara after completing a degree in Music at the Sorbonne. She took part in master classes with Régine Crespin and joined the Lyon Opera Company where she interpreted the roles of Cherubino in The Marriage of Figaro, Stefano in Romeo and Juliet and Rosina in The Barber of Seville amongst others. In 2002, she took part in Dvorak’s Rusalka at the Paris Opera and then performed at the Salzburg Festival in The Magic Flute (second lady) under the direction of Ricardo Muti. In 2006 she made her New York debut at the Metropolitan Opera in the role of Siebel in Faust. Her repertoire includes numerous roles: the title roles in La Cenerentola, Cinderella, La Navarraise and Carmen; Elena (La Donna del Lago), Isolier (Le Comte Ory), Charlotte (Werther), Poppea (The Coronation of Poppea), Sesto (Giulio Cesare), Dorabella (Cosi fan tutte), Sesto (La Clemenza di Tito), Fenena (Nabucco), Urbain (Les Huguenots), Nicklausse (Les Contes d’Hoffmann), Adalgisa (Norma), Isoletta (La Straniera) and Romeo (I Capuleti e i Montecchi). She is a regular performer at the world’s great opera houses: the Metropolitan Opera of New York, San Francisco Opera, Teatro Real Madrid and the Liceu in Barcelona. She recently sang the title roles in La Belle Hélène in Toulon and La Cenerentola in San Francisco; under the direction of James Levine, she sang the part of Nicklausse in Tales of Hoffmann at the Metropolitan Opera in New York. She has also performed in recitals and concerts, notably under the direction of Emmanuelle Haïm, Emmanuel Krivine, David Stern, Kurt Masur, Louis Langrée, Myun-Whun Chung and Josep Pons. Karine Deshayes was awarded first prize in the Concours des Voix Nouvelles 2002 (New Voices Competition) and in the operatic artist class of the Victoires de la Musique 2011. She has made numerous recordings in a variety of repertoire: Cantates Romantiques Françaises, La Bonne Chanson by Fauré, La Chanson d’Eve with Hélène Lucas and Schéhérazade by Ravel.

Deshayes.Karine

René Barbera is a graduate of San Francisco Opera’s Merola Opera Program and Shirley W. Ryan Opera Center, Chicago. He is the sole recipient of all three top awards of the Plácido Domingo Operalia Competition in 2011 (Opera, Zarzuela and Audience Awards).He made his professional debut as Elvino (La Sonnambula) with the Washington Opera Concert, Ernesto (Don Pasquale) at Chicago Opera, Count Almaviva (The Barber of Seville) at Michigan Opera Theater and Theater in Moscow, Don Ramiro (La Cenerentola) in Seattle and Los Angeles, Rodrigo di Dhu (La Donna del lago) in Santa Fe. He sang Don Ramiro, Count Almaviva and Iopas (Les Troyens) in San Francisco, Tonio (La Fille du régiment) at Greensboro Opera, Count Almaviva in Los Angeles, Giannetto (La Gazza ladra) and Narciso ( Il turco in Italia) in Pesaro, the Italian singer (Der Rosenkavalier) in Chicago.He made his debut at the Metropolitan Opera in New York debut as Lindoro (L'italiana in Algeri), at Deutsche Oper in Berlin as Edgardo di Ravenswood (Lucia di Lammermoor), at Teatro alla Scala in Milan and Staatsoper in Vienna as Ernesto, at Bayerische Staatsoper in Munich as Don Ramiro, and at Dutch National Opera as Count Almaviva.His repertoire also includes the roles of Lord Percy (Anna Bolena, Rome Opera), Alfredo Germont (La Traviata, Dallas Opera, Austin Opera, Semperoper Dresden, and Teatro alla Scala Milan), Nemorino (L’elisir d’amore, Teatro alla Scala), Lord Arturo Talbot (I Puritani, Washington Opera), Don Ramiro (Tokyo) and Nadir (Les Pêcheurs de perles, Dallas).Last season, he portrayed Count Almaviva in Budapest, the Duke of Mantua (Rigoletto) in Dallas, Fenton (Falstaff) at La Fenice, Venice, and Elvino at Opéra royal de Wallonie.At the Paris Opera: I Puritani (Lord Arturo Talbot), 2013; The Barber of Seville (Count Almaviva), 2014, 2018, 2022

Barbera René

Born in Naples, Carlo Lepore studied with Paolo Montarsolo, Otto Edelman, Carlo Bergonzi, Alberto Zedda, Alessandra Gonzaga...&nbsp;His repertoire includes Mustafà in L'italiana in Algeri, Selim in Il turco in Italia, Basilio and Bartolo in The Barber of Seville, Don Magnifico in La Cenerentola, Pharaoh in Moses, Don Profondo in Il viaggio a Reims, Ginardo in Matilde di Shabran, Leporello in Don Giovanni, Don Alfonso in Così fan tutte, Bartolo in Le Nozze di Figaro, Blansac in La Scala di seta, on the major international stages (La Scala in Milan, La Fenice in Venice, Teatro Regio in Turin, Rome Opera, Teatro Massimo in Palerma, Dresden Semperoper, Cologne Opera, Opéra Royal de Wallonie, the Vlaamse Opera, Théâtre des Champs-Élysées, Teatro Real in Madrid, Royal Opera House in London, Teatro Colón in Buenos Aires, Monte-Carlo, Zurich…).&nbsp;He is a regular performing artist at the Festival Rossini in Pesaro. His repertoire includes roles such as Colline (La Bohème), Rodolfo (La sonnambula), Dulcamara (L'Elisir d'amore), Seneca (L'incoronazione di Poppea) and several other baroque operas.&nbsp;He sang Bartolo in The Barber of Seville for his Paris Opera and Montreal Opera debut, as well as the Arena di Verona, the Opéra national du Rhin, the Opéra national de Bordeaux, the Staatsoper Unter den Linden in Berlin, and the title-role in Falstaff in Parma, at Teatro Petruzzelli in Bari and in Turin, the title-role in Gianni Schichhi in Turin and at the Paris Opera, Le Nozze di Figaro at the Royal Opera House in London, at the Glyndebourne Festival, the Opéra national de Bordeaux and the Théâtre des Champs-Élysées, La Cenerentola in Rome, L'italiana in Algeri (Mustafà) and Manon Lescaut (Geronte di Ravoir) at La Scala, Don Pasquale at the Verona Arena and the Bolshoi Theatre in Moscow, Sir Tobia Mill (La Cambiale di matrimonio) at the Festival Rossini in Pesaro, the Dr. Dulcamara (L'Elisir d'amore) at the Paris Opera. He performed Don Magnifico in the movie Cenerentola, una favola in diretta staged by Carlo Verdone and directed by Gian Luigi Gelmetti.

Lepore.Carlo.2

Bulgaria’s, Orlin Anastassov won the Placido Domingo Operalia Competition in Puerto Rico in 1999. He performed the role of Don Basilio ( Il barbiere di Siviglia at Milan’s La Scala under the direction of Riccardo Chailly and, in 2000, he made his debut at the Verona Arenas and the Vienna Staatsoper in Aida, then at the Royal Opera House Covent Garden in London in La Battaglia di Legnano. He was soon invited to perform at some of the world’s great opera houses singing the title role of Attila (at Covent Garden, in Milan, at the Macerata Festival, the Rome Opera, the Teatro Verdi in Trieste, and the Mariinsky Theatre), then Fiesco in Simon Boccanegra (in London, Cagliari, and Valencia), and Ramfis in Aida (in Milan, at the Chorégies d’Orange, in Brussels, at the Deutsche Oper in Berlin, in Macerata, Baden-Baden, Verona, and the Metropolitan Opera). He has also sung the roles of Philip II in Don Carlo (in Geneva and Valencia), Silva in Ernani (in Las Palmas), Banco in Macbeth (in Parma), Zaccaria in Nabucco (in Genoa, Turin, Verona, Munich, and Berlin), Padre Guardiano in La Forza del Destino (in San Francisco, Genova, and Avignon), Procida in The Sicilian Vespers (in Palermo, Busseto, Ravenna, Ferrara, Genoa, Mantua, and Naples), Count Walter in Luisa Miller (in Munich, Turin, Berlin, and Milan), Colline in La Bohème (in Berlin, Washington, and the Chorégies d’Orange), Mephistopheles in Faust (in London, Munich, Monte-Carlo, and Toulouse), and Abimelech in Samson et Dalila (at the Salzburg Festival). He also performed the title role in Don Quichotte (in Sofia, and Cagliari), Kanva in Alfano’s Sakuntala (Rome), Basilio in The Barber of Seville (at the Berlin Staatsoper, the Verona Arenas, and the Metropolitan Opera), Alvise in La Gioconda (in Madrid, and New York’s Metropolitan Opera), the title role of Boris Godunov (in Valencia, and Turin), the title role of Boito’s Mefistofele (in Rome) as well as the bass in Verdi’s Requiem. He first appeared at the Paris Opera singing the role of Dosifey (in Khovanshchina). He has since returned on numerous occasions, to perform the roles of Ferrando (Il Trovatore), Walter (Luisa Miller), Alvise (La Gioconda), Raimondo (Lucia di Lammermoor) and Basilio (Il barbiere di Siviglia). More recently, he sang the role of Fiesco at La Scala in Milan, Pope Clément VII (Benvenuto Cellini) and Dosifey at the Amsterdam National Opera, Silva (Ernani) at the Liège Opera, and Philip II in Berlin (at the Staatsoper) and Bilbao (at the ABAO). Projects: Zaccaria (Nabucco) at the Opéra Royal de Wallonie (Liège), the Grand Inquisitor (Don Carlo) at Milan’s La Scala.&nbsp;

Anastassov

Matos.Tiago.2.(c)Pedro Mendes

French-Romanian mezzo-soprano Cornelia Oncioiu graduated from the Timisoara Conservatoire in opera singing. She has won many awards, including the Grand prize of the Eugenia Moldoveanu competition, the special prize of the Neue Stimmen competition in Germany, and the first prizes of the Haricléa Darclée, Ionel Perlea, Sabin Dragoi and Nicolae Bretan competitions. After Romanian debut in Hänsel und Gretel, Suor Angelica, Cavalleria rusticana, Madama Butterfly and Il Trovatore, she joined the Paris Opera’s Atelier lyrique where she perfected her technique with Janine Reiss, among others. Since then, she has performed at the Paris Opera (Giulio Cesare, Dialogues des carmélites, Elektra, Louise, La Cenerentola, The Barber of Seville, Suor Angelica, Madama Butterfly, La Sonnambula, The Tales of Hoffmann, L’Enfant et les Sortilèges, Lucia di Lammermoor, La Traviata, Parsifal, Maudits les innocents, Le Nozze di Figaro, Le Soulier de satin…), at the Opéra national de Bordeaux (Rusalka), Grand Théâtre d’Avignon (Rusalka, Peter Grimes), at the Chorégies d’Orange and the Théâtre du Capitole, Toulouse (Rigoletto), the Opéra de Marseille (Madama Butterfly), at the Angers-Nantes-Opéra and Opéra de Toulon (Pelléas et Mélisande), Opéra de Tours (Roméo et Juliette), Opéra de Metz (Eugen Onegin, L'italiana in Algeri), in Paris at the Athénée Théâtre Louis-Jouvet and Théâtre des Bouffes du Nord (The Rape of Lucretia). Abroad, she sings in Monte Carlo (Il viaggio a Reims), Tokyo (Diary of One Who Disappeared), Santiago de Chile (Madama Butterfly), Amsterdam (Rigoletto), Geneva (Madama Butterfly, Rusalka) and Shanghai (Pelléas et Mélisande). She has been working with many stage directors including Robert Wilson, Robert Carsen, André Engel, Frédéric Roels and has been singing with conductors like Hartmut Haenchen, Kent Nagano, Jesus Lopez Cobos or Philippe Jordan. This season, she is performing in Kurt Weill’s Street Scene at the MC93 in Bobigny with the Paris Opera’s Academy.

Cornelia Oncioiu

Lucio Prete was born in Cosenza in 1977. After studies in piano, composition and conducting, he studied singing with the soprano Isabel Gentile and the baritone Roberto Abbondanza and obtained a diploma in vocal studies. He continued his studies with Mauro Trombetta and Alessandra Althof Pugliese. He has been awarded numerous international prizes including 3rd prize at the “Opera Rinata” International Competition, Repertoire from 1700, in Vercelli, a prize for interpretation in the “Ruggero Leoncavallo” International Competition in Montalto Uffugo, the “Giulio Neri” prize for the most beautiful bass voice and 1st prize for Lieder and Song at the Torrita de Siena International Competition. Greatly appreciated for his interpretations of German Lied and Oratorio, his repertoire extends from Handel to Schönberg and to contemporary composers. In 2006, he made his operatic debut with the role of the Orator in The Magic Flute at the Teatro Rendano in Cosenza. He went on to sing the roles of Figaro, Leporello and Papageno. In addition to his work as a soloist, he has sung in the choruses of some of Italy’s most renowned opera houses: the Maggio Musicale Fiorentino, the Accademia Nazionale Santa Cecilia and the Teatro San Carlo in Naples with conductors like Lorin Maazel, Riccardo Muti, Zubin Mehta, Antonio Pappano, Seiji Ozawa, etc. He has been a member of the Chorus of the Paris Opera since 2008.

PRETE Lucio

Music Director of the Teatr Wielki from 2011 to 2014, Carlo Montanaro, promoted by Zubin Mehta, studied at the Hochschule für Musik in Vienna with Leopold Hager, Erwin Acél and Yugi Yuasa as teachers. Since 2001, he has been invited to perform at many worldwide opera houses (Rome, Teatro Massimo in Palermo, Verona Arena, Teatro Comunale di Firenze, Toscanini Foundation in Parma, Teatro Verdi de Trieste, Stuttgart Opera House) where he conducted Lucia di Lammermoor, Nabucco, Aïda, Tosca, La Sonnambula (The Sleepwalker), The Barber of Seville, Madama Butterfly, La Bohème, Il Trovatore, as well as many concerts. He also conducted Un ballo in maschera (A Masked Ball) in Tel Aviv, L'Elisir d'Amore (The Elixir of Love) for his debut in America (Colorado), Dialogues des Carmelites in Bilbao, Madama Butterfly at the Deutsche Oper Berlin, the Tokyo New National Theatre and the Canadian Opera Company in Toronto, La Traviata for his debut at La Scala in Milan (2008), Carmen at the Macerata Festival, Il Corsaro at the Verdi Festival in Parma, Simon Boccanegra and Aïda at the Megaron in Athens, Mefistofele in Frankfort, La Traviata in Munich, Aïda in Hamburg, Verdi’s Requiem and Giovanna d’Arco at the Musikverein in Graz… In 2011 he made his debut at the Dresden Semperoper with Carmen and, in 2014, at the Paris Opera with The Barber of Seville. More recently, he conducted La Fanciulla del West in Hamburg, Simon Boccanegra and Rigoletto in Frankfort, La Traviata and Rigoletto in Warsaw, Verdi’s Requiem and Mefistofele in Budapest, Tosca at the Monte-Carlo Opera, La Bohème, Lucia di Lammermoor and Werther in Sydney, Carmen and La Bohème in San Francisco, La Traviata in Dallas, at the Deutsche Oper Berlin and in Melbourne, Rigoletto in Montréal, Maria Stuarda, Madama Butterfly, Il Trovatore and Rigoletto in Seattle.



Projects: Nabucco at the Deutsche Oper Berlin, La Bohème at the Hamburg Staatsoper, The Barber of Seville at the Paris Opera, Lucia di Lammermoor in Kansas City, La forza del destino in Frankfort.

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

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

After a first experience at the Festival dei due mondi with Diane Von Fürstenberg, Silvia Aymonino, born in Rome, began her career at the Sartoria Tirelli, a workshop specialised in the making of cinema and theatre costumes.&nbsp;From 1985 to 1994, she worked with some of the greatest costume designers, including Piero Tosi, Maurizio Millenotti, Paul Brown and Pier Luigi Pizzi. She then specialised in opera costume designing, and worked on theatre productions with Hugo De Ana and Giovanna Buzzi, and took part in movie productions.Her expertise and her collaboration with Marco Balich led her to work for major international events, including the Olympics in Turin (2006), London (2012), Sochi (2014), Rio (2016), and the 2019 Summer Universiade in Naples (XXX edition). In 2020, she won the 39th edition of the Franco Abbiati Prize in the Best Costume Designing category for Ferdinando Paër’s Agnese.She has worked with many directors, including Leo Muscato, Lorenzo Mariani, Jacopo Spirei, Valentina Carrasco, Damiano Michieletto, Luca Ronconi and Francesco Micheli. Recent highlights feature Un ballo in maschera, I Masnadieri and La Traviata at the Rome Opera, Lucia di Lammermoor in Bologna, Falstaff and I due Foscari at the Verdi Festival in Parma, Tosca at the Gothenburg Opera, Nabucco at Teatro Petruzelli in Bari, Ernani at Maggio Musicale Fiorentino, La Favorite in Bergamo and Agrippina in Bonn. - At the Paris Opera: Gianni Schicchi, Suor Angelica, Il Tabarro, 2010 ; The Barber of Seville, 2014, 2016, 2018, 2020, 2022

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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