Ludovic Tézier

Puccini’s evergreen paean to young love and the bohemian life has captivated generations of Met-goers through Franco Zeffirelli’s iconic production. Movie theater audiences for the high-definition transmission of this staging got to see it with fresh eyes in a touching performance starring Angela Gheorghiu and Ramón Vargas as the frail seamstress and her poetic lover.

Werther loves Charlotte, but she promised her mother on her deathbed that she would marry Albert. After the marriage Charlotte suggests that Werther should travel - but not forget her. In addition to the singing and orchestral accompaniment, the entire cast acts very convincingly. And, there's no backstage mugging, entrances and spoken nonsense to spoil the experience of the drama.

Le Nozze di Figaro New Production Teatro Real in co-production with Bilbao’s ABAO and Las Palmas Teatro Pérez Galdós. From the opening notes of the overture to the final curtain, Emilio Sagi’s classic, triumphant production brings to life all the elegant wit and theatricality of Mozart’s comic masterpiece Le nozze di Figaro. Leading baritone Ludovic Tézier shines as the lustful Count Almaviva who attempts to obtain the favors of Figaro’s bride-to-be, Susanna (Isabel Rey), while Luca Pisaroni gives a feisty performance as Figaro. Conductor Jesús López Cobos masterfully captures the enchanting score. A witty yet profound tale of love, betrayal, and forgiveness.

Stage director Jean-Louis Grinda and the Opéra de Monte-Carlo present Verdi’s early smash hit opera Ernani. Ramon Vargas heads up an incredible cast in the heroic title role and maestro Daniele Callegari leads the Monte Carlo Philharmonic Orchestra in the sumptuous melodies of Verdi’s score.

This epic opera follows Virgil, beginning as the Greeks appear to have ceded the field after ten years of the Trojan War. Cassandra tries to warn of the terrible fate to come, but fate is set and Troy falls. The first two acts cover this tragic end, then the flight of survivors to Carthage and events at Carthage continue in acts 3 - 5, culminating in the further voyage for Italy and Rome. This is Virgil's classic epic, in operatic form, in about a three and a half hour performance from French Opera.

The Deutsche Kammerphilharmonie Bremen, conducted by Omer Meir Wellber, takes over Neuschwanstein Castle in southern Germany for a lyrical concert featuring soprano Golda Schultz, tenor Rolando Villazón, and baritone Ludovic Tézier. In this grandiose building constructed by Ludwig II of Bavaria, the prestigious trio performs works by Mozart, Verdi, and Lehár.

John Eliot Gardiner conducts Gluck’s 1776 French version of “Alceste” at the Théâtre du Châtelet in Paris. Soprano Anne Sofie von Otter takes the title role of Alceste, Queen of Thessaly, who offers to die at the hands of the gods in place of her husband, Admète (Paul Groves), so that the people will not lose their king. Alceste is then saved from the underworld by Hercule (Dietrich Henschel).

Lucia’s brother Enrico is horrified to learn she has fallen in love with his sworn enemy Edgardo. He hastily arranges her marriage to his associate Arturo. Edgardo and Lucia privately exchange rings before he leaves to fight in France. Enrico tricks Lucia into believing that Edgardo has been unfaithful. Longing for death, she signs the contract with Arturo – moments before Edgardo returns. Lucia murders Arturo in their wedding bed. His death is followed first by Lucia’s, and then by Edgardo’s.

Ludovic Tézier is today one of the greatest baritones in the world. Behind this major voice of opera, both backstage and in everyday life, is a simple man, passionate about his art, but also his wife, Cassandre Berthon, a soprano. From the most prestigious stages to the intimacy of their home, from rehearsals to masterclasses, both the demands of interpretative work and the depth of soul that inhabits him are revealed. Driven by his natural humanity and the strength of his love, Ludovic unveils what makes Tézier’s voice exceptional.

With “La Gioconda,” Amilcare Ponchielli (1834–1886) composed a magnificent romantic melodrama that blends French opera and Verdi-esque drama. Fifty years after its last performance, the Teatro San Carlo in Naples is staging “La Gioconda” with Anna Netrebko in the title role, alongside Jonas Kaufmann and Ludovic Tézier.

At the Vienna Konzerthaus, the magical Christmas gala brings together Julie Fuchs and Ludovic Tézier to perform traditional carols. The programme includes Adolphe Adam's ‘Minuit chrétien’, ‘Les anges dans nos campagnes’ and ‘Entre le boeuf et l'âne gris’, followed by “Hallelujah” from Handel's ‘Messiah’.

For the centenary of the Verona Opera Festival, Jonas Kaufmann gave a gala concert in the Arena on 20 August 2023. With colleagues Sonya Yoncheva and Ludovic Tézier, and accompanied by the Orchestra della Fondazione Arena di Verona conducted by Jochen Rieder, he performed arias and duets from Tosca, Otello and Andrea Chenier, and evergreens by Franz Lehár and Leonard Bernstein as well as famous film songs such as 'Nella fantasia' (The Mission) and 'Nelle tue mani' (Gladiator).

Verdi's sweepingly ambitious opera on war, religion, love and fate is given a cinematic staging by Christof Loy. The Marquis of Calatrava forbids his daughter Leonora to marry the South American nobleman Don Alvaro. The lovers attempt to elope, but the Marquis catches them. In the ensuing altercation, Alvaro accidentally kills the Marquis, who curses his daughter as he dies. Leonora and Alvaro become separated during their escape. Leonora's brother Don Carlo di Vargas decides to find them and avenge his father.

The tragic tale of "the bride of Lammermoor" has always been a favorite of opera-goers and sopranos alike. Yet with the riveting singing actress Natalie Dessay in the title role, Lucia's plight and descent into madness take on another dimension. Joseph Calleja is an ardent Edgardo, the man she loves but is not allowed to marry. Instead, her brother Enrico forces her into a union with the rich Arturo to save the family fortunes. It proves too much to bear for Lucia.

The ambiguities of Verdi’s theatre are particularly clear in his baritone roles, among which is that of Boccanegra, corsair turned doge of Genoa and the troubled observer of the conflicts that tore apart 14th century landowners and peasants. An eminently political opera in which power struggles are interwoven with family conflicts, Simon Boccanegra echoes the life of its composer – the man who championed the cause of Italian unification and overcame the loss of his wife and children. Calixto Bieito, that most Shakespearean of opera directors, brings humanism and truth to a work haunted by gleaming images of the sea.

Riccardo Chailly inaugurates the 2024-2025 Opera Season with a new production of La forza del destino, conducting his ninth Verdi title at La Scala. Leo Muscato will direct yet another cast of extraordinary prestige. A complex opera in terms of dramaturgy, first performed in St. Petersburg in 1862 and debuting in its final form at La Scala in 1869 with the creation of the famous overture, La forza del destino offers some of the most memorable Verdi melodies. It has been absent from the programme since the Verdi centennial in 2001, when it was brought to La Scala by the artists of the Mariinsky Theatre of St. Petersburg; the La Scala Orchestra and Choir have not performed it since 1999.

From the Auditorium Parco della Musica in Rome, the opening night of the 2024/2025 symphonic season. Maestro Daniel Harding opens the season with *Tosca*, an opera in concert form in three acts by Giacomo Puccini.

Following her performances in recent seasons in Verdi’s La travita on the world’s major opera stages – the Metropolitan, New York, La Scala, Milan, Royal Opera House Covent Garden and Paris Opera – Diana Damrau has become the primary interpreter of Violetta, arguably opera’s most iconic character. This DVD release is from Paris Opera production of June 2014, when the German soprano appeared in a new production – inspired by the paintings of Manet – by the film director Benoit Jacquot. This critically acclaimed production was conducted by Francesco Ivan Ciampa, with a cast including Francesco Demuro and Ludovic Tezier.

Obsessive in gambling and in love, the soldier Hermann is the protagonist of Tchaikovsky’s Pique Dame, based on a story by Pushkin. He is smitten with the aristocratic Lisa and fixated on learning the winning secret of ‘the three cards’ from her grandmother, the Countess, played by iconic contralto Ewa Podles. This opulent production from Barcelona’s Liceu captures St Petersburg in the era of Catherine the Great, while the house’s Music Director Michael Boder conducts a large and impressive cast. Recorded at the Gran Teatre del Liceu, Barcelona, 30th June & 1st July 2010.

Set in 16th-century France and Spain, Don Carlos tells of the political and amorous rivalry between King Philip II and his son, Don Carlos, over Elisabeth de Valois. Krzysztof Warlikowski strips down a tragedy haunted by ghosts, and places the intimate at the heart of an imaginary fresco truer than history itself. Along with Philippe Jordan, he reveals to the public the very first version of this great five-act opera: the version modified by Verdi himself for the work’s first performance in 1867.

The year 2019 marks the 350th year of existence of the Opéra de Paris, and the Opéra national is staging two exceptional shows at the Palais Garnier in the form of an inaugural gala. Under the direction of Dan Ettinger, the principal dancers, soloists, corps de ballet and orchestra of the Opéra national de Paris will perform extracts from famous ballets as well as some of the most popular opera arias. Soprano Sonya Yoncheva, tenor Bryan Hymel and baritone Ludovic Tézier are among the headliners. A magical experience!

This performance of 2014 can be considered as a reference on account of the quality of the vocal material involved and because the daring staging of Austrian Martin Kušej is rich in meaning within the context of the global challenges of today. He proposes a reflection on war, on vengeance and also on the mark of guilt which ends with the joie de vivre and the expansion of passions. In the intimacy of Calatrava, his is a post-Bauhaus picture of a Fascist neatness which then contrasts with the chaos of battles, the abyss of misery and the sexual stampede after triumph or failure. In this context, religion, instead of being a consolation is both an escape and the tomb of humanity; the chapel wherein Leonora hides is made out of huge crosses and in one of them, just for a moment, Don Álvaro seems crucified by his fate.