ORPHEUS

BIOGRAFIER | bIOGRAPHIES

Francesco Corti | Conductor

Harpsichordist and conductor Francesco Corti was born in Arezzo, Italy, in a musical family in 1984. He studied organ in Perugia, then harpsichord in Geneva and in Amsterdam.

He was awarded at the International "Johann Sebastian Bach" Competition in Leipzig (2006) and at the Bruges Harpsichord Competition (2007).

As a soloist and conductor, he has appeared in recitals and concerts all over Europe, in the USA and Canada, in Latin America, in Asia and in New Zealand. He has performed in halls such as Thêatre des Champs Elysées (Paris), Bozar (Bruxelles), Konzerthaus (Vienna), Philharmonie (Berlin and Hamburg), Mozarteum and Haus für Mozart (Salzburg) and Concertgebouw (Amsterdam), Teatro Real (Madrid), Palau de la Música Catalana (Barecelona), Tonhalle (Zürich), Müpa (Budapest).

Since 2018 he is principal guest conductor of il Pomo d’Oro. Among other projects with this ensemble, he has conducted European tours of Händel’s Orlando, Radamisto, Tolomeo and Berenice. His collaboration with Pomo d’Oro include numerous recordings. He is invited to lead Freiburger Barockorchester, Akademie für alte Musik Berlin, Les Musiciens du Louvre, Tafelmusik, Kammerorchester Basel, B’Rock and the Nederlandse Bachvereniging. Starting January 2023, he is Musical Director at the Drottningholm Royal Court Theater.

The past season has included Lully`s Armide at Drottningholm, Händel’s Alcina and Jeptha with Il Pomo d’oro, Terradellas’s Merope with Akamus and Cimarosa’s Il Matrimonio Segreto at Teatro San Carlo in Naples. 2025/2026 includes Telemann`s Orpheus in Drottningholm, Don Giovanni in Gent and Antwerp, Le Nozze di Figaro in Amsterdam, Telemann`s Otto in Magdeburg and Händel`s Giulio Cesare on tour with Pomo d`Oro.

His solo recordings have been awarded some of the most prestigious prizes worldwide (Diapason d’or de l’Année, the Preis der Deutschen Schallplattenkritik, Grammophon’s Editor’s Choice, Choc de Classica…). His latest solo recording (Arcana) is dedicated to D. Scarlatti.

His very last release (January 2025, Arcana) is a CD published with Il Pomo d’Oro, titled “The Age of Extremes” with musics by Benda and Bach.

He has taught in masterclasses all over the world. Since September 2016, he is professor of harpsichord at the Schola Cantorum Basiliensis.

Elena Barbalich | Director

Elena Barbalich was born in Venice where she graduated with distinction from Ca’ Foscari University with a thesis on the performance history of Verdi’s Aida at Teatro La Scala, Milan. While a student, she also took a course in acting at the Teatro all’Avogaria in Venice and furthered her musical training with the private study of piano and choral singing.

She began working in the opera theatre as assistant director to Giorgio Marini and Italo Nunziata in major Italian theatres such as La Fenice in Venice, the Verona Arena, Teatro Regio of Turin, Teatro Carlo Fenice of Genoa, Teatro Comunale of Bologna, Teatro San Carlo of Naples and Teatro Massimo of Palermo. In 1998, she made her directorial debut with La Serva Padrona by Giovanni Battista Pergolesi, performed at the Castello Sforzesco in Milan with Tiziana Fabbricini in the lead role and the Verdi Orchestra conducted by Manlio Benzi.

She has directed numerous works from the contemporary repertoire such as Phonophie by Mauricio Kagel (Italian Premiere), collaborating also with the libretto for the recorded edition, and Die Rätsel von Mozart by Mauro Cardi, Matteo D’Amico, Olga Neuwirth, Fabio Nieder and Betty Olivero (world premiere), staged in February 1999 at the Teatro delle Fondamenta Nuove in Venice for the Malipiero Foundation in association with the Teatro La Fenice.

In September 2001, again for the Teatro la Fenice, she staged Per Voce Preparata, a performance of music by Aperghis, Cage, Casale, Doati, Kagel, Pachini, and Schnebel, which inaugurated the reopening of the Teatro Malibran in Venice. In Paris, at the Auditorium de la Cité des Arts in January 2000, she directed Recitations by Aperghis and curated the revival of Phonophonie by Kagel. She also staged Kagel’s Il Tribuno at the Barga Opera Festival, with repeat performances at the Tourcoing Festival organized by Jean Claude Malgoire, on the occasion of which she also staged the revival of Die Rätsel von Mozart.

In 2005, for the Teatro San Carlo of Naples, she directed the world premiere of Marcello Panni's opera Garibaldi en Sicile with the participation of Luigi Ontani.

In 2000 she was awarded a "Stipendium" as Stage Director by the Richard Wagner Stipendienstiftung.

Barbalich has created numerous stage productions from the classical repertoire, collaborating almost exclusively with the costume designer Tommaso Lagattolla, professor at the Academy of Fine Arts in Bari. In 2003 she directed La Cavalleria rusticana by Pietro Mascagni and Pagliacci by Ruggero Leoncavallo at the Teatro Verdi in Salerno and at the Teatro Politeama in Catanzaro (December 2003). For the same theatres, the following year, her production of Tosca opened the season at the Politeama in Catanzaro. In 2006, she inaugurated the Salerno opera season with Verdi's Macbeth, a staging which was purchased by the Teatro São Carlos in Lisbon and revived in that theatre in 2007 and 2015. In September 2008 she restaged her Macbeth in La Coruña, in 2010 at the Teatro Calderón in Valladolid and in 2016 at the Teatre Principal in Palma di Majorca. In May 2007, she curated the re-edition of Tosca for the Petruzzelli Foundation in Bari under the direction of Daniel Oren, which was revived in 2009 for the same theatre with Renato Palumbo directing. In November 2007, at the Teatro Verdi in Sassari, she directed Poulenc's Les Mamelles de Tirésias and the first ever stage version of Debussy's La Damoiselle élue. In September 2010, for the Tito Schipa Conservatory of Lecce, she staged Giovanni Paisiello's Il Matrimonio inaspettato and, in October 2010, at the Petruzzelli Theatre in Bari, Verdi's La Traviata. In 2011 she directed the opera Il Cappello di paglia di Firenze by Nino Rota for an extended tour that included the Teatro Sociale of Como, Teatro Ponchielli of Cremona, Teatro Opera Giocosa of Savona, Teatro Grande of Brescia, Teatro Fraschini of Pavia and Teatro Sociale of Rovigo, revived at the Petruzzelli Theatre in 2014 and in 2018 at the San Carlo Theatre in Naples. In October 2012, she again staged her production of Tosca, inaugurating the opera seasons of the Theatres of Brescia, Pavia and Cremona. In 2015, she created a new staging of Mozart's The Marriage of Figaro at the Teatro Regio in Turin, broadcast on Rai5, as well as in 40 French cinemas, with a repeat staging in 2018 for the same foundation. Also in 2015, she directed Vivaldi's Juditha Triumphans at the Teatro La Fenice in Venice, which was broadcast on France2 television network. In 2017, she directed a production of Verdi's Rigoletto in Pavia which subsequently toured to Como, Brescia, Cremona, and Bergamo, with repeat performances, in September 2018, at the Opéra de Toulon. In February 2019 she staged a production of Mozart's Il Sogno di Scipione for the Teatro La Fenice in collaboration with students from the Academy of Fine Arts in Venice, and in October of the same year her production of Macbeth was reprised for the seventh time at the Fraschini Theatre in Pavia and in the theatres of the Circuito Lombardo with conductor Gianluigi Gelmetti.

In October 2022, she staged Bellini's Norma for the Circuito Lombardo, opening the opera season at the theatres of Brescia, Cremona and Pisa. In August 2023 she reprised Juditha Triumphans at the Innsbrucker Festwochen der Alten Musik. She is currently working on a staging of Orpheus by Georg Philipp Telemann in Stockholm at the Drottningholm Slottsteater.

Barbalich was the librettist of the flash operas written by the Venetian composer Paolo Furlani, Otòno Shiräbe and Singin' in the brain, from which a suite was extracted and performed on 28 September 2009 at the Venice Music Biennale.

Since 2012 she has been a professor at the Academy of Fine Arts in Venice where she teaches Theatre Directing.

Anna Kjellsdotter | Costumes

Anna Kjellsdotter serves as Head of the Atelier and Exhibitions at Drottningholm Court Theatre. She has spent several years as a cutter at the Royal Swedish Opera and subsequently held the position of Costume Director for the Hong Kong Ballet.

Her interest in theatrical costume emerged early, and her expertise in historical dress has evolved through academic research and practical studies. Kjellsdotter contributed to the exhibition The Theatre King at the Royal Armoury (2023) and curated Tailored Stories at Drottningholm Palace Theatre (2022). She has also authored articles on historical costume studies. In 2024, she was awarded the Carl Åkerman Scholarship for distinguished artists within Swedish theatre.

Selected Costume Design Engagements

Dido and Aeneas (2013) and Myriads of Worlds (2017), Royal Swedish Opera
Proserpin (2022) and Dardanus (2023), Confidencen
Tintomara (2022) and Macbeth (2023), Läckö Castle
Sanctuary Night (2022), Nationaltheatret, Oslo
The Fairy Queen (2023), Drottningholm Palace Theatre
Octavia (2025), Boston Early Music Festival

Florie Valiquette | Orasia

"Soprano imaginative and committed with ravishing treble" - La Libre Belgique, Florie Valiquette is a young Canadian opera singer on the rise.

In 2024-2025, Florie will take the stage at the Lille Opera in Polifemo by Porpora (Nerea) under the direction of Emmanuelle Haïm and at the Massy opera for her debut in Ophélie (Hamlet by Ambroise Thomas) under Hervé Niquet. At the Royal Opera of Versailles, she will reprise the role of Pamina in the French version of The Magic Flute and will be Micäela in Carmen directed by Romain Gilbert. In spring 2025, she will perform The Fire, the Princess and the Nightingale in L’Enfant et les Sortilèges directed by Kazuki Yamada at the Monte-Carlo Opera and will make her debut as Queen of the Night (Die Zauberflöte) at Rennes, Nantes and Angers opera in a new production staged by Mathieu Bauer and conducted by Nicolas Ellis.In the summer of 2025, Florie will make her debut at the prestigious Drottningholm Festival in Sweden in the role of Orasia (Telemann's Orpheus) under the baton of Francesco Corti. In concert, she will perform with the Concert de la Loge during the 10th anniversary Gala at the Théâtre des Champs-Élysées, with the Geneva Chamber Orchestra for a concert version of Werther (Sophie) alongside Pene Pati and Adèle Charvet, at the Metz’s Cité Musicale in Carmina Burana and in recital with Stéphane Fuget and Les Épopées at the Festival de l'Orne.

She opens the season 2023-2024 taking part in two new productions at the Opéra royal de Versailles: Giulietta & Romeo (Matilde) amongst Franco Fagioli and Adèle Charvet, Gilles Rico staging and Stefan Plewniak conducting, followed by Don Giovanni (Donna Anna) under Maestro Gaétan Jarry and a mise en scène by Marshall Pynkoski. She reprises the role of Gabrielle (La Vie Parisienne) at the Opéra de Montpellier and sings Gloire, Sidonie & Lucinde in Lully’s Armide at the Opéra comique de Paris under Maestro Christophe Rousset. During spring 2024, Florie returns at the Opéra royal de Versailles for her debut as Konstanze in a french version of Mozart’s Abduction of the Seraglio with Michel Fau and Maestro Gaétan Jarry. On the concert scene, Florie sings with orchestras such as the Paris Mozart Orchestra for the C Minor Mass, with le Concert de la Loge the role of Konstanze (Die Entführung aux dem Serail) at the Théâtre des Champs-Élysées, with Les Violons du Roy (Fauré’s La Bonne Chanson), Ensemble Arion (Mozart’s Requiem), the Orchestre National du Capitole de Toulouse (Franck’s 7 dernières paroles du Christ), Les Épopées and Stéphane Fuget at the Beaune Festival for a Handel recital, at the Festival Rocamadour for Couperin’s Leçons des Ténèbres, and a duo recital with mezzo-soprano Éléonore Pancrazi and pianist François Dumont at the Namur musical Festival in memory of beloved Jodie Devos.

This past season, Florie sang Sidonie, Mélisse & Bergère in a new production of Gluck’s Armide at the Opéra Comique de Paris staged by Lilo Baur and under the baton of Christophe Rousset. She returned to the Opéra Royal de Versailles in the role of Pamina in a french version of Die Zauberflöte with Hervé Niquet conducting. Still on the opera scene, Florie made a remarquable debut during summer 2023 at the Glyndebourne Festival and the BBC Proms singing the role of Soeur Constance (Dialogues des Carmélites) in a new production signed by Barrie Kosky and Robin Tacciati conducting the London Philharmonic Orchestra. We also heard Florie on many occasions on the concert scene; notably with Le Concert de la Loge for the program In Furore, at the Opéra de Rouen for Mendelssohn’s Midsummer Night’s Dream (1rst Elf), in Poland with Ensemble Capella Cracoviensis for a concert version of Mozart’s Lucio Silla (Giunia), in “Splendeurs Mozartiennes” with Orchestre de l’Opéra de Tours and in Mademoiselle Duval’s Les Génies in Versailles. She sang the role of Frasquita in a concert version of Carmen, amongst Elena Maximova and Michael Spyres at the Philharmonie de Strasbourg under Maestro Aziz Shokhakimov.

During the season 2021-2022, she made her debut as Susanna in Le Nozze di Figaro at the Grand Théâtre du Luxembourg under Maestro Jérémie Rhorer and at the Opéra Royal de Versailles under Maestro Gaetan Jarry. She was Gabrielle in a new production of La Vie Parisienne staged by Christian Lacroix and conducted by Romain Dumas. She also sang Sophie in Werther the Opéra National de Bordeaux under Pierre Dumoussaud, Zerlina (Don Giovanni) at the Opéra de Québec and appeared in the show Mozart, A particular journey with Laurence Equilbey and Insula Orchestra at the Seine Musicale in Paris. In concert, Florie performed with Le Concert Spirituel and Hervé Niquet in Israël in Egypt in Grenoble, with Valentin Tournet for Tous les matins du monde at the Maison de la Radio, with Le Concert de la Loge and Julien Chauvin at the Misteria Paschalia Festival in Krakow for the Exsultate Jubilate and toured Bach without frontiers with Maestro Christophe Rousset and Les Talens Lyriques at the Bachfest Schaffhausen, The Froville Baroque Music Festiva, the Conservatoire Jean-Baptiste Lully and Baroque Festival in Stockholm. In Versailles, Florie sang under Gaetan Jarry for her recital “La Captive du Sérail”, in Les Leçons des Ténèbres with Stéphane Fuget and performed the role of La Paix in a concert version of Le Destin du Nouveau Siècle.

In 2020-2021, Florie sings Sophie at the Opéra de Lyon in a filmed concert version of Werther, starring Étienne Dupuis and Stéphanie D’Oustrac. She takes part in multiple recordings for the Label Château Versailles spectacles including her solo recital “Opéra Comique!” and the Chandos Anthems under Gaetan Jarry, Fauré’s Requiem with Hervé Niquet, Sylla and Glaucus (Circé) with Ensemble Il Giardino d’Amore and Stefan Plewniak and Campra’s Le Destin du Nouveau Siècle (La Paix) under conductor Patrick Bismuth. On the concert scene, she interpreted Micaëla in Aix-en-Provence for a Carmen Gala with Maestro Jérémie Rhorer, Rinaldo in Salieri’s Armida under Christophe Rousset at the Theater an der Wien (recording for Aparte Music label), the title role of Saint-Saëns’ Phryné at the Opéra de Rouen with Palazzetto Bru Zane, and sang in the Mozart’s Requiem at Théâtre des Champs-Élysées and in Pergolesi’s Stabat Mater at the Maison de la Radio with Le Concert de la Loge (Julien Chauvin). On the Opera stage, other engagement included Falstaff* (Nanetta) at the Opéra de Bordeaux, conducted by Paul Daniel and staged by Laurent Pelly, Zélime in La Caravane du Caire * for Opéra de Tour under Hervé Niquet and in the role of Frasquita (Carmen)* at the Opéra-Comique de Paris under Long Yu and directed by Andreas Homoki. (* Production rescheduled due to COVID 19).

During the season 2019-2020, she makes her debut at Théâtre des Champs-Élysées in a new production of Le Nozze di Figaro (Barbarina) directed by the American movie director James Grey and the conductor Jérémie Rhorer. She also makes her debut in the role of Pamina (The Magic Flute) at Opéra royal de Versailles and Opéra Grand Avignon under Maestro Hervé Niquet and stage directors Cécile Roussat & Julien Lubek. In addition, Florie sings the title role of Massenet’s Cendrillon* at the Opéra de Limoges (Robert Tuohy conductor & Ezio Toffolutti stage director), before making her debut at the Glyndebourne Festival interpreting the role of Soeur Constance in a new production of Dialogues des Carmélites* by Barrie Kosky and under Maestro Robin Ticciati. (* Productions rescheduled due to COVID 19) In recital, Florie performs at the Opéra de Lille with pianist Hélio Vida, with baryton Yoann Dubruque and pianist Marine Thoreau at Opéra Comique de Paris and in concert with Le Concert de la Loge under Julien Chauvin at the Cité musicale de Metz ( Haydn’s Stabat Mater). She records Les Leçons des Ténèbres with Stéphane Fuget for Château Versailles Spectacles Label and the role of Rinaldo in Salieri’s Armida under Maestro Christophe Rousset for Aparte Music.

She begins the 2018-2019 season by singing the title role of English composer Mark-Anthony Turnage’s opera, Coraline. This children's literature success is co-produced with the Royal Opera House in London and presented in a French version at the Opera de Lille under Maestro Arie Van Beek and stage director Aletta Collins. Member of the troupe Favart for the 2019 season, Florie plays the role of Madeleine in a new production of Le Postillon de Lonjumeau at the Opéra-Comique in Paris under Sébastien Rouland and stage director Michel Fau. In addition, she sings the roles of Tytania (Midsummer Night's Dream) at Opéra de Montpellier (Musical direction Tito Munoz and staging Ted Huffman) and Sophie (Werther) at the Capitole de Toulouse (under the baton of Jean François Verdier and the stage director Nicolas Joel). In addition to the opera stage, Florie performs in concert with Les Moments lyriques and Orchestre Prométhée in Pergolesi’s Stabat Mater and Handel’s Dixit Dominus, as well as with Le Concert de la Loge for Festival Radio France Occitanie Montpellier (Stabat Mater de Haydn).

During season 2017-2018, she returns to Opernhaus Zürich as a member of the Ensemble, where she takes part in four productions, singing Papagena in die Zauberflöte under Karina Canellakis; Birk in a New Production of Ronja die Räubertochter conducted by Carrie-Ann Matheson and directed by Marie-Eve Signeyrole; a Blumenmädchen in Parsifal under Simone Young and Fortuna & Damigella in the New Production of L'incoronazione di Poppea conducted by Ottavio Dantone and directed by Calixto Bieito. Prior to her return to Opernhaus Zürich, she reprises the role of Milica in the modern opera Svadba with the Festival d'Aix-en-Provence at the Ljubljana Opera. In addition, she is invited to Montreal to sing Mozart's C minor Mass with the Orchestre symphonique de Montréal, as well as for a recording of Tanzer lieder by Ana Sokolovic with the Ensemble contemporain de Montréal, to be released under the Atma classique label in the fall 2019. She will close the season making her debut as Sophie in a concert version of Werther at the summer Festival of Opéra de Vichy under Maestro Pierre Dumoussaud among singers Karine Deshayes and Jean-François Borras, notably.

She has joined the International Opera Studio at Opernhaus Zürich for the 2016-2017 season, interpreting Barbarina, in Le nozze di Figaro, conducted by Maestro Giovanni Antonini and directed by Sven Eric Bechtolf; Madam Silberklang, in Der Schauspieldirektor conducted by Maestro Thomas Barthel and directed by Mr. Rüdiger Burbach. For the opening of 2017, she interprets l'Amour and Premier Fantôme in the New Production of Charpentier’s Médée, conducted by Maestro William Christie and directed by Mr. Intendant Andreas Homoki.

Prior to making her debut with Maestro Charles Dutoit as Frasquita (Carmen) in a Medici.tv broadcasted concert at the 2016 Verbier Festival, Florie Valiquette held Elisetta in Il Matrimonio Segreto at De Nationale Opera conducted by Maestro Benjamin Bayl and directed by Mme Monique Wagemakers, before reprising the lead role of Milica of Svadba-Wedding by Ana Sokolovic at l’Opéra d'Angers-Nantes. As well, she was part of Manon fait de la danse’s creation of Fin de série at the FTA‑Festival TransAmériques.

In 2015, Florie made her debut at the Orchestre symphonique de Montréal in the role of Frasquita (Carmen) under Maestro Kent Nagano. Starring Michèle Losier(Carmen) and Joseph Kaiser (Don José), the opera was presented outdoor in front of 45 000 people during the OSM's Classical Spree Festival. Florie also sang Yniold (Pelléas et Mélisande) for the 2015 opening concert of the OSM, sharing the stage with star singers Bernard Richter, Hélène Guilmette, Philippe Sly, Nicolas Testé and Marie-Nicole Lemieux, amongst others.

In July 2015, Florie returned at the Festival d'Aix-en-Provence to sing the lead role of Milica for the new production of the opera Svadba-Wedding by Ana Sokolovic. Praised by the press, the opera was broadcasted by Arte Concert.

" [...] soprano Florie Valiquette made gorgeous work of Milica’s extended aria at the end. As the others join in harmony, Milica settles on a blurted high pedal point, which gave Ms. Valiquette a final triumph of another sort." - James R. Oestreich, The New York Times, July 12, 2015

Beforehand in 2015, she sang with the Quebec Symphony Orchestra under Maestro Steven Fox in Harmony Mass by Haydn and with Les Violons du Roy under Maestro Mathieu Lussier in the title role of Zémire et Azor, staged by oscar winning film director Denys Arcand.

Florie made her Opera de Montréal debut in 2013 in the roles of Javotte (Manon), Miss Ellen (Lakmé), and covered the role of Nanetta (Falstaff) in 2014. Other credits include Teutile (Motezuma), Arsena (The Gypsy Baron) and Zerlina (Don Giovanni). Artist in residence at the Atelier Lyrique de l’Opéra de Montréal from 2012 to 2015, she held the roles of the Sandman and the Dew Fairy (Hänsel und Gretel), Laetitia (The Old Maid and the Thief) and Galatea (Acis and Galatea).

She was invited as a baroque soloist by several leading ensembles such as les Violons du Roy, le Studio de musique ancienne de Montréal, Caprice Ensemble, Montreal Baroque and the Lamèque International Baroque Music Festival.

In contemporary music, in addition to Svadba-Wedding, composer Denis Gougeon recommended her for singing his composition Voix-Venus with pianist Louise-Andrée Baril in a tribute concert of the Société de musique contemporaine du Québec, broadcasted on Espace Musique (now Icimusique.ca), the french music radio of the CBC.

Florie was revealed to the public in 2010 by interpreting Maria Von Trapp (The Sound of Music) in a Just for Laughs production staged by Denise Filiatrault. Critically acclaimed, the production was attended by more than 100,000 spectators in Montreal and received a nomination for the Show of the Year - Acting at the Québec Association for the Recording, Concert and Video Industries Gala in 2011.

She also collaborated numerous times with Cirque Éloize in corporate events, as well as with the National Circus School for the Atelier Lyrique’s 30th anniversary production Hänsel und Gretel.

In chamber music, Florie has been working with pianist Martin Dubé since 2009. They performed hailed recitals in Canada, Belgium and the United States. She also appeared at the Orford Festival and the Lachine Festival with pianist Olivier Godin, and with pianist Ilmo Ranta, in Helsinki, in a recital broadcasted on the Finnish national television Yle Klassinen. She also collaborates with the distinguished quintet Pentaèdre.

Florie has been supported by the Jacqueline Desmarais Foundation for Young Canadian Opera Singers and has distinguished herself in several competitions such as the 2015 Queen Sonja International Music Competition, the 2014 Mirjam Helin Competition, the 2014 Montreal Symphony Orchestra Competition, the International Stepping Stone of the Canadian Music Competition and the Prix d’Europe.

Her discography includes Tanzer lieder by composer Ana Sokolovic for the album Sirènes with the Ensemble contemporain de Montréal (Atma classique), Phryné (Phryné) with the Palazzetto Bru Zane and Hervé Niquet conducting the Orchestre de l’Opéra de Rouen, Armida (Rinaldo) under the baton of Christophe Rousset and Les Talens lyriques, as well as Haydn’s Stabat Mater with Julien Chauvin & Le Concert de la Loge under the label Aparté. Under the Label Château Versailles Spectacles: La Flûte enchantée (Pamina) with Hervé Niquet, Les Leçons des Ténèbres by Couperin with Stéphane Fuget, La Captive du Sérail and Handel’s Chandos Anthems under Maestro Gaétan Jarry and Campra’s Le Destin du Nouveau siècle (La Paix) with Ensemble La Tempesta and Patrick Bismuth. Soon to be released, a recording of Scylla et Glaucus (Circé) with Stefan Plewniak and the Ensemble Il Giardino d’Amore.

She holds a Master in Music performance from the University of Montréal and pursues her vocal training under the guidance Marlena Malas in New York. She is represented by Intermezzo Management in Paris.

Yannick Debus | Orpheus

Born in Hamburg the baritone Yannick Debus received his training at the music academy Lübeck where he completed a double degree in both Voice with Michael Gehrke as well as Music Theory and aural training with Oliver Korte and Holger Best. In parallel to his university studies, he took lessons with the renowned dutch voice teacher Margreet Honig in Amsterdam. He continued his education in Basel at the music academy as well as the Schola Cantorum where he studied with Marcel Boone and Rosa Dominguez and completed his Master Performance and Master in Specialised Performance Soloist with distinction. Alongside that, he complemented his training in Masterclasses with singers such as Ludovic Tézier, Thomas Hampson and Thomas Allen.

In academy productions, he gained stage experience in Mozart’s title roles Figaro and Don Giovanni from early on. First engagements at the opera houses of Kiel and Lübeck followed including roles such as the poet Don Perizonio in Cimarosa’s L’impresario in angustie.

At the “Junge Oper Schloss Weikersheim” he sang the role of Peter Besenbinder in Humperdinck’s Hänsel und Gretel under the baton of Patrick Lange in 2017. The following year the “Kammeroper Schloss Rheinsberg” invited him to perform as Guglielmo in Così fan tutte under the musical direction of Ivo Hentschel.

In January 2019, he embodied the title role of Kaiser Overall in Ullmann’s Der Kaiser von Atlantis at Basel theatre followed by Figaro in Milhaud’s La mère coupable. Also in the same year, he debuted at the Zürich opera house as Kilian in Weber’s Freischütz. After another guest engagement as Sprecher in Zauberflöte he joined the International Opera Studio of the Zürich opera house in the season 2020/21.

Alongside opera, Debus also focusses on Lied and Oratory repertoire with which he performs frequently at Europe’s leading concert halls. Highlights include a CD production with René Jacobs and the Freiburger Barock Orchester of Weber’s Freischütz where he sang the roles of Ottokar and Kilian. Also with René Jacobs, he performed the title role in Telemann’s Orpheus in November 2021.

In 2022 he collaborated again with René Jacobs and sang in Händel’s Israel in Egypt, as Apollo in Apollo e Dafne as well as Kilian and Ottokar in the Freischütz CD-Release tour. In the Konzerthaus Berlin he sang The Creation by Joseph Haydn in May and Beethoven Symphony No. 9 in the Berlin Philharmonic in October. In the season 2022/23 several role debuts at the Zürich opera house followed.

Lauren Lodge-Campbell | Eurydice/Eine Priesterin

“One of the stars of the evening was Pinchgut newcomer Lauren Lodge-Campbell, whose purity of tone was a real delight throughout”

— David Larkin, Bachtrack (Pinchgut Opera, 2019)

British/Australian soprano Lauren Lodge-Campbell studied at the Guildhall School of Music and Drama and at the Queensland Conservatorium, Australia. Lauren was awarded 2nd prize at the 2023 Concours Corneille with Le Poème Harmonique, 2nd Prize and Audience Prize at the 2018 Handel Singing Competition, and was a prize winner in the finals of the 2024 Cesti Competition in Innsbruck. Lauren was a member of the 9th edition of Le Jardin des Voix, the young artist programme of William Christie’s Les Arts Florissants and is a Samling Artist.

Lauren’s 2024-25 season includes a new production of Handel Apollo e Dafne at the London Handel Festival, conducted by David Bates and directed by Thomas Guthrie; Eurydice in Telemann Orpheus at the Drottningholm Slottsteater, conducted by Francesco Corti and directed by Elena Barbarich; Bach & Purcell with The English Concert and Kristian Bezuidenhout; Rameau Pygmalion with Early Opera Company and Christian Curnyn and concerts with Apollo’s Cabinet at Thüringer Bachwochen and the London Handel Festival.

In 2023-24 Lauren returned to Sydney to sing La Musique/Filli in Charpentier Les Plaisirs de Versailles/Amor vince ogni cosa with Pinchgut Opera; made her US debut singing Filia in Carissimi Jephte with Les Arts Florissants at the Morgan Library in New York; Monteverdi L’incoronazione di Poppea (Amor) and Handel Brockes Passion with The English Concert and Harry Bicket, and a recital at Bachfest Leipzig with Apollo’s Cabinet.

Lauren’s 2022-23 season included Euridice in Charpentier La descente d’Orphee at the Vache Baroque Festival; First Witch in Purcell Dido and Aeneas with Les Arts Florissants conducted by William Christie, Bach Christmas Oratorio with the Britten Sinfonia under Stephen Layton; Bach Magnificat with the Royal Northern Sinfonia under Nicholas McGegan; a revival of Handel Hercules at the Händel-Festspiele Karlsruhe; Purcell King Arthur with the Gabrieli Consort, and a return to Pinchgut Opera in Sydney to sing Buxtehude Membra Jesu Nostri and Eufemia in Legrenzi Giustino.

Season 2021-22 saw Lauren sing several concerts with Les Arts Florissants including Purcell Indian Queen and Filia in Carissimi Jephte; her German debut as Iole in Handel Hercules at the Händel-Festspiele Karlsruhe conducted by Lars Ulrik Mortensen and alongside Ann Hallenberg, and Cupid in Purcell King Arthur with the Gabrieli Consort at Festival International Opéra Baroque & Romantique Beaune.

Lauren’s 2020-21 season included Mozart Exsultate Jubilate (English Chamber Orchestra); a recital at the Oxford Lieder Festival with pianist Dylan Perez; Handel Messiah at the Saint Denis Festival with La Chapelle Harmonique, and Amor in Gluck Paris and Helen with Bampton Classical Opera. Engagements cancelled due to Covid-19 included a tour of Purcell Hear My Prayer (Les Arts Florissants), with a solo concert with Red Dot Baroque in Singapore; Ninfa/Proserpina Orfeo (Les Arts Florissants); Purcell Fairy Queen (Atelier Lyrique de Tourcoing cond. Alexis Kossenko) and Serpetta in Mozart La finta giardiniera on tour in Asia and Australia with Les Arts Florissants.

Other operatic engagements include Serpetta La finta giardiniera with Les Arts Florissants; Minerva Il ritorno d’Ulisse in patria (Pinchgut Opera); Venus Venus and Adonis and Amore Il ballo delle ingrate at Brighton Early Music Festival; Princess The Hogboon with the London Symphony Orchestra, conducted by Simon Rattle and Gretel Hansel and Gretel with Iford Arts.

Lauren is at ease on the concert platform and has recently sung Bach Magnificat at Hereford Cathedral; Handel Messiah with the London Handel Orchestra and Southbank Sinfonia; Handel Brockes Passion with Arcangelo; and Bach St Matthew Passion at Dartington International Festival. A keen recitalist, Lauren has performed in recital at Wigmore Hall, Barbican Hall, London Handel Festival, Leicester International Music Festival, Foundling Museum, London Song Festival, LSO St Luke’s and the Holywell Music Room, Oxford. A member of the Guildhall Song Guild directed by Graham Johnson OBE, Lauren has participated in masterclasses with such artists as Roger Vignoles, Julius Drake, Elly Ameling, Richard Stokes, Dame Emma Kirkby and Dame Felicity Lott.

At the Guildhall School Lauren was the winner of the Susan Longfield Prize and the Franz Schubert Institut Lieder Competition. The latter awarded her a full scholarship to study at the Franz Schubert Institut in Baden, Austria. Lauren was the winner of the inaugural Cheltenham Bach Choir Competition, the Schubert Society Song Prize at the London Song Festival, and a Semi Finalist in the Wigmore Hall/Kohn Foundation International Song Competition with duo partner, Michael Sikich.

Lauren lives in London and continues to study with Professor Janice Chapman, Yvonne Kenny and Sophie Daneman.

Hasnaa Bennani | Ismene

Hasnaa Bennani began her musical journey in Rabat, studying with her sister Jalila Bennani, a vocalist and choral conductor, and with violinist Laszlo Fodor. She later graduated from the Conservatoire National Supérieur de Musique et de Danse in Paris, training under Glenn Chambers, and further specialised in early music under the guidance of Howard Crook and Isabelle Poulenard. In 2011, Bennani achieved notable distinction by winning First Prize at the Froville Baroque Singing Competition. Her career then flourished, leading to collaborations with many esteemed French ensembles, including La Grande Écurie et La Chambre du Roy (where Jean-Claude Malgoire, captivated by her distinctive voice, entrusted her with numerous roles), Le Poème Harmonique (Vincent Dumestre), Les Musiciens du Louvre (Marc Minkowski), Les Talens Lyriques (Christophe Rousset), Le Concert Spirituel (Hervé Niquet), Le Palais Royal (Jean-Philippe Sarcos), Les Surprises (Louis-Noël Bestion de Camboulas), La Rêveuse (Benjamin Perrot and Florence Bolton), Les Ambassadeurs (Alexis Kossenko), Akadêmia (Françoise Lasserre), Accademia Bizantina (Ottavio Dantone), La Chapelle Rhénane (Benoît Haller), and Le Caravansérail (Bertrand Cuiller). Internationally, her refined artistry has attracted distinguished ensembles including Les Muffatti (Peter Van Heyghen), Capella Cracoviensis (Jan Tomasz Adamus), the Hassler Consort (Franz Raml), Orfeo Orchestra (György Vashegyi), and Armonia Atenea (George Petrou).

On the operatic stage, Bennani has portrayed Al-Faïma in Dubois’s Aben-Hamet at the Atelier Lyrique de Tourcoing. She participated in the premiere of Gérard Condé’s La Chouette Enrhumée at the Opéra de Metz and appeared in Lully’s Armide at the Opéra National de Lorraine. She has also performed Rameau’s Castor et Pollux with both Le Concert Spirituel at the Théâtre des Champs-Élysées and Les Talens Lyriques at the Théâtre du Capitole in Toulouse. Her debut as Berenice in Handel’s Scipione took place at the Halle Festival under the direction of George Petrou with Armonia Atenea.

Her discography includes Leçons de Ténèbres by Couperin with Le Poème Harmonique (Alpha), Lully’s Amadis (role of Corisande) and Rameau’s Zaïs (role of Amour), both with Les Talens Lyriques (Aparté), a recording of French cantatas (Rameau, Courbois) with Ensemble Stravaganza, and an album of Handel arias written for Francesca Cuzzoni with Les Muffatti (Ramée).

She recorded the role of Cecina in Porpora’s Germanico in Germania for Decca, alongside Julia Lezhneva and Max Emanuel Cencic—a production now regularly revived at venues such as the Tchaikovsky Concert Hall in Moscow and the Theater an der Wien. More recently, she sang Gildippe in Carlo il Calvo by Porpora, appearing with Max Emanuel Cencic, Franco Fagioli, and Bruno de Sà in Amsterdam. Her latest releases include Scylla et Glaucus by Leclair with Orfeo Orchestra (Glossa), Destouches’s Télémaque with Ensemble Les Ombres, Le Carnaval du Parnasse by Mondonville, and Le Retour des Dieux sur la Terre by Blamont, both with Les Ambassadeurs–La Grande Écurie (Château de Versailles label).

Forthcoming recordings include Castor et Pollux by Rameau (Glossa) and Atys by Lully (Alpha). Bennani is also set to participate in the Nuits d’Orient project with Jeff Cohen, Nasser Houari, and Mohamed El Mazouji, and to premiere a new programme of Italian music with Ensemble Agamemnon conducted by François Cardey. She will perform Pergolesi’s Stabat Mater with Le Poème Harmonique under Vincent Dumestre in Ghent, Rouen, The Hague, La Chaise-Dieu, and Saintes.

Next season will also mark her debut at Drottningholm Palace Theatre in Telemann’s Orpheus (role of Ismène), conducted by Francesco Corti and directed by Elena Barbarich.

Rodrigo Carreto | Eurimedes

The Portuguese tenor Rodrigo Carreto, currently based in Zurich is one of the laureates of the 11th edition of the “Le Jardin des Voix” academy in the 2023/24 season, sharing the stage with the French orchestra Les Arts Florissants and conductors William Christie and Paul Agnew on a tour of over 30 performances of The Fairy Queen by Henry Purcell. This milestone marked his debut at the BBC Proms – Royal Albert Hall, Teatro alla Scala in Milan, Lincoln Center in New York, Philharmonies of Paris and Luxembourg, Versailles Royal Opera, Romanian Athenaeum in Bucharest, National Auditorium of Music in Madrid, and festivals in Lucerne (Switzerland), Tanglewood (USA), Lanaudière and Toronto (Canada), among others.

He was selected as one of the “Bach Young Soloists 2021” with Collegium Vocale Gent under the direction of Philippe Herreweghe, with whom he toured extensively between 2021 and 2023.

Rodrigo Carreto has since established himself as one of the leading young interpreters of the Evangelist in Bach’s Passions and other sacred works, known for his expressive depth and stylistic clarity in this repertoire. His versatility extends beyond the Baroque, embracing works such as Mendelssohn’s Paulus and Die erste Walpurgisnacht, Haydn’s The Creation, and song cycles by Finzi, Schubert, Schumann, and Debussy.

In the first half of the 2025, Carreto performed Mozart’s Requiem with the Gulbenkian Orchestra under Stephanie Childress in Lisbon; Campra’s Requiem with Sébastien Daucé and Ensemble Correspondances at the Royal Opera of Versailles; and the role of the Evangelist and arias in Bach’s St. Matthew Passion conducted by Thomas Gropper at the Herkulessaal in Munich. Other highlights include Monteverdi’s Vespers conducted by Paul Agnew at the LAF Spring Festival, and English Divine Hymns with William Christie and Les Arts Florissants at the Lanaudière Festival in Montreal. He performed Lully’s Te Deum with the Divino Sospiro Orchestra under Václav Luks. Rodrigo is a regular presence as Haute-Contre with Sébastien Daucé and Ensemble Correspondances, with whom he recorded Les Maîtres de Notre-Dame. He also recorded Jan Dismas Zelenka’s masses Circumcisionis and Corporis Domini with Collegium 1704 and Václav Luks, as well as other CDs including a Missa by A. Puzzi with Ensemble Bonne Corde, cantatas by G. Österreich with Ensemble Musica Gloria, Portuguese Responsories with Real Câmara Baroque Orchestra under Enrico Onofri, and a song cycle by Joly Braga Santos with pianist Pedro Costa.

In addition to Collegium Vocale Gent and Les Arts Florissants, Rodrigo has performed with a wide range of international ensembles including Schweizer Vokalconsort and Marco Amherd, La Capella Nacional de Catalunya and Jordi Savall, JSB Ensemble and Hans-Christoph Rademann, J. S. Bach-Stiftung and Rudolf Lutz, La Cetra Barockorchester and Andrea Marcon, Chœur de Chambre de Namur and Leonardo García Alarcón, La Grande Chapelle and Albert Recasens, Orquestra XXI and Dinis Sousa, as well as Os Músicos do Tejo and Marcos Magalhães, appearing in some of the world’s most prestigious venues.

He has extensive international stage and festival experience across Portugal, Switzerland, Belgium, France, Germany, Austria, Poland, the Netherlands, Spain, Romania, Israel, Italy, the USA, and China. Rodrigo completed his master’s degree with distinction in the class of Scot Weir at the Zurich University of the Arts. He continues to refine his technical and artistic development with Peter Harvey and Jeremy Ovenden, after having worked with Barbara Hannigan, Emma Kirkby, Robert Murray, and Peter Kooij.

In the remainder of 2025, Rodrigo will make his debut at the Drottningholm Court Theatre in the role of Eurimedes (Orpheus by Telemann) with the Drottningholm Royal Theatre Orchestra conducted by Francesco Corti. He will also tour South America with Les Arts Florissants and William Christie, and perform Josef Mysliveček’s oratorio Adamo ed Eva with Il Gardellino under the direction of Peter Van Heyghen in Palermo.

Josefine Mindus | Cephisa

Swedish soprano Josefine Mindus has earned acclaim for her vibrant stage presence, vocal virtuosity, and fearless theatricality. In the 2024/25 season, she joined the ensemble of Hessisches Staatstheater Wiesbaden, making her debut as Chief Gepopo in Ligeti’s Le Grand Macabre, praised for her “effortless, nonsensical coloraturas to perfection” (FAZ). Her 2025/26 season includes several role debuts, including Ännchen (Der Freischütz), Despina (Così fan tutte), and the title role in Rimsky-Korsakov’s The Snow Maiden.
Recent highlights include Blonde (Die Entführung aus dem Serail) at Bühnen Bern, her Italian debut as Amore (Orfeo ed Euridice) at the Festival dei Due Mondi in Spoleto, and Bach’s Mein Herze schwimmt im Blut at Konzerthaus Berlin under James Gaffigan.
From 2020 to 2023, Josefine was a member of the International Opera Studio at Komische Oper Berlin under intendant Barrie Kosky, performing roles such as Zerlina (Don Giovanni), Atalanta (Xerxes) and Euridice (L’Orfeo). In 2022, she received critical acclaim for her Swedish debut as Bess McNeil in Missy Mazzoli’s Breaking the Waves at Vadstena Castle, described as “phenomenal… acting of the highest standards” (Tidskriften Opera).
Josefine has received numerous awards and scholarships, including the Jenny Lind Scholarship (2023) and second prize at Bundeswettbewerb Gesang (2022), which led to her debut at Deutsche Oper Berlin. She studied composition at Gotlands Tonsättarskola before focusing fully on singing at Vadstena Folkhögskola and the Hochschule für Musik, Theater und Medien Hannover with Marek Rzepka. Alongside her singing career, she continues to compose, with works performed in Sweden and internationally.

Lisandro Abadie | Pluto

Lisandro Abadie was born in Buenos Aires, Argentina, where he began his musical studies. He graduated at the Schola Cantorum Basiliensis and the Musikhochschule Luzern. He was awarded the Edwin Fischer Gedenkpreis in 2006.

He has sung under the direction of William Christie, Laurence Cummings, Václav Luks, Francesco Corti, Rubén Dubrovsky, Tōnu Kaljuste, Jordi Savall, Paul Agnew, Matthew Halls, Paul Goodwin, Fabio Bonizzoni, Skip Sempé, Philippe Herreweghe, Vincent Dumestre, Simon-Pierre Bestion, Jörg Halubek, Hervé Niquet, Adam Viktora, Geoffroy Jourdain, among others.

In the field of opera, his wide repertoire extends from Monteverdi to contemporary music and particularly includes Handel and Viktor Ullmann. In 2010 he created the title role of the opera Cachafaz by Oscar Strasnoy, staged by Benjamin Lazar. He has collaborated with ensembles like Les Arts Florissants, Collegium 1704, Orchestra of the Age of Enlightenment, Les Talens Lyriques, Le Poème Harmonique, La Tempête, Le Concert Étranger, Ensemble Inégal, La Risonanza.

Among his numerous recordings: Handel’s Music for Queen Caroline, Airs sérieux et à boire (Bien que l’amour, Si vous vouliez un jour, N’espérez plus mes yeux), Handel’s Siroe, the complete Monteverdi Madrigals and Vespro, Hayes’ The Passions, Handel’s Aci, Galatea e Polifemo, Gilles’ Messe des Morts, Marais’ Sémélé, Lalande’s Grands Motets, Schumann’s Der Rose Pilgerfahrt, Bach Mirror, The Tempest, and the DVDs of Handel’s La Resurrezione, and Lully’s Phaëton.

Lisandro started 2022 as a lecturer on sources of historical performance practice at the Schola Cantorum Basiliensis, where he already teaches in the Master of Advanced Studies, AVES (Advanced Vocal Ensemble Studies) since 2019. He is invited to give masterclasses with William Christie and Les Arts Florissants, at the Stuttgart Hochschule für Musik, at the Urbino Early Music Course, and in the Venice Madrigal Weeks.

He collaborates with the lutenist Mónica Pustilnik and with the pianist and composer Paul Suits. He regularly performs at the Handel Festivals in London, Karlsruhe, Göttingen.

Lisandro is the author of numerous translations, and regularly collaborates as a dramaturgical researcher with the stage director Benjamin Lazar. His research on the manuscript of Viktor Ullmann’s opera Der Kaiser von Atlantis is reflected in the recent recording for IBS records.

His most recent collaborations with EarlyMusicSources.com resulted in his translation and bilingual edition of Giulio Caccini’s Published Writings [ebook] [video], as well as the episodes on Vibrato [video] and on Castrati [video]

Presently he is preparing a book on his current research topic: “vibrato” –oscillations, pulsations, undulations– as documented by historical sources and organ stops in Europe and abroad since the 16th centuryLisandro Abadie was born in Buenos Aires, Argentina, where he began his musical studies. He graduated at the Schola Cantorum Basiliensis and the Musikhochschule Luzern. He was awarded the Edwin Fischer Gedenkpreis in 2006.

He collaborates with the lutenist Mónica Pustilnik and with the pianist and composer Paul Suits. He regularly performs at the Handel Festivals in London, Karlsruhe, Göttingen.

Rémy Brès-Feuillet | Ascalax

‘In the title role [Flavio], Rémy Brès-Feuillet, making his [Bayreuth Baroque] Festival debut, combines ease and poise with “royal” projection, not to mention a stage presence that commands admiration.’

Anne Ibos-Augé / Diapason

Rémy Bres Feuillet will be taking on exciting engagements in the 2023/24 season. The young countertenor can be seen in the title role of Flavio at the Bayreuth Baroque Opera Festival and at the Musiktheater an der Wien (both house debuts). Further house debuts are as Tolomeo at the Opera di Roma and as Nireno (both in Giulio Cesare) at the Opera National de Paris. Rémy will appear as Megacle in L’Olimpiade at the Opera de Nice in spring 2024. The countertenor is working with conductors such as Harry Bicket, Rinaldo Alessandrini, Benjamin Bayl and Jean Christophe Spinosi and directors such as Damiano Michieletto, Max Emanuel Cencic and Laurent Pelly in the 23/24 season.

The young artist, who lives in Marseille, studied singing with Prof. Magali Damonte at the CNRR de Marseille until 2019 and with Prof. Mareike Schellenberger at the CNR d’Aix-en-Provence until 2021 and has been a member of David Stern’s Opera Fuoco Young Artists Programme since 2021. Rémy has won numerous prizes, including the Young Artist Prize at the Festival d’Art Lyrique d’Aix en Provence (2019), the Young Artist Prize at the Concours International de la Mélodie (Gordes) (2018), first prize in the Mélodie Fr category and the Special Prize (Opéra) at the Nuits lyriques de Marmandes (2019) and the Young Artist Prize at the Cesti Competition of the Innsbruck Festival of Early Music (2021).

Rémy has been performing on stage since 2017 and has already played many roles. Previous highlights include the role of Triad in Barokko (S. Noyelle, M. Coutris, M. Quesada) at the Perm Academic Theatre in Russia (March 2017) and at the Baltic House Festival in Saint Petersburg (Sept. 2019); the role of Jupiter in La contessa de’ Numi (A. Caldara) at the National Theatre La Criée in Marseille (March 2021) under the direction of Jean-Marc Aymes, and at the Namur Festival (CAV&MA) (July 2021); Delio in L’amazzone corsara (C. Pallavicino), at the Innsbruck Festival of Early Music (July, August 2022) under the baton of Luca Quintavalle and directed by Alberto Allegrezza; the role of Magacle in L’Olimpiade (A. Vivaldi) at the Beaune Festival (July 2023) under the direction of Jean-Christophe Spinosi and the role of Tolomeo in Giulio Cesare in Egitto at the Leipzig Opera (April, May, June 2023) under the direction of Rubén Dubrovsky with the Gewandhaus Orchestra and directed by Damiano Michieletto.

Biography

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