Act I

Act II

Couv_La_Flute_enchantee_780x90613

Libretto

A children’s tale for some and a profound meditation on life and death for others, Mozart’s last opera is a dazzling extravaganza that takes the form of an initiatory tale. The protagonists include a prince from a far-off land in search of a slightly suicidal princess, a giant snake, a boastful bird catcher, the Queen of the Night and a mysterious High Priest who prescribes strange rites of passage… Consonant with German comic-opera and enriched by the philosophy of the Enlightenment, Die Zauberflöte touches on the major themes of the 18th century: education, morality, religion, culture, and nature. In an elegant production of unspoilt simplicity, director Robert Carsen leads us through the four seasons and invting us to reflect on life as Death becomes our reassuring and consoling “best friend”. Orchestre et Choeurs de l’Opéra national de Paris Coproduction with le Festspielhaus, Baden-BadenA production of the Paris National Opera. With the support of the Orange Foundation, sponsor of the Paris Opera's audiovisual broadcasts and the support of EY, principal sponsor of the Paris Opera© Opéra national de Paris - 2021Visuel © Agathe Poupeney / OnP

Tamino: In love with Pamina Papageno: Bird-catcher in the service of the Queen of the Night Sarastro: High Priest in the Temple of Wisdom La Reine de la Nuit: Pamina’s mother Pamina: The Queen of the Night’s daughter Monostatos: Sarastro’s servant Papagena: Promised to Papageno Les trois Dames: In the service of the Queen of the Night

La Flûte Enchantée

The Magic Flute

A children’s tale for some and a profound meditation on life and death for others, Mozart’s last opera is a dazzling extravaganza that takes the form of an initiatory tale. The protagonists include a prince from a far-off land in search of a slightly

Wolfgang Amadeus Mozart

The magic flute

Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg. A child prodigy (he took his first harpsichord lessons when he was 4 and began composition at 6), he quickly became famous, thanks to the many tours he made with his father, Leopold, who was himself vice chapel-master at the court of the Prince-Archbishop of Salzburg, as well as a mentor and teacher to his son. At the age of 16, Mozart was appointed concertmaster to the new Prince-Archbishop of Salzburg, Hieronymus von Colleredo. He was commissioned to compose works to the tastes of his day and asked to perform. But he quickly grew tired of the confining environment of Salzburg and, in 1777, he resigned his position at the court. In 1779, he became the resident organist at the Salzburg cathedral, then settled in Vienna. He performed for the Court, gave music lessons and piano concerts, while being vice chapel-master at the cathedral. His Don Giovanni was a huge success in Prague but was poorly received in Vienna. Mozart's health was declining and he spent the last years of his life in poverty. He died on the night of 5 to 6 December 1791: he was not yet 35 years old. He was buried in a common grave, due to sanitary measures but also because of his family's destitution. In spite of his early death, Mozart created in 30 years one of the greatest legacy in music history, comprising classical masterpieces in almost every musical genre: opera, sacred music (including his famous Requiem), symphonic, concert or chamber music... His operas include some early works such as La Finta semplice, Mitridate re di Ponto, Lucio Silla, or La Finta giardiniera. Composed in 1781 Idomeneo started to reveal Mozart's personality. Then Il Seraglio, composed the next year, marked his true independence as an artist and the beginning of his mature masterpieces: Le Nozze di Figaro in 1786, Don Giovanni in 1787, The Magic Flute in 1791. With La Clemenza di Tito Mozart returned to the seria genre.

Cyrille Dubois studied at the Conservatoire National Supérieur de Musique et de Danse in Paris and in 2010 joined the Paris Opera’s opera workshop, the Atelier Lyrique. He performed the role of Nathanael (Les Contes d’Hoffmann) for his debut at Milan’s La Scala and the Paris Opera, and Azor (in Benoît Mernier’s La Dispute) at La Monnaie in Brussels. He then went on to tackle the roles of Brighella (Ariadne auf Naxos) at the Athénée Théâtre Louis-Jouvet and at the Toulon Opera, Almaviva (Il Barbiere di Siviglia) at the Théâtre des Champs-Élysées, Saint Phar (in Grétry’s La Caravane du Caire) at the Opera Royal in Versailles (CD Ricercar), Oronte (Alcina), Brighella (Ariadne auf Naxos), the Labourer (Le Roi Arthus), Ferrando (Così fan tutte), Lucien de Rubempré (the world premiere production of Trompe-la-mort), Tavannes (Les Huguenots), and Iopas (Les Troyens) at the Paris Opera. After appearing in Félicien David’s Le Saphir with the Cercle de l’Harmonie at the Palazetto Bru Zane and the Théâtre des Bouffes du Nord, he sang the roles of Tybalt (Roméo et Juliette) in Massy, Pâris (La Belle Hélène) in Toulon, Coelio (Sauguet’s Les Caprices de Marianne) with the Centre Français de Promotion Lyrique, and Gonzalve (L’Heure espagnole) for his debut appearance at the Glyndebourne Festival. He has also played the four attendants (Les Contes d’Hoffmann), Belmonte (Die Entführung aus dem Serail) and Ramiro (La Cenerentola) at the Lyon Opera; Marzio (Mitridate) and Nadir (Les Pêcheurs de perles) at the Théâtre des Champs-Elysées; Ferrando at the Rouen Opera, Horace (Le Domino noir) at the Opéra Royal de Wallonie and the Opéra Comique, Cyrille (in Léo Delibes’ Kassya) at the Montpellier Festival, the title role in Salieri’s Tarare in Versailles, Vienna and Paris; Belmonte at the Monte Carlo Opera, Hippolyte (Hippolyte et Aricie) at the Zurich Opera and the Théâtre des Champs-Elysées, and Ruodi (Guillaume Tell) at the Chorégies d’Orange. During the 2019-2020 season he sang the title role in Fortunio at the Opéra Comique and appeared as Nadir at the Opéra Royal de Wallonie. Cyrille Dubois also sings in recital with Tristan Raes, his partner in the Duo Contraste. Together, they have earned prizes at the Nadia and Lili Boulanger International Voice-Piano Competition and they were three-time winners at the 2013 Lyon International Chamber Music Competition. In 2015, Cyrille Dubois was nominated in the category of Best New Opera Artist at the 22nd Victoires de la Musique.

Dubois.Cyrille

Born in Belgrade, Serbia, Tamara Banješević graduated from the University of Music in Mannheim and at the Juilliard School with Edith Wiens. She made her operatic debut as Anna Reich in The Merry Wives of Windsor at Schloss Weikersheim.&nbsp;In 2012 she joined the ensemble of National Theater Mannheim, where she performed roles such as Susanna (Le Nozze di Figaro), Giulia (La Scala di seta), Amenaide (Tancredi), Ännchen (Der Freischütz), Nannetta (Falstaff), and the title role of Zaide. In 2013 she made her debut at the Baden-Baden Festival and the following year at the Aix en Provence Festival. In 2015 she returned to the Baden-Baden Festival (the milliner in Der Rosenkavalier) and gave a song recital at the Heidelberger Frühling Festival.&nbsp;The season 16/17 saw her debut at the Lincoln Center and at the Théâtre La Monnaie in Brussels (the High Priestess in Aida). She was also finalist at the Viñas Contest in Barcelona. She obtained the first prize of the International Competition Manhattan, the Richard Kandel Memorial Award (Opera Index Competition) and performed Amore in Monteverdi’s Il Ballo delle ingrate and Sandrina in La Finta Giardiniera in New York. She gave recitals in New York, Los Angeles, France and Germany and sung with conductors such as Helmut Rilling or William Christie.&nbsp;In 2018 she made her Paris Opera debut (a flower maiden in Parsifal) and performed at the Salzburg Festival (Fortuna and Damigella in L'incoronazione di Poppea). During seasons 2018/19 and 2020/21, she joined the Aalto-Musiktheater company in Essen where she added to her repertoire the roles of Micaela (Carmen), Fiordiligi (Così fan tutte), Gretel (Hänsel und Gretel), Eva (Il Primo Omicidio), and recently Eurydice (Orfeo ed Euridice) and Woglinde (The Rhinegold).&nbsp;In 2021, she sung the First Lady in The Magic Flute at the Paris Opera. During season 2021/22, she performed Gilda (Rigoletto) and Eva (Cain, overo Il primo omicidio) at the Aalto-Musiktheater in Essen, and Woglinde and Gretel at the Stuttgart Staatsoper.

Banjesevic.Tamara

Kai Rüütel was born in Estonia and studied music, first in Tallinn and then at the Hague Royal Conservatory and the Academy of the Dutch National Opera in Amsterdam. In 2009, she joined the Royal Opera House’s prestigious Jette Parker Young Artists Programme in London. She performed numerous roles on the London stage (Hänsel in Hänsel und Gretel, Rosette in Manon, Flora in La Traviata, the Second Lady in Die Zauberflöte, Dorothée in Cendrillon (Cinderella), Wellgunde in the Ring, Meg Page in Falstaff, and the Marchesa Melibea in Il Viaggio a Reims) after which her career took on an international dimension. She has made guest appearances at the Dutch National Opera in Amsterdam (Annina in Der Rosenkavalier), the Theater an der Wien (Second Lady), the Teatro Real in Madrid (Mary in Der Fliegende Holländer, a flower girl in Parsifal), the Flanders Opera (the world premiere of Chaya Czernowin’s Infinite Now, Sonietka in Lady Macbeth of the Mtsensk District, Nefertiti in Philip Glass’ Akhnaten), the Gran Teatre del Liceu in Barcelona (Siegrune in Die Walküre), the Scottish Opera (Hänsel), the Théâtre du Capitole in Toulouse (Kate in Owen Wingrave), and the Dallas Opera (Olga in Eugene Onegin). She has worked with numerous directors, including Robert Carsen, Laurent Pelly, Keith Warner and Calixto Bieito. More recently, she made her debut in the title role of Carmen in Tallinn and played Waltraute in Die Walküre at the Royal Opera House in London, and Meg Page (Falstaff) and Blanche (The Gambler) in Ghent. During the 2019-2020 season, she participated in the Royal Opera House’s Japanese tour (playing Emilia in Otello) under the baton of conductor Antonio Pappano. She also performed at the Theater an der Wien in a stage version of Mendelssohn’s Elias, at the Flanders Opera in Schreker’s Der Schmied von Gent, and as Waltraute at the Dutch National Opera in Amsterdam.

Rtel.Kai

Marie-Luise Dressen was born in Torgau, Germany and studied music at the Felix Mendelssohn Bartholdy Academy in Leipzig with Elvira Dressen, Christa Ludwig, Brigitte Fassbaender and Rudolf Piernay. In 2008, she made her debut in the role of Octavian in Der Rosenkavalier at the Theater Vorpommern—a role she would again perform in Malmö in 2011. From 2008 to 2011, she was a member of the troupe of the Gera / Altenburg Theatre (Theater und Philharmonie Thüringen) where she tackled numerous first-time roles including the Composer (Ariadne auf Naxos), Romeo (I Capuleti e i Montecchi), Orlovsky (Die Fledermaus) and Nele (Braunfels’ Ulenspeiger). She then joined the troupe of the Lucerne Opera, during which time she sang the role of Hippolyta (A Midsummer Night’s Dream), and the title roles of Orlando and La Cenerentola. Her other roles there included Sesto (La Clemenza di Tito), Ruggiero (Alcina), the Composer, Adalgisa (Norma), Valencienne (Die Lustige Witwe), Eliza (My Fair Lady), and Mercédès (Carmen). She performed in the world premiere productions of La Fura dels Baus’ Cantos de Sirena and Simon Wills’ The Stolen Smells. She has made guest appearances in Basle (Peter Ruzika’s Hölderlin), Kassel, Coburg and the Leipzig Gewandhaus (Hänsel in Hänsel und Gretel). In 2017, she played Octavian in Ruse, Bulgaria, and she joined the troupe of the Kassel Staatstheater where she sang the role of Baba the Turk in The Rake’ s Progress. She was named “Best Rising Artist” by Opernwelt magazine in 2013 and 2014.

Projects: Hänsel (Hänsel und Gretel) and Rosina (Il Barbiere di Siviglia) in Kassel.

Dressen.Marie-Luise

Alex Esposito was born in Bergamo (Italy). In 2007, he received the prestigious Franco Abbiati Prize, an award bestowed by the Italian critics to the best opera singer of the previous year.&nbsp;He performs regularly at many of the great opera houses and international festivals (Milan’s La Scala, La Fenice in Venice, the Vienna Staatsoper, the Bayerische Staatsoper in Munich, the Deutsche Oper in Berlin, the Royal Opera House in London, the Teatro Real in Madrid, the Paris Opera, and the Salzburg and Aix Festivals) and he has sung under the baton of conductors like Claudio Abbado, Antonio Pappano, Myung-Whun Chung, Kent Nagano, Daniele Gatti, and Fabio Biondi.&nbsp;He has also worked with numerous directors including Peter Mussbach, Claus Guth, Graham Vick, Damiano Michieletto and Pierluigi Pizzi.&nbsp;His roster of roles includes Leporello (Don Giovanni) at Milan’s La Scala, the Deutsche Oper in Berlin and the Bayerische Staatsoper in Munich; Papageno at La Scala and in Munich (where he became the first Italian singer to perform the role in German), Figaro (Le Nozze di Figaro) at London’s Royal Opera House, the Paris Opera and in Munich, Brussels, and Amsterdam; and Guglielmo (Così fan tutte) at the Théâtre du Capitole in Toulouse.&nbsp;He makes regular guest appearances at the Rossini Festival in Pesaro, where he has appeared in La Gazza ladra (Fernando Villabella), La Cenerentola (Alidoro), Mosè in Egitto (Pharaon), L’italiana in Algeri (Mustafa), and Il Barbiere di Siviglia (Figaro).&nbsp;In 2016, he received the “Premio d’oro” for his performances in Pesaro. He has also appeared as Nick Shadow (The Rake’s Progress) and Philippe II (Don Carlo) at La Fenice in Venice, and he recently played Selim (Il Turco in Italia) at Milan’s La Scala.&nbsp;Since then, he has sung the four maleficent roles in Les Contes d’Hoffmann in Munich, Stuttgart and Berlin (the Deutsche Oper); Henry VIII (Anna Bolena) and Méphistophélès (La Damnation de Faust) at the Rome Opera; Assur (Sémiramis) at La Fenice; Banco (Macbeth) and Dulcamara (L’elisir d’amore) at the Macerata Festival, Méphistophélès (Faust) at the Deutsche Oper in Berlin and the Théâtre du Capitole in Toulouse and Papageno (Die Zauberflöte) at the Paris Opera.

Esposito.Alex.(c)

Mélissa Petit was born in Saint-Raphaël and studied piano and voice at the School of music in her home city. In 2009, she entered the Université Sofia Antipolis in Nice and won second prize at the International Sacred Music Competition in Rome and first prize at the Concours de Béziers. From 2010 to 2013 she was a member of the Opera Studio of Hamburg, which enabled her to sing on numerous stages in Germany and Austria. In 2011, she was invited to the Innsbruck Festival of Early Music where she performed in Telemann’s Flavius Bertaridus and König der Langobarden. In 2012, she won first prize along with the special “Prix de l’Opéra de Bordeaux” at the “Musique au cœur du Médoc” International competition. She also represented the Hamburg Staatsoper at the Stella Maris Singing Competition on board the ocean liner MS Europa where her performance earned her an audition for Deutsche Grammophon and a contract for a series of concerts at Vienna’s Musikverein. In 2013, she was a participant at the Queen Sonja International Music Competition in Oslo where she took third prize. She also appeared on the TV programme “Stars of Tomorrow” presented by Rolando Villazon and rebroadcast on Arte. In 2014, she sang the role of Edilia in Handel’s Almira, Queen of Castille at the Hamburg Staatsoper and the Innsbruck Festival of Early Music. She also made guest appearances in Hamburg in Dialogues des carmélites (Sister Constance), Die Tote Stadt (Juliette), Le Nozze di (Barbarina), Die Zauberflöte (Papagena), Ariadne auf Naxos (Najade), La Cenerentola (Clorinda), and Johann Mattheson’s The Misfortune of Cleopatra (title role). In 2015, she made her Paris Opera debut as Giannetta in L’elisir d’amore. From 2015 to 2017, she was a member of the troupe of the Zurich Opera during which time she performed the roles of the First Lady in Die Zauberflöte, Servilia (La clemenza di Tito), Ännchen (Der Freischütz), Sophie (Werther), and Créuse (Charpentier’s Médée). In 2017, she was invited to perform at the Bregenz Festival (Micaela in Carmen). That same year she tackled the role of Marzelline (Fidelio) in Zurich. She then went on to sing the roles of Juliette (Gounod’s Roméo et Juliette) at the National Center for the Performing Arts in Beijing and the Deutsche Oper am Rhein in Düsseldorf; Johanna (Sweeney Todd) and Aricie (Hippolyte et Aricie) in Zurich. She also made role debuts as Gilda (Rigoletto) at the Bregenz Festival in 2019 and as Eurydice (Orphée et Eurydice) at the Opera Royal de Wallonie.

Petit Melissa

Nicolas Testé was born in Paris and joined the Paris Opera’s opera training programme at its Centre de Formation Lyrique in 1997. In 1998, he was awarded second prize at the Voix Nouvelles (New Voices) competition. Since then, he has performed at some of Europe’s most prestigious opera houses and festivals. He has appeared in numerous productions at the Paris Opera and, in 2012, he made his debut at Milan’s La Scala. His repertoire of roles includes Jupiter (Castor et Pollux) at the Theater an der Wien, Leander (The Love for Three Oranges) in Geneva, Agamemnon (Iphigénie en Aulide) and Frère Laurent (Roméo et Juliette) in Amsterdam, Nourabad (Les Pêcheurs de perles) at the Opéra Comique, the Metropolitan Opera, the Palau de la Musica in Valencia and the Theater an der Wien, Cesare Angelotti (Tosca), Abimélech (Samson et Dalila), Don Basilio (Il Barbiere di Siviglia), Marcel (Les Huguenots), Sarastro (Die Zauberflöte) and Sir Giorgio (I Puritani) at the Paris Opera. He also sang in the world premiere production of Iain Bell’s A Harlot’s Progress at the Theater an der Wien, and played Colline (La Bohème) at New York’s Metropolitan Opera and the Bayerische Staatsoper in Munich; Raimondo (Lucia di Lammermoor) in Munich, Marseille, San Francisco, Berlin (Deutsche Oper), Turin and the Théâtre des Champs-Élysées; Des Grieux (Manon) at the Metropolitan Opera; Claudius, (Hamlet) in Avignon, and the Gran Teatre del Liceu in Barcelona; Ferrando (Il Trovatore) and Dr. Grenvil (La Traviata) at the Chorégies d’Orange, Sir Giorgio (I Puritani) at the Teatro Real in Madrid, the four demonic roles in Les Contes d’Hoffmann at the Los Angeles Opera, Talbot (Maria Stuarda) in Zurich, Talbot, Mephistopheles (Faust), Alvise Badoero (La Gioconda) and Claudius (Hamlet) at the Deutsche Oper in Berlin, Hérod (L’Enfance du Christ) at the Théâtre des Champs-Elysées, Frère Laurent at Milan’s La Scala, and Talbot (Maria Stuarda) at the Zurich Opera. Nicolas Testé also performs in concert with the Orchestre national de France, the Orchestre du Capitole de Toulouse, the Accademia Santa Cecilia of Rome, the RAI Orchestra of Turin, the Birmingham Symphony Orchestra, the Orchestre National de Lyon, the Orchestra National de Lille, and the Bayerischer Rundfunk, at venues like the Barbican Centre in London and Carnegie Hall in New York, under the baton of Sir John Eliot Gardiner, Emmanuel Krivine, Sir Charles Mackerras, Marc Minkowski, Michel Plasson, Georges Prêtre, Pinchas Steinberg, and Dan Ettinger.

Testé Nicolas

a_sperrhacke_021sw

Julie Fuchs began her training studying theatre and music in Avignon and was unanimously awarded First Singing Prize with the Jury’s honours at the Conservatoire National Supérieur de Musique in Paris. She won Second Prize at the 2013 Operalia competition and received three awards at the Victoires de la Musique in 2012, 2014 and 2021.&nbsp;She has performed numerous roles over the last few seasons, including Marie (La Fille du régiment) at the Vienna Staatsoper, Leïla (Les Pêcheurs de perles) at the Théâtre des Champs-Elysées, Guinia (Lucio Silla) at the Teatro Real in Madrid,&nbsp;Esther (Luca Francesconi’s Trompe-la-Mort), Folly (Platée), Émilie and Fatime (Les Indes galantes) at the Paris Opera, Adèle (Le Comte Ory) at the Opéra Comique, Norina (Don Pasquale) at the Opernhaus Zurich, Musetta (La Bohème) at the Bayerische Staatsoper in Munich.Her discography includes a recording of early melodies by Mahler and Debussy with the pianist Alphonse Cemin and a CD of Poulenc’s melodies (Atma Classique). She has released two albums&nbsp;with Deutsche Grammophon :&nbsp;Yes!&nbsp;in 2015, and&nbsp;Mademoiselle in 2019.More recently, she has performed&nbsp;Aspasia (Mitridate, re di Ponto) at the Staatsoper Unter den Linden in Berlin, at the Gran Teatre del Liceu in Barcelone, and at the Palau de les Arts in Valencia, Pamina (The magic flute) at the Paris Opera, Fiorilla (Il turco in Italia) at the Teatro San Carlo in Naples, Susanna (The Marriage of Figaro) at the Aix-en-Provence festival and at the Teatro Real in Madrid, Poppea (The Coronation of Poppea) in Zurich, Mélisande (Pelléas and Mélisande) at the Gran Teatre del Liceu in Barcelone.

Julie Fuchs

Sabine Devieilhe was born in Normandy and studied voice at the Conservatoire National Supérieur de Musique et de Danse in Paris. Soon thereafter, she began performing in concert, most notably with the Orchestre de Paris, Les Arts Florissants, Les Musiciens du Louvre and Le Concert Spirituel. She then went on to perform the roles of Amina in La Sonnambula and La Folie in Platée under the direction of Jean-Claude Malgoire. In 2012, she made her Aix Festival debut in La Finta giardiniera (Serpetta) and then performed the title role in Lakmé at the Montpellier Opera before playing the Queen of the Night (Die Zauberflöte) at the Lyon Opera. She was named Best New Opera Artist at the Victoires de la Musique in 2013. She sang the role of Constance in the Olivier Py production of Dialogues des carmélites at the Lyon Opera and the Théâtre des Champs-Elysées. She then played Lakmé at the Opéra Comique and made her Paris Opera debut in Die Zauberflöte. Her other roles include Héro (Béatrice et Bénédict) at the Paris Opera, Eurydice (Orphée et Eurydice) at La Monnaie in Brussels, Adele (Die Fledermaus) at the Opéra Comique, Mélisande (Pelléas et Mélisande) and Nannetta (Falstaff) at the Marseille Opera, and Ismène (Mitridate) at the Théâtre des Champs-Elysées. In 2015, she gave her debut performance at the Glyndebourne Festival in L’Enfant et les sortilèges (singing the roles of the Fire, the Princess, and the Nightingale). She then went on to play Bellezza in the Krzysztof Warlikowski production of Handel’s Il Trionfo del tempo e del disinganno at the 2016 Aix Festival and she made her role debut as Blonde (Der Entführung aus dem Serail) at Milan’s La Scala. Sabine Devieilhe has also appeared as Marie (La Fille du régiment) in Zurich and Vienna, Zerbinetta (Ariadne auf Naxos) at the 2018 Aix Festival, the Queen of the Night in Romeo Castellucci’s production at La Monnaie in Brussels, Cunégonde (Bernstein’s Candide) at the Théâtre des Champs-Elysées, Ophélie (Hamlet) at the Opéra Comique, Sophie (Der Rosenkavalier) at the Zurich Opera, Zerbinetta at Milan’s La Scala, Marie at the Royal Opera House in London, and Hébé, Phani and Zima (Les Indes galantes) at the Paris Opera. Sabine Devieilhe has an exclusive recording contract with Erato/Warner Classics. Her album Mirages, with the French philharmonic orchestra Les Siècles led by François-Xavier Roth was honoured at the 25th Victoires de la Musique Awards.

Devieilhe.Sabine.

Born in Freiburg, Martin Gantner studied singing at the Staatliche Hochschule für Musik in Karlsruhe and was awarded the first prize in the VDMK competition in Berlin. He performed in Das verratene Meer (The Betrayed Sea) by Hans Werner Henze at La Scala in Milan and Salomé at the Salzburg Festival and in Brussels. From 1993 to 2007, he was a member of the ensemble at the Bavarian State Opera and was appointed the title of Bayerischer Kammersänger in 2005.&nbsp;He sang Faninal (Der Rosenkavalier) in Munich, Chicago, Paris, Amsterdam and Zurich, Kurwenal (Tristan und Isolde) in Florence and Turin, Telramund (Lohengrin) in Zurich and Stuttgart, Beckmesser (Die Meistersinger von Nürnberg) in Munich, in Bayreuth, and at the Metropolitan Opera in New York and in San Francisco, Gunther (Götterdämmerung) in Toronto and in Dresden, Dr. Schön (Lulu) in Rome, Don Pizarro (Fidelio) in Zurich, the title-role in Hindemith's Cardillac in Florence.&nbsp;In the season 2020/21 Martin Gantner was invited to Stuttgart for a scenic production of Mahler’s Lied von der Erde and as Musiklehrer in Strauss’ Ariadne. He also sang Telramund at the Staatsoper Berlin, Beckmesser in Bayreuth and Musiklehrer/Ariadne at the Edinburgh International Festival.&nbsp;Important projects of the 2021/22 season were Fritz Kothner (Die Meistersinger) at the Metropolitan Opera New York, Telramund at the Staatsoper Berlin and the Deutsche Oper in Berlin, at the Bolshoi in Moscow and at the Bayreuth Festival, as well as Kurwenal at the Zurich Opera House.&nbsp;Future engagements include a new production of Parsifal in Geneva, Der Rosenkavalier in Amsterdam and also a revival of Das Lied von der Erde in Stuttgart. He also works for his debut as Barak (Die Frau ohne Schatten).&nbsp;Martin Gantner is also regularly performing within the concert field, in a various repertoire including Ein deutsches Requiem, Matthäus-Passion, and Zemlinsky's Lyrische Symphonie.

Gantner.Martin 2 (c) Tom Jasny

Michael Nagl was born in Vienna and began his musical training in the Mozart Boys’ Choir under the direction of Peter Lang. In 2016, he graduated from the Universität für Musik und darstellender Kunst (in the class of Professor Karlheinz Hanser). He made his stage debut in 2014 in the role of Don Alfonso (Così fan tutte) at the Schlosstheater Schönbrunn, and then performed in Hans Krása’s Brundibár as part of the “Day Against Violence and Racism” organised by the Austrian Parliament. He also performed numerous roles during his studies, including Antonio (Le Nozze di Figaro), Masetto and Leporello (Don Giovanni), Simone (Gianni Schicchi) and Frank (Die Fledermaus). In the summer of 2014, he was named “Best Young Singer” at the Otto Edelmann Competition and, in 2015, he won the Gottlob Frick Medal. From 2016 to 2018, he was a member of the Stuttgart Opera Studio, and appeared in their productions of Don Giovanni (Masetto), Faust (Wagner), Eugene Onegin (Zaretski), The Queen of Spades (Narumov), Salomé (First Soldier), and Rigoletto (Count Ceprano). During the 2017-2018 season, he made his Semperoper debut in Dresden and sang Bach’s Christmas Oratorio at the Vienna Musikverein. In 2018, he was engaged by the Stuttgart Staatstheater and had the occasion to work with conductors like Cornelius Meister, Sylvain Cambreling, Lorenzo Viotti, and Lothar König as well as directors such as Jossie Wieler, Peter Konwitschny and Frank Castorf. In June 2019, he sang the role of Leporello in the Marie-Eve Signeyrole production of Don Giovanni in Strasbourg. During the 2019-2020 season, he made his role debut as Figaro (Le Nozze di Figaro) in Stuttgart and sang the role of the Monk in Don Carlo. He also performed in concert in L’Enfance du Christ with the Gürzenich Orchestra of Cologne under the baton of conductor François-Xavier Roth.

Michael Nagl is making his Paris Opera debut.

Nagl Michael

Franz Gürtelschmied studied at the University of Music and Performing Arts in Vienna, his native city. He is currently working with Professor Irina Gavrilovici and conductor Ivan Parik. He made his debut in 2014 as a participant at the Salzburg Festival’s Young Singers Project, during which he appeared in Harry Kupfer's production of Der Rosenkavalier under the baton of conductor Franz Welser-Möst, as well as in a production of Die Entführung aus dem Serail (Pedrillo). He was invited to Salzburg again in 2016 to perform the role of Enrique in the world premiere production of Thomas Adès’s The Exterminating Angel. He was also invited to the Wels Wagner Festival in Austria and the Stadtheater in Baden where he sang the role of Gusti in Das Land des Lächeln—a performance which earned him a nomination for a prestigious 2017 Österreichischer Musiktheaterpreis in the Best Supporting Actor category. Last season, he played Alkibiades in Krenek’s Pallas Athene weint at the Neue Oper in Vienna and he made his role debut as Tony (West Side Story) in Graz. During the summer of 2017, he appeared as Camille de Rosillon in Die Lustige Witwe at the Langenlois Schlossfestspiele (where he had sung the title role in Der Ziegunerbaron in 2015). He has also performed in recital, most notably during the 2016 Semmering Kultursommer. He made his Paris Opera debut in 2018 in Parsifal (Vierter Knappe). His other roles include the Steersman (Der Fliegende Holländer), Count Gustav von Pottenstein (Le Pays du sourire) and Louis Ironson (Angels in America) at the Budapest Festival, and Edwin (Princesse Czardas) at the 2019 Schlossfestpiele Langenlois.

Guêrtelschmied.Franz

Lucian Krasznec was born in Banat, Romania. He studied voice at the Hochschule für Musik in Würzburg in the class of Cheryl Studer and complemented his training by following the master classes of Christian Elsner, Peter Frank, Gerold Huber, Ruth Ziesak and Anna Reynolds.&nbsp;In 2006, he received a scholarship from the International Association of Richard Wagner Societies and Rotary International. The following year, he was a prize winner at the Armin Knab Lied competition in Würzburg. In 2008, he received the Franz Völker Prize from the commune of Neu-Isenburg and a grant from the Richard Strauss Society in Munich. He made his stage debut at the Mozart Festival in Würzburg (as Tamino, in Die Zauberflöte) and then performed in follow-up productions in Coburg and Freiburg before joining the troupe of the Staatstheater in Darmstadt.&nbsp;In 2011, he was engaged by the Dortmund Opera. Whilst there, he performed some of the major roles of the opera repertoire, including Ferrando (Così fan tutte), Belmonte (Die Entführung aus dem Serail), Don Ottavio (Don Giovanni), Walther von der Vogelweide (Tannhäuser), the Italian Singer (Der Rosenkavalier), Nemorino (L’Elisir d’amore), Alfredo (La Traviata) as well as the title role of Faust. He also performs roles from the operetta repertoire (René in Le Comte de Luxembourg and Gjurka Karoly in Roxy und ihr Wunderteam). In 2010, he tackled the title role in Der Zarewitsch at the Mörbisch Festival, and he returned there 2011 for the title role in Der Zigeunerbaron. He has performed at the Vienna Volksoper in Bettelstudent and Princesse Czardas and appeared at the Frankfurt Opera and the Salzburg and Bregenz Festivals in Die Zauberflöte.&nbsp;Lucian Krasznec has been a member of the troupe of Munich’s Staatstheater am Gärtnerplatz since the 2016-2017 season. In that capacity, in addition to the Mozartian repertoire, he has tackled numerous roles, including Nadir (Les Pêcheurs de perles), Lyonel (Martha), Baron Kronthal (Der Wildschütz), Leicester (Maria Stuarda), Rodolfo (La Bohème), the Duke of Mantua (Rigoletto), Camille Count de Rosillon (Die Lustige Witwe), and Lensky (Eugene Onegin). He also performs in concert at the Cologne Philharmonie, the Beethovenhalle in Bonn, the Essen Philharmonie, the Vienna Konzerthaus, the Düsseldorf Tonhalle and the Dortmund Konzerthaus.

Lucian Krasznec is making his Paris Opera debut

Krasznec Lucian

Cornelius Meister was born in Hanover in 1980. He studied piano and orchestral direction at the Hochschule in Hanover with Konrad Meister, Martin Brauss and Eiji Oue, then at the Salzburg Mozarteum with Dennis Russell Davies, Jorge Rotter and Karl Kamper. He was awarded the Audience Prize at the Schleswig-Holstein Musik Festival in 1998 and has been honoured at numerous competitions, including the Deutscher Musikwettbewerb in 2000. He was musical director of the Heidelberg Theatre and Philharmonic Orchestra from 2005 to 2012 and the Vienna Radio Symphony Orchestra from 2010 to 2018. Since 2018, he has been the musical director of the Stuttgart Staatsoper and Staatsorchester. He is also the principal guest conductor at the Yomiuri Nippon Symphony Orchestra. He has made guest appearances conducting some of the great symphonic orchestras including the Amsterdam Concertgebouw, the City of Birmingham Symphony Orchestra, the BBC Philharmonic Orchestra, the National Symphony Orchestra of Washington, the Mostly Mozart Festival Orchestra (New York), the Swedish Radio Symphony Orchestra, the Danish National Symphony Orchestra, the Orchestre de Paris, the Paris Opera Orchestra, the Ensemble Intercontemporain, the Orchestra of the Accademia Nazionale di Santa Cecilia (Rome), the Tonhalle-Orchester of Zurich, the Orchestre de la Suisse Romande, and the Deutsches Symphonie-Orchester of Berlin. After making his debut at the Hamburg Staatsoper at the age of 21, he made guest appearances at the Bayerische Staatsoper in Munich, the New National Theatre in Tokyo, the San Francisco Opera, the Theater an der Wien, Copenhagen’s Royal Opera, the Riga Opera, the Vienna Staatsoper, the Dresden Semperoper, the Royal Opera House in London, the Zurich Opera, and Milan’s La Scala. He received the Opus Klassik Award for Conductor of the Year in 2018 and the International Classical Music Award for his recording of all of Martinů’s symphonies. He also won the Diapason d’or and the German Critics’ prize for a DVD of Werther recorded at the Zurich Opera. During the 2019-2020 season, he conducted a new production of Hans Abrahamsen’s The Snow Queen in Munich, Le nozze di Figaro at the Metropolitan Opera, Arabella at the Vienna Staatsoper, and Tristan und Isolde, Lohengrin, Don Carlo, Cavalleria rusticana, Luci mie tradicitri, Don Giovanni and Don Carlo in Stuttgart. He also continued a Mahler cycle with the Stuttgart Staatsorchester.

Born in Canada, Robert Carsen studied acting at Bristol Old Vic Theatre School, before choosing a career in stage direction, lighting design and scenography. He staged for the Paris Opera Manon Lescaut, I Capuleti e i Montecchi, Lohengrin, Nabucco, The Tales of Hoffmann, Alcina, Rusalka, Les Boréades, Capriccio, Tannhäuser, Elektra, The Magic Flute. Recent productions include Il trionfo del tempo e del disinganno at the Salzburg Festival, Il ritorno d'Ulisse in patria in Florence, Julius Caesar (Battistelli) in Rome, Ôsud (Janáček) in Brno, Arabella at the Zurich Opera, Idomeneo in Madrid and Rome and Océane (Glanert) at the Deutsche Oper, Berlin. He also directed for the Aix-en-Provence Festival A Midsummer Night's Dream, Orlando, The Magic Flute, Sémélé and Rigoletto; at the Opéra Comique, Platée and Les Fêtes vénitiennes; at the Théâtre des Champs-Élysées, Armide, Iphigénie en Tauride and Orfeo ed Euridice; at the Théâtre du Châtelet, Candide, My Fair Lady and Singin’ in the Rain. Further credits include Falstaff and Der Rosenkavalier at the Royal Opera House and the Metropolitan Opera, New York; Dialogues des carmélites in Amsterdam, Milan and London; Rinaldo and L’incoronazione di Poppea in Glyndebourne; La Traviata for the reopening of La Fenice in Venice; Don Giovanni, Co2 (Battistelli) and La Fanciulla del West for La Scala, Milan; Ariadne auf Naxos in Munich; Mefistofele and Eugene Onegin at the Metropolitan Opera, New York; Wagner's Ring cycle in Cologne, Venice, Barcelona and Madrid; Janaček and Puccini's cycles at the Vlaamse Opera; Carmen in Amsterdam. He was artistic director and set designer on several exhibitions in Paris (Grand Palais, Musée d’Orsay, Musée Galliera, Beaux-Arts), London and Chicago. Officier des Arts et des Lettres, Robert Carsen received, in 2021, the International Opera Award, the Fanco Abbiati Prize, the Spanish Ópera XXI Award, and the Italian Opera Star Award.

Michael Levine was born in Toronto and studied at the Central School of Art and Design in London. He works in theatre, cinema, and opera all over the world. He has designed the sets (often combined with the costumes design) for the
Bregenz Festival (Madama Butterfly), the New York Metropolitan Opera (Parsifal, Madame Butterfly, Eugene Onegin, Mefistofele), Milan’s La Scala (Les Contes d’Hoffmann, Don Giovanni, A Midsummer Night’s Dream), London’s Royal Opera House (Der Fliegende Holländer), the Vienna Staatsoper (Dialogues des carmélites), the Paris Opera (The magic flute, Elektra, Capriccio, Les Boréades, Rusalka, Les Contes d’Hoffmann, Nabucco, I Capuleti e i Montecchi), the English National Opera (Rigoletto, Rudolf Rojahn’s Heart of a Dog), Chicago’s Lyric Opera and Madrid’s Teatro Real (Rigoletto, Billy Budd), the Dutch National Opera in Amsterdam (Die Zauberflöte), the Lyon Opera (Parsifal, Tabachnik’s Benjamin, dernière nuit), Turin’s Teatro Regio (Rusalka), the Théâtre du Châtelet (Candide), the Rhine Opera (La Bohème), the Canadian Opera Company of Toronto (Wozzeck, Idomeneo, Oedipus Rex, and the sets and costumes for the complete cycle of Wagner’s Ring), the Aix Festival (Die Zauberflöte, A Midsummer Night’s Dream), the Zurich Opera (The Queen of Spades, Sweeney Todd), the Deutsche Oper in Berlin (The Rape of Lucretia), London’s Complicite Theatre (A Disappearing Number, Mnemonic), and the Royal National Theatre, the Old Vic Theatre, the Glasgow Citizen’s Theatre and theatres in London’s West End and on Broadway. In
2021-2022, he created the set designs for Peter
Grimes and Jenůfa (Royal Opera
House, London), The Cunning Little Vixen
(Bavarian State Opera Munich), Carmen and Turandot (Dutch National Opera) and La
Mouette (Royal Dramaten Theatre Stockholm).  His work has received numerous awards including a Gemini Award, the Prix de la Critique in Paris, the Edinburgh Festival Music Award, two Dora Awards and the Toronto Arts Award. He was promoted to the rank of Chevalier des Arts et des Lettres in 2002.

After studying at Munich’s Akademie Mode &amp; Design, Petra Reinhardt trained under Vera Marzot, Luchino Visconti’s costume designer.&nbsp;She has worked as an assistant at the Hamburg Staatsoper, Munich’s Bayerische Staatsoper, the Stuttgart Staatstheater, Strasbourg’s Rhine Opera, the Teatro São Carlos in Lisbon, the Teatro San Carlo in Naples, and at theatres in Frankfurt, Bonn, and Augsburg. She also has an acting career in cinema, television and theatre.&nbsp;In 1990 and 1991, she created the costumes for Il Barbiere di Siviglia and Henze’s Il matrimonio segreto, and Pollicino in Munich. She then collaborated with Peter Pabst in creating the costumes for Klaus Maria Brandauer’s film adaptation of Mario und der Zauberer. She designed the costumes for Werther at the Vienna Staatsoper. She worked with Klaus Maria Brandauer again on a production of Brecht and Weill’s The Threepenny Opera in Berlin, and Lohengrin&nbsp;in Cologne.&nbsp;She has also collaborated with William Friedkin (Salomé and Rihm’s Das Gehege at the Bayerische Staatsoper in Munich), José Cura (Leoncavallo’s La commedia è finita in Fiume and Un ballo in maschera in Cologne), Johannes Schaaf (Die Fledermaus in Amsterdam, Tosca in Dresden, Respighi’s Marie Victoire at the Deutsche Oper in Berlin), Chen Shi-Zheng (Farewell my concubine in Beijing and John Adams’ Nixon in China at the Théâtre du Châtelet), Jasmin Solfaghari (Ein Nacht in Venedig in Dresden), Fanny Ardant (Lady Macbeth of the Mtsensk District at the Greek National Opera)&nbsp;and Robert Carsen (Die Zauberflöte at the Baden-Baden Festival and the Paris Opera, Battistelli’s CO2 at Milan’s La Scala, Campra’s Les Fêtes vénitiennes at the Opéra-Comique, Don Carlo at the Rhine Opera, L’Orfeo at the Lausanne Opera, The Beggar’s Opera at the Théâtre des Bouffes du Nord, and The Tempest at the Comédie Française).She created the costumes for&nbsp;Der Traumgörge at the Opéra national de Lorraine, I Capuleti e i Montecchi at Milan's La Scala and together with the director Claus Guth,&nbsp;Bluthaus de Haas at the Bayerische Staatsoper in Munich and Don Carlo at the Teatro San Carlo in Naples.

Peter van Praet was the lighting director at the Flanders Opera for several years during which time he began working with Robert Carsen. He then went on to collaborate with Carsen on the revivals of Semele in London (English National Opera), Graz and Cologne, La Bohème in Mannheim and Japan, and Tosca at the Gran Teatre del Liceu in Barcelona.&nbsp;Since then, and again in collaboration with Robert Carsen, he created the lighting for Kátia Kabanová and The Cunning Little Vixen at the Flanders Opera, Jenůfa at the Saito Kinen Festival,&nbsp;Rusalka, Capriccio, Tannhäuser, Die Zauberflöte and Elektra at the Paris Opera, Der Rosenkavalier at the Salzburg Festival, La Traviata at La Fenice in Venice, Elektra at the New National Theatre in Tokyo, A Midsummer Night’s Dream at the Gran Teatre del Liceu in Barcelona,&nbsp;Candide at Milan’s La Scala, the English National Opera and Japan, Don Giovanni at Milan’s La Scala, The Cunning Little Vixen, The Makropulos Affair, From the House of the Dead and Don Carlo at the Rhine Opera, Falstaff at Milan’s La Scala and London’s Royal Opera House, Philippe Fénelon’s JJR, Citoyen de Genève at the Grand Théâtre in Geneva, The Love for Three Oranges at the Deutsche Oper in Berlin, Battistelli’s CO2 at Milan’s La Scala, Campra’s Les Fêtes vénitiennes at the Théâtre du Capitole in Toulouse, Handel’s Agrippina at the Theater an der Wien, L’Orfeo at the Lausanne Opera, Der Rosenkavalier at London’s Royal Opera House, and The Beggar’s Opera at the Théâtre des Bouffes du Nord...Peter Van Praet also created the lighting for the&nbsp;Christophe Coppens productions of&nbsp;Norma, Barbe Bleue and The Cunning Little Vixen in Brussels; the Valentina Carrasco productions of Carmen and&nbsp;I vespri siciliani in Rome, and&nbsp;Aida&nbsp;and Tosca in Macerata. He also created the set and lighting for La Favorita&nbsp;at the Donizetti Festival, in Bergamo and in Bordeaux.At the Paris Opera: lighting – Rusalka, 2002, 2005, 2015, 2019 ; Les Boréades, 2003 ; Capriccio, 2004, 2007, 2012, 2016 ; Tannhäuser, 2007, 2011 ; Elektra, 2013, 2022 ; The magic flute, 2014, 2015, 2017, 2019, 2021, 2022.

Martin Eidenberger was born in Linz, Austria and initially studied civil engineering and architecture. Then, from 2002 to 2006, he focused his attentions on multimedia arts (specialising in film and video) at the University of Applied Sciences in Salzburg. He then settled in Berlin where he still lives today.&nbsp;After graduating in 2006, he began working as an assistant set designer in Berlin, notably with Jan Pappelbaum and Katrin Brack at the Schaubühne am Lehniner Platz. In 2008 he became a freelance artist and collaborated on numerous theatre and opera productions as both a set designer and a video director.&nbsp;A progenitive partnership with the director Aureliusz Smigiel resulted in four notable productions: The Waste Land at Berlin’s Eigenreich Theatre, Eine Odyssee at the Berlin University of Arts (UdK), Krieger im Gelee at the Kasematten Theater in Luxembourg and David Foster Wallace’s Brief Interviews with Hideous Men at the municipal theatre in Bielefeld.&nbsp;At the same time, in conjunction with the scenographer Christof Hetzer he made videos for numerous operas including the David Hermann production of Il Turco in Italia at the Dutch National Opera in Amsterdam, Pierre Audi's productions of Gisela! at the Ruhrtriennale,&nbsp;Dionysos at the Salzburg Festival, and&nbsp;Gurrelieder at the Dutch National Opera in Amsterdam, the Jan Philipp Gloger production of Der Fliegende Holländer at the Bayreuth Festival, and David Hermann's production of The Makropulos Affair at the Deutsche Oper in Berlin.

Ian Burton was born in Yorkshire and graduated from the universities of Leeds and Bristol. He has worked in a variety of different genres as both a dramatist and a writer.&nbsp;His opera librettos include Battistelli’s Richard III and CO2 (which premiered respectively at the Flanders Opera in 2005 and at Milan’s La Scala in 2015; The Duchess of Malfi for the English National Opera; Pop'pea&nbsp;at the Théâtre du Châtelet in 2012; and Philippe Fénelon’s JJR in Geneva in 2012). He also writes ballet scripts (Cinderella, Northern Ballet Theatre); stage dramas (Entering the Whirlpool, 1981, Deranging Angels, 1993, Mask, 1995, Between Two Worlds,&nbsp;1996, a play on the life of Chikamatsu, in 1997, Men’s Doubles, 1998,&nbsp;The Foot of the Cross, or the Muzzle of a Gun,&nbsp;2001…); stage musicals (Eduard Alexander’s The Wedding of the Moon and Sun); and anthologies (Dorset Street, Rouflaquettes).&nbsp;For the last twenty years he has worked with Robert Carsen: Bernstein’s Candide at the Théâtre du Châtelet, Milan’s La Scala and the English National Opera; L’Incoronazione di Poppea and Rinaldo at Glyndebourne; Mitridate in Brussels, Iphigénie en Tauride and Orfeo ed Euridice in Chicago, Tannhäuser in Tokyo and at the Paris Opera, La Traviata in Venice, My Fair Lady at the Théâtre du Châtelet, Wozzeck at the Theater an der Wien, The Beggar’s Opera at the Bouffes du Nord and the Grand Théâtre in Geneva...&nbsp;Ian Burton is also a director. In 1994, Antwerp Province awarded him the prize for best production for his triptych of one-act operas by Peter Maxwell Davies (Eight Songs for a Mad King, Versalii Icons, and Miss Donnithorne’s Maggot). He has also worked with the Transparant chamber theatre (Mozart’s Zaide in 1995; Weill’s Mahagonny Songspiel and Happy End in 1996) and he staged the musical Frank’s Closet in London which earned the honour of “Critic’s Choice” in Time Out.During the 21/22 season, he signed the dramaturgy of&nbsp;Alcina at the Paris Opera, Manon Lescaut at the Vienna Staastoper, Don Carlo in Essen and Arabella at the Opernhaus in Zurich.

After studying Piano and Composition at the G.B. Martini Conservatoire in Bologna, Alessandro Di Stefano began his career as a concert pianist. Awarded a grant by the G. Verdi Conservatoire of Milan, he specialised in chamber music and operatic repertoire and took part in numerous recitals. Discovering an increasing interest in choral conducting, he continued his studies with Franco Monego at the Milan Conservatoire where he obtained first prize for conducting and choir training and took part in master classes with Aldo Ceccato and Piero Bellugi. In 2000, whilst continuing to pursue his career as a concert pianist and accompanist, he joined the Nice Opera company as vocal coach and was appointed assistant chorus master the following year. He also worked as vocal coach for Traviata at the Antibes Festival and participated in a number of operatic productions for the Chorégies d’Orange. He conducted the Nice Opera Orchestra on numerous occasions, notably during the Nice Baroque Festival. In 2004, he joined the Paris Opera as Assistant Chorus master, since when he has worked alongside a number of prestigious conductors including Philippe Jordan, Daniel Oren, Evelino Pido, Renato Palumbo, Jiří Bělohlávek, Semyon Bychkov, Gustav Kuhn, Michail Jurowski and Kent Nagano. From 2007 to 2009, he was acting Chorus master and in 2008 accompanied the Opera Chorus to Japan on a tour featuring Tristan and Isolde and Ariane et Barbe-Bleue conducted by Semyon Bychkov and Lylvain Cambreling. Alessandro Di Stafano has now participated in over 50 Paris Opera productions and numerous radio broadcasts for France Musique and Radio Classique as well as various audiovisual recordings. He is currently Assistant Chorus master at the Paris Opera.

OperaThe magic flute

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Il Trovatore

Les Contes d'Hoffmann

Così fan tutte

Don Giovanni

OperaThe magic flute

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Il Trovatore

Les Contes d'Hoffmann

Così fan tutte

Don Giovanni