After receiving her master’s degree as a soloist from the Haute Ecole de Musique de Lausanne, with the special Max. Jost prize, Laurence Guillod was then part of the Theater Basel’s Opera Studio during the season of 2010-2011; during those years, she performed important roles, such as die Peri in Schumann’s oratory Das Paradies und die Peri, Despina in Mozart’s Così fan tutte, Donna Elvira in Don Giovanni, Siébel Gounod’s Faust, Micaelaand Frasquita in Bizet’s Carmen, Serpina in G.Battista’s La Serva Padrona de Pergolesi, as well as the title role in Wolf-Ferrari’s Il Segreto di Susanna.

She is grant holder from the Colette Mosetti Foundation and is awarded with the Study’s price of the Pourcent culturel Migros. She won in February 2014 the Claudio Abbado and second price in the Umberto Giordano competition in South Italy. During her Opera Studio’s year, she performed the roles of: Blumenmädchen in Wagner’s Parsifal and Barbarina in Mozart’s Le Nozze di Figaro.

Her performances there were well appreciated and, after her Opera Studio season, she was frequently invited as a guest, to sing the first Nymphe in Dvorák’s Rusalka and Dalinda in Händel’s Ariodante She made her debut at Lausanne’s opera in 2011 in the role of Wanda in Offenbach’s La Grande Duchesse de Gerolstein. She then performed successfully the role of la Prima Donna in Donizetti’s Viva la Mamma, Ilia in Mozart’s Idomeneo, Bubikopf in Ullman’s Der Kaiser von Atlantis and recentely sang Marie de Poncourlay in Les Mousquetaires au Couvent by Louis Varney.

We recently heard her in the role of Sandra in I duo baroni di Rocc’azzura by Cimarosa with the Geneva’s Chamber Opera. She sings frequently in concerts and oratorios; she was soloist for Berlioz’s Nuits d’été, for the Mozart’s Requiem in the Victoria Hall of Geneva.

In the 14-15 season, she made her debut in Verdi’s La Traviata in Argentina with the orchestra Sinfonica Patagonia, as well as in the role of Adina in Donizettti’s L’elisir d’amore.