Wagner Das Rheingold

Since 2019, Gianluca Capuano has been musical director of Les Musiciens du Prince-Monaco. In Milan, his hometown, he graduated in organ, composition and conducting at the Conservatory, studied early music performance at the Scuola Civica and graduated with honours in theoretical philosophy at the Università Statale. He dedicates himself to research in the field of musical aesthetics. He is artistic director of the festival “Musica negli horti” in Val d’Orcia. He has been active as conductor, organist and continuist in Europe, the United States, Russia and Japan. In 2006 he founded “Il Canto di Orfeo”, an ensemble dedicated to European Baroque masterpieces, which he conducted for, among others, the Milano Arte Musica Festival (2017) and La morte d’Abel at the Salzburg Festival. In 2016, he conducted Norma with Cecilia Bartoli at the Edinburgh Festival, in Paris and Baden Baden. Since then, many collaborations with Cecilia Bartoli and Les Musiciens du Prince: La Cenerentola in Monte Carlo, Hamburg, Amsterdam, Versailles, Luxembourg; Il turco in Italia, Giulio Cesare, A German Requiem and Their Master’s Voice in Monte Carlo; Ariodante, La donna del lago, Il barbiere di Siviglia, Il trionfo del Tempo e del Disinganno, Alcina and a series of concerts at the Salzburg Festival; La clemenza di Tito in Lucerne; La Cenerentola, Il turco in Italia and a Gala Concert in Vienna; L’italiana in Algeri in Zurich; a series of concerts in the most important squares in Europe. Other engagements, are worth mentioning: Catone in Utica, Gli uccellatori, Il matrimonio segreto, Il trionfo del Tempo e del Disinganno in Cologne; Idomeneo and Alcina at the Maggio Musicale in Florence; Pigmalione/Che originali! at the Donizetti Festival in Bergamo; Le metamorfosi di Pasquale at La Fenice in Venice; La finta giardiniera in Winterthur, Zurich and Amsterdam; Monteverdi’s Vespro della Beata Vergine in Cremona; L’elisir d’amore and the Weinachtsoratorium in Hamburg; Orfeo ed Euridice and Alceste at the Teatro dell’Opera in Rome; Guillaume Tell at the Chorégies d’Orange; Il matrimonio segreto in Amsterdam; Il barbiere di Siviglia in Palermo; Mozart’s Requiem in Bari; Orlando Paladino, La Cenerentola, Iphigénie en Tauride in Zurich; Il maestro di cappella and Il segreto di Susanna in Genoa; Ariodante and Le nozze di Figaro in Moscow; Pergolesi’s Stabat Mater in Lucerne; Il turco in Italia in Munich; L’elisir d’amore in Vienna. He also collaborates with I Pomeriggi Musicali di Milano, the orchestra of Maggio Musicale Fiorentino, the Teatro Comunale di Bologna, the Philarmonisches Orchester Kiel and Concerto Köln.

Davide Livermore has forged his outstanding 22-year career both on the main stages of Europe and at smaller theatres in his native country Italy. Outside Europe, he has worked at the Philadelphia Opera, as well as the Bunka Kaikan in Tokyo and Seoul Arts Center. Davide has a long-lasting collaboration with Milan’s Teatro alla Scala, where he inaugurated multiple seasons with productions of Attila (2018), Tosca (2019), A rivedere le stelle (2020) and Macbeth (2022). Besides his operatic engagements, he was the General Manager-Artistic Director of the Palau de les Arts Reina Sofía in Valencia from 2015 to 2017 and is currently Artistic Director of the Teatro Nazionale in Genova. He was Head of the Arte Scenica School of the Teatro Stabile in Turin and taught stage direction and stage design at the IUAV University of Venice. Between 2013 and 2017 he was also artistic director of the Centre de Perfeccionament Plácido Domingo, Palau de les Arts young artists program. The 2023/24 season included new productions of Turandot at La Scala, Don Carlo and Giulio Cesare at the Monte Carlo Opera, and revivals of Don Pasquale at La Scala, as well as Il trovatore at the Teatro Regio in Parma. Thanks to his close collaboration with D-Wok, Davide directed the film The Opera! – Arias for an Eclipse with Paolo Gep Cucco, screened for the first time in October 2024, during the 19th edition of the Rome Film Festival. A completely new operation in Italian cinema, as it combines opera, cinematographic language and the latest innovations in technology.

Gianluca Falaschi was born in Rome. He has worked in various Italian and international theatres, including Teatro alla Scala in Milan, Teatro dell’Opera in Rome, Teatro Municipal in São Paulo, Sydney Opera House, Palau de les Arts in Valencia. In his longstanding collaboration with Davide Livermore, he has designed over thirty productions, including three season openings at the Teatro alla Scala: Attila, Tosca and Macbeth. He has also designed costumes for various operas at the Rossini Opera Festival in Pesaro, winning the Abbiati Critics’ Award for Ciro in Babilonia, as Best Costume Designer, in 2013. His intensive partnership with Lydia Steier includes productions of Les Troyens at the Semperoper in Dresden, Carmen at the Cologne Opera, Perelà by Dusapin, and Armide by Gluck at the Staatstheater in Mainz, for which he was named Costume Designer of the Year in 2015 and 2017 by Opernwelt. In 2024 he made his house debut at the Zurich Opera (Die lustige Witwe) and at the Vienna Staatsoper (Così fan tutte), both directed by Barrie Kosky. In the ballet genre, he has created sets and costumes for Francesco Ventriglia’s choreography of The Wizard of Oz, premiered in Florence, and later produced by the New Zealand Royal Ballet. He also designed costumes for The Nutcracker at the Teatro dell’Opera in Rome. Since 2021, he has explored new artistic horizons, venturing into directing with Angelica by Porpora at the Festival della Valle d'Itria, co-produced by Mainz Staatstheater, and Adriana Lecouvreur in Mainz and Düsseldorf. In 2022, he directed, designed sets, and created costumes for Griselda at La Fenice in Venice, I Capuleti e i Montecchi at the Teatro Bellini in Catania, and Chiara e Serafina at the Donizetti Festival in Bergamo.

Born in Cambil-Jaén, Andalusia, Antonio Castro began his career in lighting after training in electrical engineering and working as a lighting technician with Cánovas Theater in Málaga (Spain). After graduating with honors for his degree project, which consisted of a remodeling, design and lighting equipment of a stage, he joined several theatre companies as a technician on tours and later as a lighting designer for theatre, dance, and live music. He has worked with the School of Dramatic Arts, the Conservatory of Dance of Málaga and with Escénica (Andalusian Center for Performance Studies). Since 2006 he has been working at the Palau de les Arts Reina Sofía (Valencia Opera House), currently as the resident lighting designer, where he has worked with the best lighting designers, stage directors and companies. He also works as a freelance with other theatres. His achievements include designing lighting for the “Centre de Perfeccionament Palau de les Arts”, such as Le nozze di Figaro, Dido and Aeneas, L’incoronazione di Dario, Juditha Triumphans, Silla, Cafe Kafka, Bastien und Bastienne and Il tutore burlato. He has also worked on productions in numerous theatres including La bohème, Otello, Norma, Idomeneo, Tamerlano, Un ballo in maschera, Attila, Don Giovanni, Madama Butterfly, Tosca, Die Zauberflöte, Luisa Fernanda, Rigoletto, Idalma, La traviata, Giovanna d’Arco, Macbeth, La Gioconda, Aida, Les Contes d’Hoffmann and La forza del destino that was honoured with a 2014 Campoamor Award in the category of Best Opera Production in Spain. For the Opéra de Monte-Carlo he was the lighting designer for The Telephone and Amelia al ballo in the 2013/14 season, and Caruso in Monaco, Don Carlo and Giulio Cesare in the 2023/24 season.

We are D-Wok, an entertainment design company that develops creativity, performance, innovative formats for shows and events, and video design systems. For more than ten years our creative director Paolo Gep Cucco has worked with Davide Livermore, contributing to profound changes in the aesthetics of opera, producing four world premières of La Scala (Milan), and dozens of productions in the world’s most important theatres, from the Bolshoi Theatre (Moscow) to the Sydney Opera House, the Royal Opera House Muscat and the Monte Carlo Opera (Giulio Cesare in January 2024). Our fields of activity range from big events to shows, opera, concerts, museum tour, tv, where performance, technology and surfaces used become sensitive storytelling elements. We are a content production agency that develops multi-experiential systems with an emotional approach, devising innovative tailor-made communication strategies.  We love to innovate: we have developed video design systems for shows and events including the digital sets for the entire Arena di Verona 2021 season, and produced technologies for the entertainment. Our custom-made AR system built on the Unreal engine is today the only software with cinematic quality in Italy, so much so that it was used by RAI for the world premiere of La Scala’s A riveder le stelle (season-opening in December 2020).

A scenographer and costume designer, she graduated from NABA (Milan) and began her career alongside Margherita Palli, participating in the design of opera and prose shows and the realisation of important exhibitions. She has also collaborated on numerous opera productions designed by Giò Forma and directed by Davide Livermore. Since 2019, she has been designing costumes for Angelin Preljocaj's créations, such as Winterreise at La Scala, Birthday Party at the Chaillot in Paris (candidate for the 2023 Fedora Prize), Torpeur at the Montpellier Festival and Requiem(s) at the Théâtre de la Vilette in Paris. In 2024, at the Alberta Ballet Canada, she designed the costumes for Grimm by Stefania Ballone. She then co-signed with Davide Livermore the sets for La lupa-Il berretto a sonagli (2024) at the Teatro Massimo Bellini in Catania and, with Livermore and Paolo Gep Cucco, the sets for Turandot (2024) at La Scala (best musical event and third cultural event of the year for the Beaworld Festival) and Khan Sultan (2024) at the Abay Opera House in Almaty (Opera Performance of the Year for the Union of Theater Critics of Kazakhstan). She also designed the sets for The Headlands - I luoghi della mente at the Biondo in Palermo, directed by Lulu Helbæk and Simone Ferrari. She was a finalist in the LNOBT Vilnius Competition (2022) and the European Opera Directing Prize (2023) and winner of the OperaLombardia competition for La bohème and the Klaipeda Theatre Opera for The Voyage. She has been working for many years with prestigious international opera companies and follows pioneering projects that innovate the languages of music, choreography and fashion, creating the stage sets for Tedua's rap tour and collaborating with Blearred Lighting Design Studio and the Outfit company. She has also participated in the drafting of the manual Dizionario Teatrale and teaches the Scenography course at NABA.

British baritone Christopher Purves is renowned for his commanding stage presence and impeccable musicianship, captivating audiences worldwide throughout his illustrious career. Through his celebrated interpretations of a diverse and eclectic range of roles and repertoire, Purves is in great demand with many prestigious theatres around the world, working with orchestras, conductors and directors of the highest calibre. Highlights of Purves’ 2024/25 season include his role debut as Wotan in Das Rheingold at Monte Carlo Opera, the title role in Sweeney Todd at the Komische Oper Berlin, the title role in Falstaff with Hamburg State Opera and the title role in Saul at Glyndebourne. Last season’s highlights include Alberich in Das Rheingold in the new Ring cycle directed by Barrie Kosky at the Royal Opera House, Covent Garden and for Zurich Opera House, the Forester in The Cunning Little Vixen in Toronto, and the title role in Saul in Copenhagen. In the past seasons he performed Peter Grimes at the Bayerische Staatsoper, Munich, the Teatro alla Scala, Milan, and the Teatro Real, Madrid; Alberich in the Ring cycle in Zurich, Houston, Munich, and Toronto, Nick Shadow in The Rake’s Progress in Buenos Aires; and roles including the title role in Falstaff, Golaud in Pelléas et Mélisande, the title role in Gianni Schicchi, Sharpless in Madama Butterfly and the title role in Don Giovanni for houses including Glyndebourne Festival, English National Opera, Opéra National de Lyon, Festival d’Aix-en-Provence, Opera North, Salzburger Festspiele and Chicago Lyric Opera. Christopher Purves started his musical life as a choral scholar at King’s College, Cambridge, and went on to become a member of experimental rock group Harvey and the Wallbangers.

With his strong baritone voice, exuberant stage presence, and charismatic personality, Turkish baritone Kartal Karagedik captivates audiences both on the opera stage and in concerts. He has achieved success in over 40 leading roles throughout Europe. Known for his artistic versatility, he has garnered acclaim in a wide range of roles, including Conte Almaviva (Le nozze di Figaro), Enrico (Lucia di Lammermoor), Renato (Un ballo in maschera), Lescaut (Manon Lescaut), Marcello (La bohème), Dandini (La Cenerentola), Chorèbe (Les Troyens), and the title role in Eugene Onegin. In the 2023/24 season, he portrayed Zurga in Les Pêcheurs de perles at Opera Vlaanderen, as well as Enrico at Hamburg State Opera, where he also reprised one of his signature roles: Marquis de Posa in Don Carlos (five-act French version). Additionally, he took on the role of Frère Léon in Messiaen’s Saint François d’Assise at the Elbphilharmonie Hamburg and the Grand Théâtre in Geneva. His concert schedule for this season included a special Schubert recital with Helmut Deutsch on the piano in Antwerp and Istanbul, which provided the basis for a CD recording in May 2024. On the concert stage, he performed Mahler’s Eighth Symphony with Eliahu Inbal at the Elbphilharmonie, the Kindertotenlieder at the Mahler Festwochen in Toblach with Munich Symphony Orchestra, Beethoven’s Ninth Symphony at the Brucknerhaus Linz, and most recently Bach’s Weinachtsoratorium at MonteCarlo Opera. Since the 2015/16 season, Kartal Karagedik has been a resident artist at the Hamburg State Opera. In addition to his singing career, he is also a celebrated and award-winning photographer.

Born in Bosnia and raised in Switzerland, Omer Kobiljak returns to the ensemble of Opernhaus Zürich for the 2024/25 season. His roles there include Gabriele in Simon Boccanegra, Narraboth in Salome, Steuermann in Der fliegende Holländer, Tybalt in Roméo et Juliette and Vicomte Cascade in Die lustige Witwe. Since arriving at the Opernhaus Zürich during the 2019/20 season, Omer Kobiljak has sung a variety of roles, including Alfredo in La traviata, Macduff in Macbeth, Ismaele in Nabucco, Spitzel in Andrea Chénier, Tebaldo in I vespri siciliani, Tebaldo in I Capuleti e i Montecchi , Ruiz in Il trovatore, Froh in Das Rheingold, Cassio in Otello, and Abdallo in Nabucco under conductuctors like Gianandrea Noseda, Daniele Rustioni, Fabio Luisi, Fabio Biondi, and Nicola Luisotti. Elsewhere, he has sung Alexis in Siberia, Yamadori in Madama Butterfly and Don Riccardo in Ernani for the Bregenzer Festspiele, the title role in Der Graf von Luxemburg for the Erl Festival, and an Apprentice in Die Meistersinger von Nürnberg in his 2017 Teatro alla Scala debut (Milan). In November 2023, Omer. Kobiljak was a finalist in the Operalia Competition in Cape Town. He was trained by David Thorner, first at the Konservatorium Winterthur, where he studied from 2008 to 2013, and subsequently at the Kalaidos Fachhochschule in Aarau, Switzerland. Since 2010, he has also attended masterclasses given by Jane Thorner-Mengedoht, David Thorner, and Jens Fuhr. In 2012, he received First Prize with distinction at the Thurgau Music Competition.

Born in Austria, the character tenor Wolfgang Ablinger-Sperrhacke studied at the Musikhochschule in Vienna with Gerhard Kahry and Kurt Equiluz. He made his debut at the Opéra National de Paris in 1997 and was subsequently reinvited there to portray Goro (Madama Butterfly), Monostatos (Die Zauberflöte), Capito (Mathis der Maler), Block/the Bailiff at the world premiere of Philippe Manoury’s K…, Mime (Der Ring des Nibelungen) and the Tattered Peasant (Lady Macbeth of Mtsensk). At the Glyndebourne Festival he participated in more than 130 performances including The Bartered Bride, Peter Grimes, Die Zauberflöte, L’incoronazione di Poppea and Hänsel und Gretel – the last two also semi-staged at the Royal Albert Hall during the BBC Proms. Further important engagements include Valzacchi in Der Rosenkavalier (Monnaie de Bruxelles, Baden-Baden Festival, Metropolitan Opera in New York, Royal Opera House in London, Bayerische Staatsoper in Munich), Monostatos (Nederlandse Opera in Amsterdam), Caio in Falstaff (Festival d’Aix-en-Provence, Théâtre des Champs-Élysées in Paris, Teatro Real in Madrid), Mime in Rheingold (Dresden, Milan, Berlin, Vienna, Munich, Montreal, Amsterdam, Tokyo), Mime in Siegfried (Toulouse, Madrid, Venise, Munich, Stuttgart, Amsterdam, Toronto, Vienna, Odense), Pedrillo in Die Entführung aus dem Serail (La Coruña, Madrid, Naples), Loge in Das Rheingold (Opéra national du Rhin, Lucerne Festival, Opera North), Hauptmann in Wozzeck (Milan, Munich, Zurich, Toulouse), Pirzel in Die Soldaten (Salzburg Festival, La Scala in Milan)… Recently he performed Mime (Ring) and Herod (Elektra) in Zurich, and Herod at La Scala.

David Soar was born in Nottinghamshire, England, and studied singing and organ at the Royal Academy of Music in London. Recent seasons engagements include Capulet in Roméo et Juliette, Fasolt in Das Rheingold and Judge Turpin in Sweeney Todd at Opernhaus Zürich, Colline in La bohème, Lodovico in Otello, Sprecher in Die Zauberflöte, and Mr Flint in Billy Budd for the Royal Opera House in London; Colline at New York’s Metropolitan Opera; Mr. Flint for the Glyndebourne Festival Opera, and Madrid’s Teatro Real; Animal Trainer/Athlete in Lulu and Hobson in Peter Grimes for English National Opera (London); Sir Walter Raleigh in Gloriana for Teatro Real and English National Opera; Escamillo in Carmen for Glyndebourne and Welsh National Opera; Figaro in Le nozze di Figaro, Leporello in Don Giovanni, Sparafucile in Rigoletto, and the Doctor in Wozzeck for Welsh National Opera. Equally in demand on the concert platform, David’s engagements have included Beethoven’s Christus am Ölberge with both the London Symphony Orchestra and Berlin Philharmonic Orchestra led by Sir Simon Rattle; Harapha in Handel’s Samson at the Edinburgh Festival; Mendelssohn’s Elijah with the Royal Flemish Philharmonic and Orquesta y Coro Nacionales de España; Walton’s Belshazzar’s Feast with the BBC Philharmonic Orchestra; Bauer in Schoenberg’s Gurre-Lieder with The Philharmonia; Stravinsky’s Les Noces, conducted by Esa-Pekka Salonen, both with the San Francisco Symphony and Orchestre de Paris.

Wilhelm Schwinghammer is one of the finest basses of the younger generation. His large repertoire ranges from roles of the Baroque repertoire to contemporary music and covers important bass repertoire, such as Figaro (Le nozze di Figaro), Leporello (Don Giovanni), Sarastro (Die Zauberflöte), Osmin (Die Entführung aus dem Serail), König Heinrich (Lohengrin), König Marke (Tristan und Isolde), Landgraf Hermann (Tannhäuser), Daland (Der fliegende Holländer), Fasolt (Das Rheingold), Rocco (Fidelio), Sparafucile (Rigoletto), Orest (Elektra) and Baron von Ochs auf Lerchenau (Der Rosenkavalier). He is guest in opera houses and festivals such as Bavarian State Opera (Munich), Berlin State Opera, Hamburg State Opera, Bayreuth and Salzburg Festivals, Theater an der Wien (Vienna), Opéra national de Paris, Teatro del Maggio Musicale Fiorentino (Florence), Teatro alla Scala (Milan), Lyric Opera (Chicago), Zurich Opera, Canadian Opera Company (Toronto), Washington National Opera, Los Angeles Opera, Royal Swedish Opera and many more. In the current season Wilhelm Schwinghammer made his house debuts as Fafner in Romeo Castellucci’s new Ring at La Monnaie in Brussels, his house debut as Ochs at Grand Théâtre de Genève and his acclaimed Japan debut as König Marke at the New National Theatre in Tokyo. Wilhelm Schwinghammer also has established his reputation as a concert singer, working with renowned orchestras such as the Berlin Philharmonic Orchestra, the Boston Symphony Orchestra, the Bamberg Symphony, Gewandhausorchester Leipzig, the NDR Elbphilharmonie Orchestra, Concerto Köln. He works conductors such as Daniel Barenboim, Zubin Mehta, Kirill Petrenko, Andris Nelsons, Sir Simon Rattle, Marek Janowski, Sebastian Weigle, Philippe Herreweghe and many others.

A broad range of repertoire on leading international stages distinguishes Hungarian Péter Kálmán as one of the most dynamic bass-baritones today. Highly regarded for his engaging character portrayals in the Italian “Buffo” tradition, he is no less accomplished in the dramatic roles of Bartók, Strauss and Wagner. Highlights of the recent seasons include Le nozze di Figaro at Salzburg Festival and Glyndebourne Festival, La Cenerentola in Seattle, Bergen and Dresden, L’italiana in Algeri and Semele at Salzburg Withsun Festival, Der Ring des Nibelungen at Müpa (Budapest), Il barbiere di Siviglia and La Cenerentola at Théâtre des Champs-Élysées (Paris), Fierrabras at Salzburg Festival, Norma in Paris, Baden-Baden and Monte Carlo and Giulio Cesare at Vienna State Opera and Monte Carlo Opera both with Cecilia Bertoli, Cavalleria rusticana at Monte Carlo Opera. Last season the artist bowed in Handel’s Alcina at Opéra de Monte-Carlo and in a European tour production of La clemenza di Tito with Les Musiciens du Prince-Monaco and Cecilia Bartoli under the baton of Gianluca Capuano. At the Hungarian State Opera (Budapest), he has portrayed Alberich (Der Ring des Nibelungen), Klingsor (Parsifal), Scarpia (Tosca), the four villains (Les Contes d’Hoffmann), Don Alfonso (Così fan tutte), Nick Shadow (The Rake’s Progress), Dulcamara (L’elisir d’amore), Faninal (Der Rosenkavalier), Beckmesser (Die Meistersinger von Nürnberg) and the title roles of Don Pasquale and Gianni Schicchi. In the 2024/25 season, he sings the title role of Falstaff and Méphistophélès (Faust) at the Hungarian State Opera, and makes his debut at the Royal Opera House in London as Bartolo in Le nozze di Figaro, and at the Metropolitan Opera in New York as Bartolo in Il barbiere di Siviglia.

German tenor Michael Laurenz began his musical career as a trumpeter. While training he performed in the Gustav Mahler Jugendorchester, going on to become first trumpet with the Berlin Symphony Orchestra. From 2006 he concentrated on singing. After being a member of the Opernstudio and the ensemble of the Zurich Opera he joined the ensemble of the Vienna State Opera for two seasons. Since 2020 he is a freelance artist and engagements lead him to the State Operas of Berlin, Hamburg, Munich, Vienna, to Opéra National de Paris, La Scala in Milan, Deutsche Oper in Berlin, the Glyndebourne and Bregenz Festivals as well as to the opera houses in Amsterdam, Basel, Geneva, Lyon and Antwerp. At the Salzburg Festival he portrayed Aegisth in Elektra and an acclaimed Josef K in Gottfried von Einem´s Der Prozess. He still has a close relationship with the Vienna State Opera where he last sang Pedrillo (Die Entführung aus dem Serail), Števa (Jenůfa), and David (Die Meistersinger von Nürnberg). Recent highlights include three role debuts: the Fool (Der Schatzgräber by Franz Schreker) at the Deutsche Oper in Berlin, as Baron Lummer (Intermezzo) at the Theater Basel, and as Loge (Das Rheingold) at the Theater Basel and at the Vienna State Opera. Following his return to the Salzburg Festival as Spalanzani (Les Contes d’Hoffmann), Michael Laurenz’s appearances in the 2024/25 season will include Mime in Das Rheingold and Siegfried with the Dallas Symphony Orchestra under Fabio Luisi, Bernardo Novagerio (Palestrina), Matteo (Arabella) and Mime (Das Rheingold and Siegfried) at the Vienna State Opera, and Count Villalobos in Johann Strauss’s Das Spitzentuch der Königin at the Theater an der Wien (Vienna).

La mezzo-soprano turco-allemande Deniz Uzun est diplômée de la Jacobs School of Music de Bloomington (Indiana University) et a remporté le prix Elizabeth-Connel 2022 et le prix Éva-Marton 2021. Elle a été membre du Programme jeunes artistes de la Staatsoper de Bavière (Munich), ainsi que des ensembles de l’Opéra de Zurich et de la Komische Oper de Berlin. Elle a travaillé avec des chefs d’orchestre tels que Simone Young, Kirill Petrenko, Vladimir Jurowski, Jakub Hrusa, Vasily Petrenko et Gianandrea Noseda. Elle a fait ses débuts avec l’Orchestre du Gewandhaus de Leipzig dans le Requiem de Verdi sous la direction de Franz Welser-Möst, avec l’Orchestre symphonique de la Radio de Berlin dans les Trois Chants sacrés de Mendelssohn sous la direction de Sir Andrew Davis, avec l’Orchestre symphonique de la MÁV (Budapest) dans les Sea Pictures d’Elgar, et en Orlofsky dans La Chauve-Souris au Teatro Carlo Felice de Gênes sous la direction de Fabio Luisi. Les saisons précédentes ont été marquées par ses débuts au Müpa de Budapest en Waltraute dans Le Crépuscule des dieux, des rôles-titres tels que Didon dans Didon et Énée au Teatro Massimo de Palerme, Carmen au Landestheater de Salzbourg, Hänsel dans Hänsel et Gretel ainsi que l’Enfant dans L’Enfant et les Sortilèges à l’Opéra de Zurich. Les temps forts de la saison 2024/2025 de Deniz comprennent un retour à l’Orchestre symphonique de Dallas dans les rôles de Fricka et Waltraute dans le Ring ; La Flûte enchantée au Konzerthaus de Berlin ; La Dame de pique au Teatro Regio de Turin ; Dialogues des carmélites à la Fenice de Venise ; La traviata et Rigoletto aux Tiroler Festspiele d’Erl ; et le Requiem de Verdi avec l’Orchestre symphonique de Milan.

French Soprano Mélissa Petit was born in Saint-Raphaël and studied singing both in her hometown and in Nice before joining the International Opera Studio of the Hamburg State Opera. After three years there and a further two as a freelance singer, she joined the Zurich Opera in 2015. Her roles with the company have included Sophie (Werther), Marzelline (Fidelio), Ännchen (Der Freischütz) and Créuse in Charpentier’s Médée. Mélissa Petit resumed her freelance career in 2017 and has enjoyed great success in a series of leading roles that have included Micaëla (Carmen) and Gilda (Rigoletto) at the Bregenz Festival and Juliette (Roméo et Juliette) both in Beijing and in Düsseldorf. She has also made guest appearances at the Paris Opera as Giannetta (L’elisir d’amore) and Papagena (Die Zauberflöte). The third prize in the 2019 Paris Opera Competition opened the doors to other French opera houses. In March 2021, for example, she sang Anna in a concert performance of Boieldieu’s La Dame blanche in Limoges. Mélissa Petit made her debut at the 2021 Salzburg Whitsun Festival as Bellezza (Il trionfo del Tempo e del Disinganno) and as Servilia in a concert performance of La clemenza di Tito. In summer 2023 she returned to the Salzburg Festival as Euridice in Orfeo ed Euridice by Gluck. Her most recent successes include her debut in the title role of The Cunning Little Vixen, her debut at the Staatsoper Berlin as Ilia in Idomeneo, a tour with Cecilia Bartoli across Europe’s most prestigious concert halls as Servilia and her debut as Sophie in Der Rosenkavalier at the Grand Théâtre in Geneva.

Ekaterina Semenchuk is one of the most sought-after mezzo-sopranos of today, praised for her exceptional vocal range and unparalleled technique. Born in Minsk, Belarus, she made her debut on the stage of the Mariinsky Theatre while studying at the Rimsky-Korsakov Conservatory in Saint Petersburg. Ekaterina’s signature roles include Azucena (Il trovatore), Eboli (Don Carlo), Amneris (Aida), Lady Macbeth (Macbeth), Princess of Bouillon (Adriana Lecouvreur), Didon (Les Troyens), Santuzza (Cavalleria rusticana), Marina (Boris Godunov), Laura (La Gioconda), Lyubov (Mazeppa), Marfa (Khovanshchina), Dalila (Samson et Dalila), Giovanna Seymour (Anna Bolena), Preziosilla (La forza del destino), and the title role of Carmen. She has performed at the Metropolitan Opera in New York, Opéra national de Paris, Teatro Real in Madrid, Royal Opera House in London, Salzburg Festival, New National Theatre Tokyo, San Francisco Opera, Staatsoper Unter den Linden in Berlin, Baden-Baden Festival, and Teatro alla Scala in Milan. Recently, she sang Il trovatore in San Francisco, Tel Aviv and Valencia, Don Carlo and Cavalleria rusticana at La Scala, Turandot in Barcelona, Nabucco in Las Palmas and Berlin, Aida and Turandot at the Arena di Verona, Adriana Lecouvreur at the Opéra national de Paris, Macbeth in Vienna, Verdi’s Requiem in Vienna, Sofia, Geneva and at Monte Carlo Opera, Schoenberg’s Gurre-Lieder at the Concertgebouw Amsterdam with Riccardo Chailly. In the next months she will sing La forza del destino at Opéra national de Lyon, and Aida at the Arena di Verona and the Royal Opera House.

American mezzo-soprano Kayleigh Decker has a must-hear voice. A superb song interpreter, she was recently named one of Caramoor’s Schwab Vocal Rising Stars, and gave a highly acclaimed performance for the Citywide recital series at Carnegie Hall (New York). Decker’s operatic triumphs include recent debuts with Welsh National Opera, Lyric Opera of Chicago, Dallas Opera, and Cincinnati Opera in leading roles of operas by Rossini, Mozart and Handel. She has also been featured on the concert stage as a soloist with San Francisco Symphony, Les Violons du Roi, the Orchestra of the Age of Enlightenment, and Orchestre de Paris. In 2024/25, Decker returns to Lyric Opera Chicago in her professional debut as Cherubino in Le nozze di Figaro, makes her house and role debut at the Monte Carlo Opera and covers Cherubino in her house debut at the Metropolitan Opera in New York. On the concert platform, she returns to Chicago for performances of Handel’s Messiah and Mahler’s Eighth Symphony with the Grant Park Music Festival. ​In 2019, Kayleigh was the recipient of three prestigious scholarships: the Luminarts Fellowship, first place in the Musicians Club of Women Scholarship Competition, and a Sara Tucker Study Grant from the Richard Tucker Foundation. She was a young artist at the Glimmerglass Festival, Opera Theatre of Saint Louis, and the Utah Festival Opera. Other training programs include the Houston Grand Opera Young Artists Vocal Academy, and Oberlin in Italy. She also participated in the first of Joyce DiDonato’s Masterclass Series at Carnegie Hall, streamed live on medici.tv. 

Born in Kiev, Alexandra Kadurina studied at the conservatory of her home city and completed her studies at the opera studio of the Bolshoi Theatre in Moscow. She had great success at the Bolshoi Theatre as Dorabella in Così fan tutte – a role she repeated in Geneva – as well as Lel in the highly acclaimed new production of Rimsky-Korsakov’s The Snow Maiden, Cherubino in Le nozze di Figaro, Octavian in Der Rosenkavalier and Feodor in Boris Godunov. At the Komische Oper Berlin and the Zurich Opera she was guest as Muse/Nicklausse in Les Contes d’Hoffmann, a role she also sang in Karlsruhe. At the Opéra national de Paris and the Teatro Real in Madrid she was heard in Philippe Fénelon’s La Cerisaie. In the seasons 2017/18 to 2021/22 she was a member of the ensemble of the Badisches Staatstheater Karlsruhe, where she portrayed Sesto in La clemenza di Tito, Smeton in Anna Bolena, Stéphano in Roméo et Juliette, Ino in Semele, Flora Bervoix in La traviata, Wellgunde in Das Rheingold, Grimgerde in Die Walküre, Carlotta in Die schweigsame Frau, Ramiro in La finta giardiniera, Rosina in Il barbiere di Siviglia, Ciesca in Gianni Schicchi, Hänsel in Hänsel und Gretel and Mussorgsky’s song cycle The Nursery. In addition to her commitments in Karlsruhe, in the 2021/22 season she made her debut at the Aalto-Musiktheater Essen as Ramiro and at the Theater Erfurt as Muse. In the 2022/23 season, her roles included Siébel (Faust) at Zurich Opera, Ramiro again in Karlsruhe, and Flora Bervoix at the Glatt Castle Opera Festival.