And if you could experience a musical moment as in the time of Napoleon III… perhaps you would discover the clues that inspired one of the most famous novels of that era. We invite you to happily immerse yourself in this universe and let your imagination do the rest.
After receiving musical and vocal training from a young age, he was discovered at the age of 17 by Juan-Carlos Moralès and joined his singing and lyrical art class at the CNR of Metz. He was noticed by the management of the Opéra de Metz, where he was offered numerous roles. At the same time, he performed Zurga (Les Pêcheurs des Perles), Malatesta (Don Pasquale), and created the role of Horus (in La Légende d’Horus by Mario Salis). He also gave many concerts and recitals in Luxembourg, France, and Germany. Among others, he performed Bach’s Weihnachtsoratorium, Berlioz’s L’Enfance du Christ (role of Joseph), and, under the direction of Michel Plasson, Fauré’s Requiem.
Régis Mengus was then engaged by several French opera houses, including the Opéra de Tours, the Opéra de Lille, the Théâtre de Caen, and the Opéra de Saint-Etienne. He sang the role of Danilo (Die Lustige Witwe) at the Opéra de Nice, Lausanne, and Reims, where he also performed the role of Marcello (La Bohème). Subsequently, he sang the Clock in L’Enfant et les Sortilèges at the Opéra de Montpellier, as well as the Husband (Les Mamelles de Tirésias) at the Opéra de Lausanne.
He later tackled a more lyrical repertoire with roles such as Valentin (Faust) at the Opéra de Lausanne, Karnac (Le Roi d’Ys) at the Opéra de Saint-Etienne, Sharpless (Madama Butterfly) at the Opéra de Reims, the title role in Hamlet at the Opéra de Lausanne, and Escamillo (Carmen) at the Opéra de Rennes.
More recently, he reprised the role of Marcello (La Bohème) at the Opéra de Metz, Valentin at the Opéra de Massy and Opéra de Saint-Etienne, Albert (Werther) at the Opéra du Rhin, Sparck (Fantasio) at the Opéra de Montpellier, as well as Papageno (Die Zauberflöte) at the Opéra de Tours, Escamillo (Carmen) at the Opéra de Metz, Phanor (La Reine de Saba), the title role of Eugene Onegin at the Opéra de Marseille, Hoël (Dinorah ou le Pardon de Ploermel) at the Deutsche Oper Berlin, the Husband (Les Mamelles de Tirésias) and Ramiro (L’Heure Espagnole) at the Opéra d’Oviedo, Schaunard (La Bohème) at the Opéra de Marseille, the Clock and the Cat (L’Enfant et les Sortilèges) at Radio France, Escamillo (Carmen) at the Opéra du Rhin, Bill (A Quiet Place) at the Opéra National de Paris, Ourias (Mireille) at the Opéra de Metz, the Husband (Les Mamelles de Tirésias) at the Glyndebourne Festival, the title role of Werther at the Grand Théâtre de Tours, Major Davel (Davel) at the Opéra de Lausanne, Papageno (Die Zauberflöte) at the Opéra de Reims, Danilo (La Veuve Joyeuse) at the Opéra de Marseille, and Sanson (The Exterminating Angel) at the Opéra National de Paris.
Among his upcoming projects are Dancaïre (Carmen) at the San Carlo in Naples and Bretigny (Manon) at the Opéra National de Paris.
At a very young age, Laetitia Mengus began studying piano. She quickly showed great talent, winning over a dozen national competitions by the age of eight. During the winners’ concerts, she played several times on prestigious Parisian stages of the time, such as Salle Gaveau, Salle Cortot, and Maison de la Radio.
At the age of thirteen, she participated in a series of concerts in Hungary, sponsored by the great virtuoso Gyorgy Cziffra, who also enrolled her in the eponymous Foundation aimed at promoting young piano talents. That same year, she performed Beethoven’s 2nd Concerto with the Orchestre Symphonique de Radio-France in Paris, after winning the Kingdom of Music Competition against nearly a thousand candidates.
In 1986, she entered the National Conservatory of Music in Paris (CNSMP), where she prepared for her Piano Prize alongside future prominent names such as Emmanuel Strosser, François-Frédéric Guy, Alexandre Tharaud, and Vanessa Wagner. She left the CNSMP in 1989 with a First Prize in Piano and a First Prize in Chamber Music.
Then, unexpectedly, she turned to lyrical singing in the following years. She studied with Jean-Pierre Blivet, who was at that time the teacher of Natalie Dessay and Laurent Naouri. In 2002, she passed the international competition for the Chorus of the Paris Opera and was hired as a mezzo-soprano. She remained there for many years, while also giving several concerts with her husband, baritone Régis Mengus, whom she accompanies on the piano.
Among her upcoming projects is the programming of an original recital: fourteen melodies for voice and piano composed by Laetitia Mengus, inspired by some of Chopin’s most famous works, set to texts adapted from Baudelaire’s Les Fleurs du Mal.
Laureen Stoulig-Thinnes was born in Creutzwald in 1983 to a Mauritian mother and a French father. After studying piano and voice at the Conservatoire de Metz, she honed her skills abroad and quickly received numerous offers for opera roles on European stages. Frequently invited by ensembles such as Le Parlement de Musique, Il Delirio Fantastico, and Le Concert Lorrain, she performs in the most prestigious halls and festivals.
Particularly popular and in demand in the Grand Est region, and keen to promote the cultural heritage of her region, she launched a music festival in 2018 with her husband Marlo Thinnes, programming internationally renowned artists. In 2019, she founded the quartet VENEREM, bringing together her voice, piano (Marlo Thinnes), bass guitar (Simon Zauels), and percussion (Michel Meis). Their first album, released under the Telos Music label in 2021, was met with great critical and popular success.
In 2022, Laureen Stoulig-Thinnes focused more on sacred repertoires from all over the world and founded the duo ānāhid with pianist Layla Ramezan. Together, they explore sacred music from around the world, taking audiences on a journey between East and West.
Since 2020, Laureen Stoulig-Thinnes has also served as a commander of the citizen reserve, lending her voice to all major military ceremonies as the official singer of the Grand Est Army. In early 2024, a solo album recorded with organist Dr. Prof. Vincent Bernhardt and the Chapelle Saint-Marc, centered around composer Dietrich Buxtehude, will be released under the Indésens & Calliope Records label. This recording immediately garnered unanimous praise from music critics, earning, among other distinctions, the prestigious 5 Diapasons and the “Clé du mois” from Resmusica, awards for outstanding releases.
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