“The true standout of the evening was Sébastien Guéze’s Romeo. Guéze is an up-and-coming tenor from France and he has a spectacular voice with a crystal clear upper register. His voice has a power and beauty that is rarely heard.
Roméo is a difficult role to sing demanding a strong control of the upper register and the ability to go from forte to pianissimo on the high B-flats. Guéze handled this deftly and beautifully.”
“The most Promising french tenor of the new generation.
Fresh voice and passionate acting made for a thrilling performance.” (Bettina Mara)
“Effervescent, natural and energetic, French tenor Sébastien Guèze is a rising young star in the international opera scene.” (Sebastian Spreng)
Sébastien Guèze, a charismatic bundle of energy as Rodolfo, proved very well that he was one of the warm and caring sort in an immaculately-wrought “Che gelida manina”.When they came together for “O soave fanciulla”, they erupted wonderfully.” (Richard Wilcocks)Read moreAfficher moins
“Sébastien Guèze turned out to be marvellous… he gave himself completely to the lyric and the passion that Gounod had ment for him. The start of the balcon scène was built out terrificly by Guèze, using soft half tones….the loving interaction between both was beautiful to look at.” (Peter van der Lint)
Best of Critics Romeo, Rodolfo - September 2017
BIOpera : Essay on the future of opera facing social-ecological issues. Available in french on these links, at Symetrie editions also online at Apple book or Google book.
The BIOpera proposes to do the Opera a place where Art symbolizes a desirable future by responding to social issues and the climate challenge:
Listen to the expectations of the younger generations while achieving carbon neutrality by 2030.
More than 30 proposals for theaters, artists, agents, cities… and our Ministers of Culture and Ecology.
Culture has a double responsibility : to open up to the world without contributing to endangering it!
Let’s launch the debate and work together to protect ourselves against future legislation and crises!
Interview Radio France Musique
Interview in English Passionnement Le Blog with Sebastien Gueze, a comitted tenor
“Opera, like all the arts, represents for me the best way to question the world in which we live and to question our own trajectory. It is for those reasons that we must be exemplary, forward-thinking, and symbolic. It is also for these same reasons that a public policy financed by taxes must be offered to as many people as possible. Even if it means going out to meet the populations and go out of our walls”.
Sebastien Gueze is a tenor with an international career and has interpreted nearly 50 roles, played in 80 productions, for 400 performances. Graduated from the Conservatoire National de Paris, he is a specialist in the French and Italian romantic repertoire, and has performed in many emblematic lyrical stages: the The?a?tre des Champs-Elysees, the Opera-Comique, the Semperoper de Dresden, La Monnaie from Bruxelles, The Massimo Theater in Palermo, the Metropolitan Opera, etc. This international career made him Chevalier des Arts et des Lettres in 2021.
In addition to his passion for the Opera, this year, Sebastien Gueze has become a key player in the ecological transition of the Opera. Gratuated from a master degree in international business, a university degree in materials science and engineering and from a Corporate Social Responsibility training, he is fully committed to environmental and societal issues that the Opera, like any other institutions , have to face.
He agreed to meet with me for an interview to review his career and talk about his commitments, which he recently summarized in an essay entitled BiOpera: Un futur pour l’Ope?ra?
Happy reading everyone.
How did you discover the Opera ?
Sebastien Gueze : « I discovered the world of opera quite late, around 18 years old. At the time, I was still studying in University, and it was not until the evening that I was going to the conservatory, where I finally found my place. For several years, I conciled my studies and the conservatory (where I practiced singing). When I finished university, my singing teacher encouraged me to fully dedicate myself to music. I tried the competitive exam for the Conservatoire National Superieur de Paris, where I was able to do music full time for four years. Then, I did the international Operalia competition from which I came out with two prizes: an audience prize and a second prize. It opened doors to an international career, which has lasted for already fifteen years.».
You are particularly committed to the subject of ecology and recently published the book “BIOpera” in which you make numerous proposals adapted to opera, in order to support it in the ecological transition. Where did this idea and this sensitivity for the subject come from?
SB : « I have never been indifferent to these issues insofar as I grew up in Arde?che being close to nature and because at the beginning of my university studies I followed a scientific course, centered on materials and recycling. However, my teaching subsequently turned more towards communication and marketing. Then, I admit that at the beginning of my career, I first surveyed the world without really considering my contribution to climate change and wondering about the subject, despite my awareness in higher education in eco -responsibility.
Since I am a curious person, I have always sought to know how to bring certain universes and issues to music. Therefore, I am not only committed to the subject of ecology, but also to the access to opera for distant audiences or even gender equality, which I speak about in my essay. So, it is naturally that I began to wonder how to reconciliate sustainability and opera.
There is, in the opera world in particular, a certain duality, in the sense that I sang on stage “Oh nature full of grace” in Werther while traveling the world by plane. At the end, I asked myself how to approach my art through societal and environmental issues. In this regard, the first lockdown was decisive as it highlighted the fact that our work could be in danger overnight. Therefore, after months of reflection BiOpera was released. Its goal is not to judge the practices, but rather to say to oneself “now, what do we do? “. I think that like any citizen, we must ensure that everyone do their part in the ecological transition (as in other social issues). This is why I chose to take part in this reflection on an environment that I am familiar with, because I know what we are capable of as artists. The idea is to get out of the mindset “do as I say but not what I do” by applying the recommendations to ourselves “.
« The cultural sector does not know much about its carbon footprint, and therefore, the levers on which it must act. ” Extract from: Sebastien Gueze. « Biopera. »
Can you tell us more about your essay BiOpera ?
SB : « It is true that the Opera is a very polluting industry, but it is ultimately quite difficult to know on which aspects and to what extent, in order to act effectively. Much work on ecological transition has been published, but the Opera needed specific proposal. Thus, the idea of BIOpera is to have very short paragraphs, which convey an idea, and give concrete actions”.
« The aim of this writing is above all to not reduce the creativity. On the contrary, it is about stating that an exciting new page opens for us, a time when the art of opera will simply and fully listen to the planet» Extract from: Sebastien Gueze. « Biopera. »
You set a lot of quantified objectives in your report: 80% ecological mobility, 100% recycling of decorations, “Club of 5 women” etc. What is the process?
SB : « This essay effectively proposes to quantify the change. In all the discussions I have had on the evolution of operas, the issue was “if there are no goals, nothing happens”. Thus, I think that giving numbers encourages more action, by giving a more precise idea of the objectives to be achieved. This can certainly be questionable in the case of quotas for female guest artists for example, but the problem is that in the meantime, if we do not give a figure to be reached, many houses are stagnant. Putting a number may seem reductive, but we can see that without it, women remain in the minority and it is no longer acceptable.
The idea of numbers is also to meet other non-binding targets. For example, CSR (Corporate Social Responsibility) brings good ideas, but it can only remain at the awareness stage. For example, Total company has adopted a CSR approach, despite a recent scandal in which, as early as 1971, it knew that its activities were directly responsible for climate change.
For me, the idea is to act in conscience, in the right orders of magnitude. There is for this only one way: to carry out carbon balances to target and organize actions that truly weigh. Eliminating single-use plastic in offices is of course an ecological step, but it is not the action that will allow us to divide by 4 or even 5 our greenhouse gas emissions in the next decade. We are out of time. We must act effectively.
For opera, the data depends on the house, but the most polluting dimensions relate to energy consumption, artists’ movements, public mobility, production of the work (sets, costumes , accessories…). It is therefore on these 4 positions that the effort must be gigantic, the goal being to find ideas to address these issues».
« Having to measure and state is already an invitation to reduce. Making your results visible is an effective way to become aware of your impact and therefore to look for ways to reduce it. “Count to know, know to act, act to reduce »… » Extract from Sebastien Gueze. « Biopera. ».
What would be tomorrow’s programming in your opinion?
SB : « Well, in the production of works, we would use a transitional scenography, a collection program and efficient travel. The goal is not to close in on the world, but to do without harming it.
The programming of tomorrow would therefore look like this: when we call a director to do Carmen for example, we also call him to do another opera, so that there is a more global conception with a reusable scenography and that the artists don’t just come for one opera. We can imagine partnerships with the theater or dance compagnies to play the same theme in the same setting on lyrical off evenings, etc. We must optimize the possibilities. Mechanically, we would drastically reduce our emissions and that would not change the heart of our businesses. In addition, if we optimize the cost of a scenography and travel, we can even help to make more performances.
Through this essay I am convinced that it does not necessarily have to be opulent. For example, in the last Carmen I did, the last scene was pure and beautiful without having huge sets. I think we need big ideas rather than big sets.
However, I do not want to remove the big sets, on the contrary. It is just a matter of not systematizing the use of opulent decors. And, in case we do, we have to ask ourselves the question afterwards: what do we do with this setting? Why not use it in part for another work rather than storing it for years in containers? What is its economic and ecological costs? It’s not about limiting our profession, just rethinking it. Drawing a line of acceptability and collusion with the public who must help us do this ».
Many are those who oppose the model of star system to the stock system constituted by the permanent troops, but you propose in your essay a hybrid solution: the quarterly troop. Can you tell us more?
SB : « It is true that we tended to forget the carbon cost of the star system, which consists in bringing artists from all over the world for a production; this is a question we never really asked ourselves. However, this does come at a cost for the planet. It’s not necessarily about banning this system, because the permanent troop system like in Germany also has its limitations, but it’s about getting around better first. Getting around better means that on the one hand, in countries where it is less possible to travel by train, imagine alternatives such as castings reducing their cumulative flight hours or a temporary ensemble. On the other hand, for the artists who must take the plane, it is not a question of inviting them less but rather of inviting them better and thinking of other ways to involve them in addition to one production so that the carbon cost of their arrival is profitable. This hybrid solution is also a way to preserve diversity for the public and opportunities for artists. ».
« Each quarter, a different artistic team takes over the theater. The team is dedicated to this period under the supervision of a director or a choreographer, a conductor, artists, through a modular decor that hosts those different programs ( operas, ballets, concerts…). The module is shared for at least 3 productions such as an artistic cooperative where previously one to two was played over the same period » Extract from: Se?bastien Gue?ze. « Biopera. »
Some actors of performing arts fear that their jobs are threatened by this ecological transition. What is your take on the matter?
SB : « Resources are increasingly scarce and make us dependent. If we start today to find low-carbon models and alternatives, we will come out of this crisis emancipated. We have no choice, the IPCC figures are clear, we are already affected by climate change and it will get worse if we do nothing. The more dependent we are, the more fragile we get. So I think it is in our interests to anticipate this change and make positive transformations from it while preserving our jobs, rather than endure it head-on in a few years. Today, arbitrating our decisions through the prism of an Organic Opera is to rethink our industry and our ability to produce shows in a more respectful and sober way. It is to be more agile if tomorrow we must face another health crisis or something like that. It means being ready for future challenges by promoting collective security ».
What are the failures / mistakes that have taught you the most?
SB: « I have a great career; I’m not complaining about anything. Since the beginning, I let myself be carried away by artistic proposals without taking the time to question them. Today, because I conducted this research and wrote this BIOpera essay, I want to give more meaning to my artistic and career choices. Maybe this is what we call maturity! »
Can you tell us about one of your best experiences on stage?
SB: « I will remember several but they all have one thing in common: the time that hangs on a note, this moment when the whole room holds its breath, it is a magical sensation that we seek every evening but which cannot be explained. It chooses its moment. It’s a whole, an osmosis. The chemistry of a cast is often the key, which is why I love to serve my partners on stage. If they are in the best shape, I will be better at expressing my emotions ».
What does Opera represent for you?
SB : « Opera, like all the arts, represents for me the best way to question the world in which we live and to question our own trajectory. It is for those reasons that we must be exemplary, forward-thinking, and symbolic. It is also for these same reasons that a public policy financed by taxes must be offered to as many people as possible. Even if it means going out to meet the populations and go out of our walls”.
« Culture is a symbol of openness, it is not a matter of closing borders but of thinking differently about circulation and intercultural exchanges » Extract from: Sebastien Gueze. « Biopera. » Apple Books.
Your upcoming projects and news?
« Like all artists, my news has been a roller coaster since the pandemic, I go where I am wanted and this essay is also a call to directors to “reduce our radius of dependence”. I therefore recommend reading BIOpera’s proposals to initiate this change.
In addition to my return to France with Madama Butterfly in Angers, Nantes and Rennes, I am associated with the work of the Shift Project, the Arviva association and the New Aquitaine Cultural Rights Laboratory.
Finally, I am organizing the creation of a collective of artists and creatives around BIOpe?ra to be the source of innovative projects and programs as they are carbon-free. The goal is to address as quickly as possible to the new generations who go up to the school strike to save their future, and to say to them “Come to the opera, here you can dream of another world while at the same time protecting it”.
BIOpera (essay) - October 2021
Chopin, Liszt, Puccini, Rachmaninov, Strauss, Dvorak, Massenet, Mascagni, Rodrigo, Tosti… From lullabies to popular melodies, the french tenor Sébastien GUEZE offers a musical ballad rich in emotions that led him to the Opera. Accompanied by renowned talents such as the ZAIDE Quartet, guitarist Emmanuel ROSSFELDER, pianist Qiaochu LI, flutist Jean FERRANDIS, harpist Daphné DE DRIESEN, clarinettist Joë CHRISTOPHE, and some arrangements by the composer Camille PEPIN.
NEW CD Album - October 2019
“I am always interested in seeing how each opera company that I am visiting is managed. What the political vision to develop new audiences is; the cultural actions to share art with the new generation; how the director is considering his team and artists to enhance the chemistry for the productions… For me these are the keys for an unforgettable show. How the theater works to improve the philanthropy… It’s very important for me that as much as possible people come to the theater, and to have a theater with open doors, giving the pulse to the city like its heart.”
Opera Lively - Luiz Gazzola - October 2015
“Dans un même décor, il suffit de changer ne serait-ce que de partenaire pour que le spectacle ne soit plus le même. Tout est question d’échanges et d’écoute sur scène. En revanche, sur le plan vocal rien ne s’efface, l’expérience s’accumule et votre voix évolue autant naturellement que par votre travail sur l’homogénéité et la musicalité. Je me suis toujours dit que j’atteindrais ma maturité vocale vers quarante ans. Je considère cet âge comme une sorte de période clé et je travaille en ce sens.”
Interview by Philippe Banel - October 2014
Charter for Artists – BIOpera
For all artists, to inspire the best future to our Art. Available to translate.
BIOpera - Charter of Artists - March 2022
“When you are on stage and the time is suspended, stopped, you can do everything. You feel the maestro and the orchestra totally with you; the audience in a beautiful silence of listening. That’s magic, and I think that’s why people love opera so intensely when they taste these kinds of moments!”
Interview by Joseph Newsome - December 2012
All the Career
Venues – Roles – Chronology
La Fenice Venezia, Semperoper Dresden, Grand Théâtre de Genève, La Monnaie De Munt Brussels, Roma Santa Cecilia, Paris Opera Comique, Théâtre des Champs Elysées Paris, Miami Florida Grand Opera, Essen Alto Theater, Long Center Austin Opera, Palau de les Arts Reina Sofia Valencia, Opera de Marseille, Opera de Bordeaux, Teatro São Pedro São Paulo, Opera de Nuevo León Mexico, Theatr Wielki Warsaw… Concertgebouw Amsterdam, Oji Hall Tokio, Walt Disney Concert Hall Los Angeles, Salle Pleyel Paris, Grand Hall Philharmonia Saint Petersburg… Festival des Chorégies d’Orange, Festival de Spoleto (Italie), Festival de Schwetzingen, Festival de Nuremberg, Festival de Radio France, Festival “Un violon sur le sable”, Festival International des Arts d’Harare (Zimbabwe), Festival des Alizés Maroc…
La Bohème – Rodolfo (15 productions: La Fenice Venezia, La Monnaie Brussels, Köln, Athens, Austin Texas, Helsinki Finland, Liège Belgium, Dessau, Vichy, Saint-Etienne, Vilnius, Leeds, Manchester, Wiesbaden, Bordeaux)
La Traviata – Alfredo (4 productions: Dresden Semperoper, La Monnaie De Munt Bruxelles, Theatr Wielki Warsaw, Louisville USA)
Roméo et Juliette – Romeo (3 productions: Miami, Amsterdam, Monterrey Mexico)
Faust – Faust (3 productions: Pampelune Spain, Reims, Toulon France)
Madama Butterfly – Pinkerton (3 productions: Avignon, Festival de Chartres, Festival Musiques au Coeur Antibes)
Rigoletto – Il duca (2 productions: Mantova Italy, Guadalajara Mexico)
Les Contes d’Hoffmann – Hoffmann (2 productions: Hessisches Staatstheater Wiesbaden, Bonn Oper)
L’Elisir d’amore – Nemorino (São Paulo, Brazil)
Les pêcheurs de perles – Nadir (Strasbourg Mulhouse Opera du Rhin)
Pelléas et Mélisande – Pelléas (Opéra de Nice, Rhin)
Wer et Mélisa Rhin)
Adriana Lecouvreur – Maurizio (Saint Etiennes, France)
Werther – Title role (Metz Metropole, Massy, Reims, France)
Manon – Chevalier des Grieux (Marseille, France)
2019: WERTHER, Jules Massenet, conductor Guillaume Tourniaire, stage Rosetta Cucchi, La Fenice, Venezia (Italy)
2018 : MANON, Jules Massenet, role Des Grieux, conductor Julius Geniušas, stage Vincent Boussard, Lithuanian National Opera, Vilnius (Lithuania)
2018: CREATION “Nous sommes éternels” role Dan, composer Pierre Bartholomée, libretto Pierrette Fleutiaux, conductor Patrick Davin, stage Vincent Goethals
2018: CARMEN, Bizet, role Don José, conductor John Fiore, stage Reinhild Hoffmann, Grand Théâtre of Geneva
2018: ADRIANA LECOUVREUR, Cilea, role Maurizio, conductor Fabrizio Maria Carminati, stage Davide Livermore, Saint-Etiennes (France)
2017: LES CONTES D’HOFFMANN, Offenbach, Dresden Semperoper and Freiburg (Germany)
2017: FAUST, Gounod, Wroclaw (Poland) and Vilnius (Lituania)
2017: CYRANO, Di Chiera, role Christian, Detroit and Charlotte Opera Carolina (USA)
2017: WERTHER, Massenet, conductor David T. Heusel, stage Paul-Emile Fourny, Metz Metropole, Massy, Reims (France)
2017: LA BOHEME, Puccini, conductor Paolo Arrivabeni, stage Matthias Hartmann, Grand Théâtre of Geneva
2016: The Tales of Hoffmann by Offenbach, Essen Aalto theater (Germany)
2016 : Jérusalem by Giuseppe Verdi, role Gaston, conductor Will Humburg, stage Francisco Negrin, Opera Bonn, Germany
2016 : Le Roi d’Ys by Edouard Lalo, role Mylio, conductor José Luis Dominguez, stage Jean-Louis Pichon, Opéra Théâtre de Saint Etienne, Saint-Etienne, France
2015 : Rigoletto by Giuseppe Verdi, role il Duca, conductor Marco Parisotto, stage Ragnar Conde, Teatro Degollado Guadalajara, Mexico
2015 : Manon by Jules Massenet, role Des Grieux, with Patrizia Ciofi, conductor Alexander Joel, stage Renée Auphan / Yves Coudray, Opera Municipal de Marseille, France
2015 : Les Contes d’Hoffmann by Jacques Offenbach, role Hoffmann, conductor Hendrik Vestmann / Johannes Pell, stage Renaud Doucet / André Barbe, Opera Bonn, Germany
2015 : Les Mousquetaires au couvent by Louis Varney, role “Gontran de Solanges” stage Jérôme Deschamps, conductor Laurent Campellone, Opéra Comique, Paris, France
2015 : Les Contes d’Hoffmann by Jacques Offenbach, role Hoffmann, conductor Michael Helmrath, stage Jakob Peters-Messer, Opera Staatstheater Wiesbaden, Germany
2014 : Romeo et Juliette by Charles Gounod, role Roméo, conductor Guido Maria Guido, stage Raúl Falcó, Opera de Nuevo León Monterrey Mexico, Mexico
2014 : Un Amour En Guerre by Caroline Glory, role Jacques, conductor Jacques Blanc, stage Patrick Poivre D’Arvor, Opera de Metz, France
2014 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Zsolt Hamar, stage Thorleifur Örn Arnarsson, Opera de Wiesbaden, Germany
2014 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Paul Daniel, stage Laurent Laffargue, Opera National de Bordeaux, France
2014 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Andreas Delfs – Ilyich Rivas, stage Phyllida Lloyd – Michael Barker-Caven, Opera North Leeds Manchester, England
2014 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Gintaras Rinkevicius, stage Dalia Ibelhauptait?, Vilnius City Opera, Lituania
2014 : Concert Opera Gala Saint Petersburg Philharmonia, with Julia Novikova, conductor Jean Ferrandis, Grand Hall Philharmonia Saint Petersburg, Russia
2013 : Madama Butterfly by Giacomo Puccini, role Pinkerton, with Ermonela Jaho, stage Mireille Laroche, conductor Alain Guingual, Opéra d’Avignon
2013 : Les Mousquetaires au couvent by Louis Varney, role “Gontran de Solanges” stage Jérôme Deschamps, conductor Philippe Béran, Opéra de Lausanne
2013 : Dialogues des carmélites by Francis Poulenc, role “Chevalier de La Force”, with Hélène Guilmette, Sabine Devieilhe, stage Christophe Honoré, conductor Kasushi Ono, Opéra national de Lyon
2013 : Les pêcheurs de perles by Georges Bizet, role Nadir, conductor Patrick Davin, stage Vincent Boussard, Opéra de Strasbourg, France
2013 : Le Roi d’Ys by Edouard Lalo, role Mylio, conductor Patrick Davin, Opéra-Comique Paris
2013 : La Traviata by Giuseppe Verdi, role Alfredo Germont, stage Andreas Homoki,conductor Julian Kovatchev, Semperoper Dresden
2013 : Pelléas et Mélisande by Claude Debussy, role “Pelléas”, conductor Philippe Auguin, stage René Koering, Opéra de Nice
2012 : La Traviata by Giuseppe Verdi, role Alfredo Germont, conductor Ádám Fischer, stage Andrea Breth, Théâtre royal de la Monnaie
2012 : La Bohème by Giacomo Puccini, role Rodolfo, stage Claude Stratz, Opéra de Vichy, France
2012 : L’elisir d’amore by Gaetano Donizetti, role Nemorino, stage director Walter Neiva, conductor Emiliano Patarra, Opéra Teatro São Pedro São Paulo, Brésil
2012 : Romeo and Juliet by Charles Gounod, role Roméo, conductor Joseph Mechavich, stage David Lefkowich, Florida Grand Opera, Miami, United States
2012 : Faust by Charles Gounod, role Faust, conductor Dominique Trottein, stage Paul Emile Fourny, Opéra de Reims, France
2012 : La Chartreuse de Parme by Henri Sauguet, role Fabrice del Dongo, conductor Lawrence Foster, stage Renée Auphan, Opéra municipal de Marseille, France
2011-2012 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Antony Hermus, stage Roman Hovenbitzer, Anhaltisches Theater, Germany
2011 : Faust by Charles Gounod, role Faust, conductor Antony Hermus, stage Paul Emile Fourny, Opéra de Toulon
2011-2012 : La Grande-duchesse de Gérolstein de Jacques Offenbach, role Fritz, conductor Cyril Diedrich, stage Omar Porras, Opéra de Lausanne, Switzerland
2011 : “Amelia al ballo” by Gian Carlo Menotti, role L’amante, conductor Plácido Domingo, stage Jean Louis Grinda, Palau de les Arts Reina Sofia, Valencia, Spain
2011 : “Amelia al ballo” by Gian Carlo Menotti, role L’amante,conductor Johannes Debus, stage Giorgio Ferrara, Festival dei due mondi Spoleto Italia
2011 : “Cyrano de Bergerac” by David DiChiera, role Christian, conductor Mark Flint, stage Bernard Uzan, Florida Grand Opera, Miami, United States
2011 : La Bohème de Giacomo Puccini, role Rodolfo, conductor Juraj Val?uha et Matteo Beltrami, stage Francesco Micheli, Venise La Fenice, Italy
2011 : La Bohème de Giacomo Puccini, role Rodolfo, direction musicale de, mise en sène de, Opéra Helsinki Finland
2010 : La Bohème de Giacomo Puccini, role Rodolfo, conductor Carlo Rizzi, stage Andreas Homoki, Théâtre royal de la Monnaie
2010 : La Bohème de Giacomo Puccini, role Rodolfo, conductor Paolo Arrivabeni et Andriy Yurkevych, stage Jean-Louis Pichon, Opéra Royal de Wallonie, Liège, Belgium
2010 : Lodoïska de Luigi Cherubini, role Floreski, conductor Jérémie Rhorer, TCE Théâtre des Champs-Élysées Paris, Venise La Fenice, Accademia Nazionale di Santa Cecilia, Roma, Italy
2010 : “Andromaque” by André Ernest Modeste Grétry, role Pyrrhus, conductor Hervé Niquet, stage Georges Lavaudant, Festival de Montpellier, Festival de Schwetzingen, Palais des Beaux-Arts (Bozar) Bruxelles
2010 : Madama Butterfly by Giacomo Puccini, role Pinkerton, conductor Pierre-Michel Durand, stage Jean-François Vinciguerra, Festival de Chartres
2010 : Rigoletto by Giuseppe Verdi, role il Duca, conductor Zubin Mehta, stage Marco Bellocchio, Mantoue
2010 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Laurent Campellone, stage Jean Louis Pichon, Sylvie Auget, Opéra-théâtre de Saint-Étienne, France
2010 : “Andromaque” by André Ernest Modeste Grétry, role Pyrrhus, conductor Hervé Niquet, stage Georges Lavaudant, Festival of Schwetzingen
2010 : La Traviata de Giuseppe Verdi, role Alfredo Germont, conductor Miguel Gomez-Martinez, stage Mariusz Treli?ski, Wielki Theater, Warsaw, Poland
2010 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Karytinos, stage Graham Vick, Greek National Opera of Athens
2009-2010 : Marius et Fanny de Vladimir Cosma, role Marius, conductor de Dominique Trottein, stage Jean-Louis Grinda, Opéra d’Avignon
2009 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Alexander Joel, Stage Director Willy Decker, Opera Koln, Germany
2009 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Richard Buckley, Stage Director Garnett Bruce, Opera Long Center, Austin, Texas, États-Unis
2009 : “Andromaque” by André Ernest Modeste Grétry, role Pyrrhus, conductor Hervé Niquet, Paris
2009 : Marius et Fanny by Vladimir Cosma, role Marius, conductor Jacques Lacombe, stage Jean-Louis Grinda, Opéra municipal de Marseille
2009 : La Traviata by Giuseppe Verdi, role Alfredo Germont, conductor Kelly Kuo, stage James Marvel, Opera Louisville, Kentucky États-Unis
2009 : “Mireille” by Charles Gounod, role Vincent, conductor Cyril Diedrich, stage Robert Fortune, Opéra municipal de Marseille
2009 : Faust by Charles Gounod, role Faust, conductor Vincent Monteil, stage Opéra de Pampelune, Espagne
2009 : La Périchole by Jacques Offenbach, role Piquillo, conductor Pablo Heras-Casado, stage Omar Porras, Opéra national de Bordeaux, France
2008 : Le Roi d’Ys by Edouard Lalo, role Mylio, conductor Patrick Davin, stage Jean-Louis Pichon, Opéra royal de Wallonie, Liège, Belgium
2008 : Madama Butterfly by Giacomo Puccini, role Pinkerton, stage Ève Ruggiéri, Festival Musiques au Cœur d’Antibes
2008 : Romeo and Juliet by Charles Gounod, role Roméo, conductor Giuliano Carella, Radio Kamer Filharmonie, Concertgebouw Amsterdam
2008 : La Bohème by Giacomo Puccini, role Rodolfo, conductor Karytinos, stage Graham Vick, Opéra d’Athènes, Grèce
2008 : Salammbô by Ernest Reyer, role de Schahabarim, conductor Lawrence Foster, stage Yves Coudray, Opéra municipal de Marseille, France
2007 : Djamileh by Georges Bizet, role Haroun, conductor Miquel Ortega, stage Pierre Jourdan, Théâtre Impérial de Compiègne
2007 : Eugene Oneguin by Piotr Ilitch Tchaïkovski, role Lensky, stage Emmanuelle Cordoliani, Paris Cité de la musique CNSMDP
All roles - August 2018