The Marriage of Figaro  ^2025-2026

2024 Opus Klassik Female Singer of the Year, the Austrian-English soprano Anna Prohaska made her debut aged 18 at Berlin’s Komische Oper as Flora in Britten’s The Turn of the Screw and soon after with the Staatsoper Unter den Linden Berlin, entering the ensemble at age 23. She has since gone on to have an extraordinary international career with some of the world’s greatest opera houses and orchestras.

Operatic highlights include Zabelle in the world premiere of George Benjamin’s Picture a day like this & Morgana (Alcina)for the Festival d’Aix-en-Provence, Pamina (Die Zauberflöte), Constance (Les Dialogues des Carmélites) and Nannetta (Falstaff) for the Royal Opera House, (Pelléas et Mélisande) for the Hamburgische Staatsoper, Anne Trulove (The Rake’s Progress), Merab (Saul) and Angelica (Orlando) for Theater an der Wien, Zerlina (Don Giovanni) for La Scala, title role (Orphée et Eurydice) for Maggio Musicale Fiorentino, Blonde (Die Entführung aus dem Serail) at Opéra national de Paris, Sophie (Der Rosenkavalier) in Baden-Baden, Iphis (Jephtha) in Amsterdam, as well as Marzelline (Fidelio), Purcell’s Fairy Queen, Blonde, Ännchen (Der Freischütz) and Adele (Die Fledermaus) for the Bayerische Staatsoper. A regular guest at the Salzburg Festival, Anna has appeared as Vitellia, Zerlina, Despina, Deola in Luigi Nono’s Al Gran Sole Carico d’Amore, Susanna and Cordelia in Aribert Reimann’s King Lear.

Noted for her diverse repertoire with the Deutsche Staatsoper, her roles include Anne Trulove, Susanna, Sophie, Pamina, Ilia, Oscar, Blonde, Poppea, Euridice, Aricie, Ännchen, Anna Reich as well as world premieres by Beat Furrer and Peter Ruzicka. Conductors she has worked with include Daniel Barenboim, Sir Simon Rattle, Philippe Jordan, Gustavo Dudamel and René Jacobs.

In huge demand on the concert platform, Anna has performed regularly with the Berliner Philharmoniker since her debut with them aged 24, performing under Rattle, Harding and Abbado. Other orchestras include the Vienna Philharmonic under Boulez, the Bavarian Radio Symphony Orchestra under Jansons, Harding, Blomstedt and Nézet-Séguin, the LSO under Rattle, Los Angeles Philharmonic under Dudamel, the Royal Concertgebouw Orchestra under François-Xavier Roth, the Bavarian Radio Orchestra under John Eliot Gardiner, the Cleveland Orchestra under Welser-Möst and the Boston Symphony Orchestra under von Dohnányi. Recent seasons have included artistic residencies at the Konzerthaus Berlin, Konzertahus Dortmund, Alte Oper Frankfurt, Kammerakademie Potsdam and the Philharmonie Luxembourg.

Plans for the 25/26 season include the Governess (Turn of the Screw) directed by Deborah Warner for Opera Roma; Ismène (Antigone) in Pascal Dusapin’s world premiere conducted by Klaus Mäkelä; a return to Zabelle in George Benjamin’s Picture a day like this at the Teatro di San Carlo; and Susanna (The Marriage of Figaro) with the Orchestre symphonique de Montréal and at the Liceu Barcelona.

On the concert platform, Anna will join the Toronto Symphony Orchestra – who she appeared with as a Spotlight Artist in the 24/25 season – for their European tour performing Mahler 4; she will also reunite with Sir Simon Rattle for performances of Henze’s Floß der Medusa with the Symphonieorchester des Bayerischen Rundfunks.

The season sees Anna perform with the Orchestre Philharmonique de Radio France; the Varian Fy Ensemble of the Berlin Philharmonic; and the Phantasm Viol Consort. She will also continue to tour Kurtág’s Kafka Fragmente with violinist Isabelle Faust.

Anna’s various recordings and music videos made her the subject of a documentary feature “The Fabulous World of Anna Prohaska” dir. Andreas Morell in 2013. Her first solo album, ‘Sirène’, was released in 2011 on the Deutsche Grammophon label, followed by ‘Enchanted Forest’ in 2013 and ‘Behind the Lines’ in 2014. Recent albums include charttopping ‘Serpent & Fire’ with Il Giardino Armonico, ‘Paradise Lost’ with Julius Drake, ‘Bach: Redemption’ with Lautten Compagney and ‘Celebration of Life in Death’ with La Folia Barockorchester for Alpha Classics, and ‘György Kurtág: KafkaFragmente’ with Isabelle Faust for Harmonia Mundi. Last season also saw the release of her latest album ‘Maria Mater Meretrix’ with Patricia Kopatchinskaja and Camerata Bern for Alpha Classics.

Hailed by critics for his stage presence and glorious basso cantabile voice, Ildebrando D’Arcangelo has made an outstanding name for himself as Mozart’s Figaro, Count Almaviva, Leporello and Don Giovanni. In recent years, he has added a number of major Verdi roles to his repertoire, most notably Attila, Fiesco in Simon Boccanegra and Banco in Macbeth as well as Méphistophélès in Gounod’s Faust and Berlioz’s La damnation de Faust.

During the 2025/26 season, D’Arcangelo’s engagements include both Jean Procida in Les vêpres siciliennes and Sir Giorgio Valton in I puritani at the Royal Opera House, Covent Garden, Escamillo in Carmen at the Zurich Opera House and the title role of Le nozze di Figaro in concert with the Montreal Symphony Orchestra. Recent appearances include Oroveso in Norma for the Wiener Staatsoper, Count Almaviva in Le nozze di Figaro at Teatro alla Scala Milan, the title role of Attila with the Opera de Marseille and Ernani in concert with the Münchner Rundfunkorchester.

D’Arcangelo’s career has taken him to many of the world’s foremost opera houses, including the state operas of Vienna and Berlin, Royal Ballet and Opera, Paris Opera, Teatro alla Scala Milan, Teatro Real Madrid and Metropolitan Opera. He made his Salzburg Festival debut in 1996 as Mozart’s Figaro, subsequently returning as Leporello and Don Giovanni. Among the conductors with whom he has worked are Claudio Abbado, Riccardo Muti, Myung-Whun Chung, Sir John Eliot Gardiner, Bernard Haitink, Nikolaus Harnoncourt, Tugan Sokhiev, Sir Antonio Pappano and Sir Georg Solti.

D’Arcangelo was a prizewinner at the International Toti Dal Monte Singing Competition in Treviso in 1989 and again in 1991. In addition to the aforementioned composers, his extensive repertoire also encompasses works by Rossini, Bellini, Donizetti, Handel, Bizet, Boito and Stravinsky. Some of his finest performances have been released on DVD by labels that include Deutsche Grammophon, Decca and Virgin Records.

Praised for the « easy elegance of his phrasing and magnetic theatrical instincts », Luca Pisaroni has become one of the most sought-after bass-baritones of his generation.

In the 2025–2026 season, he returns as Don Alfonso (Così fan tutte) at both the Wiener Staatsoper and the Opernhaus Zürich, and appears in the title role of Don Giovanni at the Festspielhaus Baden-Baden and the Palace of Arts (Müpa) in Budapest. He also sings Don Basilio (Il barbiere di Siviglia) with Canadian Opera Company and Houston Grand Opera.

Recent highlights include Figaro (Le nozze di Figaro) at The Metropolitan Opera, Don Alfonso (Così fan tutte) at the Wiener Staatsoper, Leporello Don Giovanni at Staatsoper Hamburg, and Don Basilio (Il barbiere di Siviglia) at the Opéra national de Paris and the Los Angeles Opera. He made his debut as Dulcamara (L’elisir d’amore) at the Seattle Opera, sang Enrico VIII (Anna Bolena) at the Opernhaus Zürich, performed the Four Villains (Les Contes d’Hoffmann) at the Teatro alla Scala, and took on the title role in Don Giovanni at Houston Grand Opera.

In previous seasons, he was acclaimed as Golaud (Pelléas et Mélisande) at the Opéra national de Paris and the Staatsoper Berlin, Méphistophélès (Faust) at the Teatro Real Madrid, and in La damnation de Faust with the Pittsburgh Symphony Orchestra. He also sang Mahomet II (Le Siège de Corinthe) at the Rossini Opera Festival in Pesaro, and created the role of Don Rodrigue in the world premiere of Marc-André Dalbavie’s Le Soulier de satin at the Opéra national de Paris.

Rising star Masabane Cecilia Rangwanasha won the Song Prize at the 2021 BBC Cardiff Singer of the World Competition and recently was awarded the 2024 Herbert von Karajan Prize at the Salzburg Easter Festival.

In the 2025/26 season, Rangwanasha makes her debut at the Metropolitan Opera as Liù in Puccini’s Turandot, a role she will also sing at the Royal Ballet & Opera. Later in the season, she returns to RBO to make her role debut as Contessa Almaviva in Mozart’s Le nozze di Figaro and performs the role in concert with the Orchestre Symphonique de Montréal. On the concert platform, Rangwanasha makes her debut with the Los Angeles Philharmonic in Mahler’s Symphony No. 4 (Elim Chan), Vaughan Williams’s A Sea Symphony with the London Philharmonic Orchestra (Sir Mark Elder), Strauss’s Vier letzte Lieder with both the Philharmonia Orchestra (Søndergård) and the Royal Philharmonic Orchestra (Kevin John Edusei), and Dvořák’s Stabat Mater with the National Symphony Orchestra of Ireland (Jiří Rožeň).

Last season, Rangwanasha performed Verdi’s Requiem with Bergen Philharmonic (Jader Bignamini), Accademia Nazionale di Santa Cecilia in Rome and at the Wiener Konzerthaus (Daniel Harding), and at International Maifestspiele Wiesbaden (Leo McFall). Rangwanasha made debuts with the Munich Philharmonic for Beethoven’s Symphony No. 9 (Nicholas Collon), with Teatro Regio Torino Orchestra for Poulenc’s Stabat Mater (James Conlon), and with São Paulo Symphony Orchestra for Strauss’s  Vier letzte Lieder (Thierry Fischer). Other recent performances include performing at the Royal British Legion Festival of Remembrance at the Royal Albert Hall, Mahler’s Symphony No. 2 with The Hallé (Kachun Wong), Tippett’s A Child of Our Time with the Royal Northern Sinfonia (Dinis Sousa) and London Symphony Orchestra (Sir Antonio Pappano), Mendelssohn’s Elijah with the Oxford Philharmonic and the LSO, Vaughan Williams’s A Sea Symphony with LSO (Pappano), and Vier letzte Lieder with Cincinnati Symphony Orchestra (Giancarlo Guerrero) and Cape Town Philharmonic (Kamal Khan).

In previous seasons, Rangwanasha made notable debuts as Liù Turandot with Washington National Opera and Hamburg State Opera, a role she also performed with the Royal Ballet & Opera on tour in Japan. Rangwanasha made her debuts with the LSO (Pappano) and the Chicago Symphony Orchestra (James Conlon) in Mendelssohn’s Elijah, performed Verdi’s Requiem with Atlanta Symphony Orchestra (Nathalie Stutzmann), and returned to the Accademia Nazionale di Santa Cecilia (Pappano) and The Hallé (Sir Mark Elder) for Rossini’s Stabat Mater.

Rangwanasha received critical acclaim for her return to the Royal Ballet & Opera as Liù, as well as her performances at Theater Bern as Mathilde in Rossini’s Guillaume Tell, and in the title role in Gluck’s Iphigénie en Tauride. Rangwanasha made her US debut with the Washington National Symphony Orchestra in Barber’s Knoxville: Summer of 1915, a work Rangwanasha reprised with the Cincinnati Symphony under Marin Alsop. Additional performances include Mendelssohn’s Symphony No. 2 with Accademia Nazionale di Santa Cecilia (Kazuki Yamada), Beethoven’s Symphony No. 9 and Mahler’s Das Klagende Lied at Theater Bern, her Edinburgh Festival debut performing A Child of Our Time with the Royal Scottish National Orchestra (Sir Andrew Davis) and a return to the BBC Proms to perform Vier letzte Lieder with The National Youth Orchestra.

Earlier highlights include; Élisabeth de Valois in Verdi’s Don Carlos, and Elettra in Mozart’s Idomeneo at Theater Bern, Verdi’s Requiem with the BBC Symphony Orchestra (Sakari Oramo) at the First Night of the BBC Proms, Mahler’s Symphony No. 4 with the Orchestra of the Age of Enlightenment (Adam Fischer), Vaughan Williams’s A Sea Symphony with The Hallé (Sir Mark Elder), Vier letzte Lieder under the direction of Paul Daniel at Opéra National de Bordeaux, and an appearance at Classic FM Live at the Royal Albert Hall.

Rangwanasha is a former BBC Radio 3 New Generation Artist.

Since making her professional debut at the Metropolitan Opera in 2016 as the Madrigal Singer in Puccini’s Manon Lescaut, Avery Amereau has rapidly drawn international attention for her remarkably rich mezzo and commanding stage presence. In particular demand for her concert work, Amereau has gone on to appear with some of the top houses and orchestras across the US and Europe.

In the 2025/26 season, Amereau returns to the Bayerische Staatsoper as Bradamante in a new production of Handel’s Alcina directed by Johanna Wehner and Page in Strauss’s Salome. Opera in concert includes her role debut as Irene in Handel’s  Theodora with the Jupiter Ensemble on a European tour and performances as Cherubino Le Nozze di Figaro with Rafael Payare and the Orchestre symphonique de Montréal.

On the concert platform, Amereau makes debuts with Chicago Symphony Orchestra in performances of Mozart’s Requiem conducted by Manfred Honeck and the National Symphony of Ireland in Schumann’s Das Paradies und die Peri led by Alexander Shelley. Further highlights include a US concert tour of Handel’s Messiah with the Handel & Haydn Society conducted by Jonathan Cohen and Ravel’s Shéhérazade with the Jacksonville Symphony.

Amereau made her house and role debut as Dorabella in a new production of Mozart’s Così fan tutte conducted by Vladimir Jurowski for the Bayerische Staatsoper in 2022, going on to join the ensemble in Munich from the 23/24 season. For the Bayersiche Staasoper Amereau has created new productions as Zerlina in Mozart’s Don Giovanni, Cherubino Le nozze di Figaro, Amando in Ligeti’s Le Grand Macabre, Leda in Strauss’s Die Liebe der Danae, as well as Third Lady Die Zauberflöte.

Last season Amereau made her house debut as Olga in a new production of Tchaikovsky’s Eugene Onegin at the Royal Ballet & Opera, Covent Garden directed by Ted Huffmann. Elsewhere she appeared as Madrigal Singer Manon Lescaut for The Metropolitan Opera, Olga Eugene Onegin for Santa Fe Opera, Bradamante  Alcina for Hannover Staatsoper, Eduige Rodelinda at Opéra de Lille & Opéra de Lyon, Dryad Ariadne for Glyndebourne, Cherubino Le nozze di Figaro for Grand Théâtre de Genève, the title role in Bizet’s Carmen with the Jacksonville Symphony Orchestra, Serena Joy The Handmaid’s Tale for English National Opera, Ursule Béatrice et Bénedict for Seattle Opera as well as Page Salome for the Salzburg Festspiele.

In huge demand on the concert platform, Amereau’s engagements last season included Elgar’s Sea Pictures with the Cleveland Orchestra (Daniel Harding), Mozart’s Requiem with Boston Symphony Orchestra (Dima Slobodeniouk), Mahler’s Symphony No. 2 with Swedish Radio Orchestra (Daniel Harding), Mozart’s Requiem with Kansas City Symphony (Bernard Labadie), Bruckner’s Mass No. 1 with NDR Elbphilharmonie Orchestra (Ingo Metzmacher) and Handel’s Messiah with Boston Baroque.

Other recent highlights include her role debut as Marguerite Damnation de Faust with the Boston Youth Symphony Orchestra (Federico Cortese), Mozart’s Requiem with the Cleveland Orchestra (Franz Welser-Möst) & Barcelona Symphony (Trevor Pinnock), Bach’s Christmas Oratorio with Orchestre symphonique de Montréal (Leonardo García Alarcón), Caroline Shaw’s The Listeners with the Philharmonia Baroque Orchestra (Richard Egarr), Das Paradies und die Peri with the Czech Philharmonic Orchestra (Daniel Harding) and her Tanglewood Festival debut singing Berlioz’s Les Nuits D’été with Boston Symphony Orchestra (Dmitri Slobodeniouk). A regular interpreter of Handel’s Messiah, recent performances have included with the National Arts Centre Orchestra (Bernard Labadie), Handel & Haydn Society (Václav Luks), St Paul Chamber Orchestra (Paul McCreesh) and with Collegium 1704 (Václav Luks) for a European tour.

As a recording artist, Amereau appears as the Sorceress in Purcell’s Dido and Aeneas with La Nuova Musica for the Pentatone label and in Caroline Shaw’s The Listeners with the Philharmonia Baroque Orchestra on their own label. Avery’s first solo album of Handel arias with Nicholas McGegan and the Philharmonia Baroque Orchestra, selected as Editor’s Choice in Gramophone Magazine, was released in 2020 to huge critical acclaim.

Born in Flensburg, Germany, Dorothea Röschmann was a member of the Ensemble at the Deutsche Staatsoper Berlin where in 2017, having sung over 20 roles at the theatre, she was awarded the title of Kammersängerin. She returned in the 2024/25 season for her role debut as Emilia Marty/ Vec Markropulos in Claus Guth’s iconic production.

Other recent role debuts include the title role of Ariadne auf Naxos at the Edinburgh International Festival with Lothar Koenigs, recorded for Outhere Records (2022), and at Teatro Comunale di Bologna, and Isolde/ Tristan und Isolde at the Opera National de Lorraine, Nancy and last season in concert in Berlin.

She has been a frequent guest at the Salzburg Festival since her debut in 1995 singing Susanna with Nikolaus Harnoncourt. In 2016 she made her role debut as Desdemona/Otello at the Osterfestspiele. A t the Wiener Staatsoper, she has appeared as Susanna, Countess Almaviva, Donna Elvira, Marschallin and Jenufa.

Her many roles at the Bayerische Staatsoper, Munich include Zerlina, Susanna, Ännchen, Marzelline, Anne Trulove, Elvira, Rodelinda, her role debut as Alceste in 2019, and this season as Marcellina/ Le Nozze di Figaro and Marquise de Berkenfield/ La Fille du Regiment. Elsewhere in Europe she has appeared at the Semperoper Dresden (Elisabeth /Tannhauser, Desdemona /Otello), La Monnaie, Brussels, the Opéra Bastille Paris, and at the Royal Opera House, Covent Garden (Pamina, Fiordiligi, Countess, Donna Elvira and Desdemona). At Teatro alla Scala Milan she has sung Countess Almaviva, Florinda/Fierrabras, and Donna Elvira on tou r to the Bolshoi Theatre, Moscow with Daniel Barenboim.

In the U.S. she has appeared many times at the Metropolitan Opera as Susanna, Pamina, Elvira and Ilia, and sang the title roles of Handel’s Theodora and Purcell’s Dido at Carnegie Hall.

A prolific concert artist in the U.S., Asia and in Europe, last season she sang Tove/Gurre-Lieder with both Sir Simon Rattle / Symphonieorchester des Bayerischen Rundfunks and Rafael Payare / Montréal Symphony Orchestra, Schoenberg Erwartung with Patrick Hahn/Wiener Symphoniker and Shostakovich Aus Juedischer Volkspoesie with Patrick Hahn/Munchner Rundfunkorchester. Other recent highlights include Wesendonck Lieder with Karina Canellakis/Orchestre de Paris and with Kristiina Poska/Royal Stockholm Philharmonic; Schumann’s Faustszenen and Marie/ Berg’s Wozzeck with Daniel Harding/Berliner Philharmoniker. She has performed Strauss’s Vier letzte Lieder with Daniel Barenboim in Berlin, Daniel Harding in Milan, Antonio Pappano in Rome, Yannick Nézet-Séguin in Rotterdam and Zubin Mehta in Valencia.

She is a renowned recitalist and has sung with Daniel Barenboim at the Schiller Theater and Boulez Saal in Berlin, and with Mitsuko Uchida at the Lucerne Festival, on tour in the U.S., culminating in a recital at Carnegie’s Stern Auditorium, and at Wigmore Hall, the live recording of which won the Grammy for the Best Solo Vocal Album in 2017.

Recent appearances include Amsterdam’s Het Concertgebouw, the Wiener Konzerthaus and in Antwerp, Lisbon, Madrid, Barcelona, Cologne, Brussels, Oslo, Stockholm, Oxford, and at the Edinburgh, Munich, and Schwarzenberg Festivals.

Her extensive discography includes Pamina and Nannetta with Abbado; Strauss Vier letze Lieder with Nézet-Séguin; Brahms Ein deutsches Requiem with Rattle (winner of a Grammy and Gramophone Award); Mahler Symphony No.4 with Harding; Handel’s Neun Deutsche Arien with the Akademie für Alte Musik Berlin; Handel’s Messiah with McCreesh; Pergolesi’s Stabat Mater with David Daniels and Fabio Biondi and a disc of Schumann songs with Ian Bostridge and Graham Johnson. She has released two acclaimed CDs on the Sony C lassical label; in 2014, her debut recital album ‘Portraits’ with Malcolm Martineau, and in 2015, a greatly anticipated Mozart arias disc with Daniel Harding and the Swedish Radio Symphony Orchestra.

Canadian bass Robert Pomakov, hailed by Concerti.de for his “strong, pleasing, demonic singing,” brings commanding presence to the world’s leading stages. In the 2025–26 season, he returns to the Metropolitan Opera as Bonze (Madama Butterfly), the Canadian Opera Company as Frère Laurent (Roméo et Juliette) and Le Bailli (Werther), and sings the title role in Attila at Opernfestspiele Heidenheim. Recent highlights include Hagen (Götterdämmerung) and Fasolt (Das Rheingold) at Tiroler Festspiele and 5th Jew in the Met’s Salome.

Pomakov has appeared in over 20 productions at the Metropolitan Opera and is regularly engaged at the Canadian Opera Company. He has performed extensively across the US and Europe, performing at San Francisco Opera, Oper Frankfurt, Opernhaus Zürich, Opéra national de Paris, Houston Grand Opera, Lyric Opera of Chicago, and many more. Signature roles include Leporello, Méphistophélès, Monterone, Vodnik, and Alberich.

On the concert stage, he has collaborated with Yannick Nézet-Séguin, James Conlon, and Christoph Eschenbach, performing with the Toronto Symphony, National Arts Centre Orchestra, Orchestre Métropolitain, and at the Ravinia Festival in works including Beethoven’s Symphony No. 9, Mahler’s Symphony No. 8, Verdi’s Requiem, and Mozart’s Requiem.

A graduate of the Curtis Institute of Music, Pomakov is a prize-winner of Operalia, the Queen Elizabeth Competition, and the Belvedere Competition.

Angelo Moretti, a Canadian-Italian tenor from Toronto, made his professional debut in 2022 with the Opéra de Montréal as Ruiz (Il Trovatore). He has since performed on the Opéra de Montréal’s main stage as Don Basilio and Don Curzio (Le Nozze di Figaro), Gastone (La Traviata), and in the 2024–2025 season as L’Arithmétique and La Théière (L’enfant et les sortilèges) as well as Parpignol (La Bohème). Other roles include Nemorino (L’elisir d’amore) with the Orchestre symphonique de Drummondville and Remendado (Carmen) with the Orchestre symphonique de Trois-Rivières.

Recent engagements also include his debut as the tenor soloist in Handel’s Messiah with the Orchestre Classique de Montréal, the title role of Tito (La Clemenza di Tito) with the Atelier lyrique de l’Opéra de Montréal, and Don Ottavio (Don Giovanni) with the Opéra du Royaume in Saguenay, Quebec. In 2023, he won second prize at the National Capital Opera Competition in Ottawa, and in 2024, he was awarded third prize at Edmonton Opera’s Rumbold Vocal Competition.

After three formative years in Montreal, Angelo joins the Canadian Opera Company’s Ensemble Studio beginning in 2025–2026. He remains dedicated to evoking nostalgia through opera and intimate performances of Italian folk song.

Winner of the First Prize in Operetta at the 2017 International Singing Competition of Marseille and finalist at the 2019 New England Metropolitan Opera National Council, Geoffroy Salvas studied with Gabrielle Lavigne and later Aline Kutan at the Conservatoire de musique de Montréal. He then joined the Atelier lyrique of Opéra de Montréal as an artist-in-residence.

In 2019, he made his debut at Opéra de Toulon in the role of Mathieu (Andrea Chénier). Over the years, Geoffroy Salvas has sung roles such as Valentin (Faust), Don Giovanni (Don Giovanni), Morales (Carmen), Mercutio (Roméo et Juliette), Nero (Nero and the Fall of Lehman Brothers), the Viceroy (La Périchole), Frank (Die Fledermaus), as well as major concert works including Brahms’ Ein deutsches Requiem, Fauré’s Requiem, Orff’s Carmina Burana, Handel’s Messiah, Bach’s St Matthew Passion and St John Passion, and Schubert’s Winterreise.

His numerous collaborations with prestigious ensembles such as Opéra de Montréal, Orchestre symphonique de Montréal, Opéra de Québec, and Pacific Opera Victoria have allowed him to build solid stage experience over the years. Geoffroy Salvas has worked under the baton of Yannick Nézet-Séguin, Kent Nagano, Rafael Payare, Clelia Cafiero, Mélanie Léonard, Masaaki Suzuki, Paul McCreesh, Jacques Lacombe, Jean-Marie Zeitouni, and Nicolas Ellis.

Among his recent and upcoming engagements are Marcello (La Bohème) at Opéra Grand Avignon, Germont (La Traviata) at La Seine Musicale in Paris; Masetto (Don Giovanni) and Bobinet (La vie parisienne) at Opéra de Québec, and Poulenc’s Le bal masqué with Camerata-RCO (members of the Royal Concertgebouw Orchestra of Amsterdam).

Carole-Anne Roussel is a Quebec-born soprano, admired for the purity and flexibility of her voice as well as her natural stage presence. A finalist and laureate of the 2023 Queen Elisabeth Competition in Belgium and recipient of the prestigious Prix d’Europe in 2021, she is a young artist on a remarkable rise. In recent years, she has been an artist-in-residence at the Queen Elisabeth Music Chapel in Belgium under the mentorship of José Van Dam and Sophie Koch. Carole-Anne has performed alongside the Orchestre symphonique de la Monnaie, the Orchestre royal de chambre de Wallonie, the National Orchestra of South Korea, the Orchestre symphonique de Québec, the Appassionato Orchestra, and many other ensembles. She has appeared in Canada, Chile, Belgium, Italy, and Greece, and is highly active on Quebec stages.

Over the past three years, Carole-Anne Roussel has sung as a soloist with the Orchestre symphonique de Québec in Mahler’s Symphony No. 4, with the Orchestre royal de chambre de Wallonie in Britten’s Les Illuminations, with the Appassionato Orchestra in Barber’s Knoxville: Summer of 1915 and Mendelssohn’s A Midsummer Night’s Dream, with the Vlaams Radiokoor in Dvořák’s Stabat Mater, and at the gala Les mots/maux d’amour at Opéra de Québec under the baton of Jean-Marie Zeitouni. She has also performed with the National Orchestra of South Korea, the Orchestre de la Monnaie, the Orchestre de l’Estuaire, the Orchestre symphonique de Lévis, the Orchestre symphonique de la Côte-Nord, the Orchestre symphonique des jeunes de Montréal, Camerata Universidad Andres Bello, Casco Phil, the MUCH Ensemble, and the Chœur des Rhapsodes. She is also very active within several organizations in Quebec, including Tempêtes et Passions, La Relève Musicale de Québec, and Ensemble Renouveau.

Carole-Anne is a scholarship recipient of the Prix d’Europe, the Conseil des arts et des lettres du Québec, the Hans-Jürgen Greif Foundation, the Sandra and Alain Bouchard Foundation, the AIDA Fund of Jeunesses Musicales Canada, and the Borgerhoff Fund in Belgium. She is distinguished by her perseverance, precision, attention to detail, and authenticity.

Since graduating from the National Theatre School of Canada in 2008, Mani Soleymanlou has been a highly active actor on the Montreal stage. He has appeared in several acclaimed theatrical productions such as Projet Andromaque (Serge Denoncourt), L’Opéra de Quat’sous (Brigitte Haentjens), and Les trois mousquetaires (Serge Denoncourt).

In 2011, Mani founded Orange Noyée, a creative company through which he writes, directs, and performs. He created the identity-themed triptych: UN, DEUX, and TROIS. After Montreal, the trilogy was staged in Paris with 40 performers. Mani then launched a new cycle with Ils étaient quatre, Cinq à sept, Huit, and Neuf (working title), concluding with his solo piece ZÉRO. He later presented a new version of Un. Deux. Trois. during Théâtre Jean Duceppe’s 2022 season, followed by a months-long tour across Canada. His 2023 was also marked by theatre: he directed Mille at the Quat’sous and returned to the stage at Théâtre du Nouveau Monde, forming an electrifying Laurel and Hardy duo with Luc Bourgeois in Abraham Lincoln va au théâtre, directed by Catherine Vidal. Since 2021, Mani has served as Artistic Director of the French Theatre at the National Arts Centre in Ottawa.

On screen, he can be seen in the series M’entends-tu?, Virage, C’est comme ça que je t’aime, and Corbeaux. Mani also plays one of the lead roles in Avant le crash, the Radio-Canada series written by Éric Bruneau and Kim Lévesque-Lizotte, and portrays Victor in the dark series In Memoriam.

He also appears in feature films such as La femme de mon frère (directed by Monia Chokri), Une langue universelle by Matthew Rankin, Mlle Bottine by Yan Lanouette Turgeon, and, more recently, Deux femmes en or by Chloé Robichaud.

Theatre gives Madeleine her momentum in the artistic world. First at Théâtre du Quat’Sous in the play À quelle heure on est mort, directed by Frédéric Dubois. Then at Théâtre Denise-Pelletier in Brillante, written and directed by Clara Prévost. In 2023, ROME, directed by Brigitte Haentjens, offered her a unique vision of the character of Cleopatra, from whom she draws great freedom. She is also part of the casts of UN DEUX TROIS (a cross-Canada tour) and Classique(s) (Théâtre du Nouveau Monde) by Mani Soleymanlou. During her training at the National Theatre School (2020), she met Catherine Vidal for the first time, and they reunited a few years later for the adaptation of La Mouette at Théâtre Prospero. In winter 2026, she will appear in Boîte Noire, directed by Justin Laramée at Théâtre Duceppe.

A fiction fan since childhood and always seeking versatility, she also divides her career between film and television. She can be seen in the series Cerebrum, Indéfendable, and Toute la vie, as well as in the films Frontières and Les jours heureux, and soon in Nervures by Raymond Saint-Jean.

Madeleine trained in voice in 2023 and has since fulfilled her desire for versatility by working on several voice-over, dubbing, and advertising projects.

Oriol Tomas is a director of circus, opera, theatre, and gala productions. In recent years, he has collaborated artistically with companies that merge creativity and technology to deliver multisensory experiences, blending contemporary dance, acoustic or electronic music, and video mapping.

In 2024, he notably directed his new creation with Cirque du Soleil, Sublim, in the Principality of Andorra; Verdi’s La Traviata for the Opéra de Massy in Paris; and Alt-Escape, a multimedia performance by the Vidéo Phase team, presented as part of the Seine Canada Festival during the Paris Olympic Games.

Oriol Tomas staged Sauguet’s Les Caprices de Marianne in about fifteen opera houses across France. This production earned him the 2015 Claude Rostand Grand Prize for Best Lyric Performance, awarded by the French Critics’ Union for Theatre, Music, and Dance.

In recent years, he has signed numerous creations and productions on the international stage, including Festa with Cirque du Soleil in Andorra in 2023; Verdi’s La Traviata at the Icelandic Opera in collaboration with Normal Studio; Mozart’s Don Giovanni at the Opéra de Tours and Opéra de Reims; Gershwin’s Porgy and Bess with the Orchestre Symphonique de Montréal; Ian Gordon’s Twenty-seven at Opéra de Montréal; and Beethoven’s Leonore for Opéra Lafayette in Washington, D.C., and New York. He has also worked with the Festival d’Opéra de Québec, Edmonton Opera, Manitoba Opera, Pacific Opera Victoria, Casino de Montréal, Conseil Québécois de la Musique, Les 7 Doigts, Circo de Bakuza, Centaur Theatre, Jeunesses Musicales Canada, Orchestre Métropolitain, and many others.

In addition to holding a Master’s degree in opera directing from the École Supérieure de Théâtre at the Université du Québec à Montréal, he is also a graduate in theatre performance. He serves on several juries and teaches acting techniques to singers at the Atelier Lyrique of Opéra de Montréal, Université de Montréal, Université d’Ottawa, Conservatoire de Musique de Montréal, Domaine Forget Music Academy, Pacific Opera Victoria’s Young Artist Program, and the Folyestivale in Montréal.