Five-year saga comes to end as Purcell opera begins

"It’s an important moment for culture and for our theatre," says Eric Vigié, director of the Lausanne Opera, as he and various dignitaries take a sledge hammer to the wall to mark the beginning of an extensive remodelling of the building that houses his company.

Little did he know when he was selected as director in 2005 that within three seasons he would become homeless for several years. Legal wrangles with neighbours as a result of public enquiries prevented the renovation of the theatre from taking place.

Zamora about to take the first whack at the wall, with Vigié on her right and Wentland Forte in grey, far right. Lausanne 25 May 2010

"But perseverance and tenaciousness have paid off," says Silvia Zamora, Lausanne's councillor in charge of culture who also takes a hammer to the wall in a ceremony meant to mark the historical moment. The final permits were delivered on May 17, five years after the the procedure was launched.

The municipal theatre that houses the opera was built in 1871 to present light productions that require little scenic space. It has been a nightmare for the successive directors to produce or present fully-fledged opera productions on a stage that is too small. Decors from invited productios would invariably need to be cut down to size.

Igo Stravinski’s ‘Soldier’s Tale’ was premièred in the theatre in 1918.  Aquarelle by son, Théodore Stravinski.

"In Vaud, it’s urgent to wait," quipped a member of the opera’s board of directors as a reminder of the time needed to take the problem in hand. The opera has been housed inadequately since the company was officially created in 1984.

Finally in 2005, the city authorities of Lausanne decided it was time to adapt the "smallest of grand operas" following a number of incidents where the deficient electrical system almost set fire to the place.

Swiss husband and wife architects Devanthéry & Lamunière, authors of the Philip Morris headquarters in Lausanne, secured the commission.

"There have already been ten occasions to celebrate," jokes Patrick Devanthéry in reference to the successive stages of negotiation that were necessary to assuage the opponents to the transformation.

Devanthéry & Lamunière design for the Lausanne Opera

"What is so remarkable," the president of the opera’s board, Maia Wentland Forte, tells Swisster "is that audiences have stayed with us during the transitional period."

Despite performances given in replacement venues, including the cavernous Palais de Beaulieu, the Lausanne opera has maintained a 94 percent occupancy rate.

"Vigié was particularly clever in keeping the public on board" Wentland Forte elaborates. "Audiences never saw how difficult and dangerous it can be to mount productions in venues that are not adapted to opera. Stages have to be reinforced, lighting has to be mounted from scratch and there is a constant fear of collisions due to lack of space."

"But what was also essential was to keep the public at large in the loop regarding the various turns during the public enquiries, tell them what was happening without dramatizing, whilst making them understand the economic returns of a cultural institution of this size."

"In the end, people were ready to do anything to help the opera come home," Wentland Forte believes, especially the municipal authorities who have been extremely proactive, she indicates.

"The message we are hearing is that opera is not as elitist as it is made out to be. It may be complicated to mount, but because it encompasses all other art forms, dramatic, visual, theatrical, there is something in it for everyone. The loyalty of Lausanne audiences is revealing," she concludes.

Swiss radio’s opera commentator Paul-André Demierre says that "Eric Vigié has been the right guy for the situation. His predecessor would have thrown himself into the lake long ago if he had had to face the same difficulties!"

Demierre believes that Vigie’s programming has a lot to do with the continued success of the Lausanne Opera, as he has combined pleasure with quality. The last production of the season that starts on 28 May at the Metropole in Lausanne is no exception.

"Dido and Aeneas", Henry Purcell’s signature opera will be given in a delirious production by Catalan enfant terrible Cisco Aznar, a former Béjart Ballet dancer who has become a sought-after director.

Dancers in rehearsal in Aznar's Dido and Aeneas, photo Marc Vanappelghem

"I’m not selling grand opera productions or stars," Vigié underlines "and I attach as much importance to small roles as to big ones, which is why I am always on the lookout for fine voices. That’s also one of the reasons our public is so faithful."

"You know, there are less opera directors in the world than there are astronauts," Vigié adds mysteriously.

Dido and Aeneas

Salle Métropole in Lausanne

Friday, 28 May 2010, 8pm

Sunday, 30 May 2010, 5pm

Wednesday, 2 June, 7pm

Friday, 4 June 2010, 8pm

On-line ticket sales