Giuseppe Verdi | Simon Boccanegra
Christoph Gedschold, since the season 2015/16 Kapellmeister at the Leipzig Opera, was born in Magdeburg and studied piano and conducting in Leipzig and Hamburg.
After working as Kapellmeister at the Theater in Lucerne and the Staatstheater in Nuremberg, he went from 2009 to 2015 to the Badische Staatstheater in Karlsruhe, where he worked as a Kapellmeister and conducted performances like “The Greek Passion“, “Euryanthe“, “La Gioconda“, the German first night of M. Weinberg’s opera “Die Passsagierin”, “Die Meistersinger von Nürnberg”, “Peter Grimes”, “Lohengrin”, “Rosenkavalier” “Flying Dutchman“, „Ariadne of naxos“,“Otello“ and „Boris Godunow".
At the Leipzig Opera, he will conduct the new productions of “Der Freischütz“, “Rusalka“, “Bluebeard`s Castle“ / „I Pagliacci“ and performances of “Tannhäuser“, “Madame Butterfly“, “Tosca“ and “Die Zauberflöte“ are planned.
Christoph Gedschold is a regular conducting at the Semperoper Dresden and the State Opera in Hamburg.
In Dresden, he is leading the repertoire performances of “Der Freischütz“ and “The Magic Flute“ as well as the new production “The Passenger“. In Hamburg he is conducting “La Boheme“, “La Traviata“, “Simon Boccanegra“ and “Eugen Onegin“.
In May 2015 he gave his North America debut at the Orchestre Symphonique de Montréal with Shostakovich’s 11th Symphony. A re-invitation was made for concerts in March and April 2017.
In May 2016 he took over the musical direction for „The Passenger “ at the Wiener Festwochen with the opera Frankfurt.
Christoph Gedschold has worked with many of the German and world´s top orchestras, including Leipzig Gewandhausorchester, Staatskapelle Dresden, Hamburg Philharmonic Orchestra, Orchestre Symphonique de Montréal, Frankfurt Opera Orchestra, Nationalorchestra Mannheim, Bavarian Staatsphilharmonie Nuremberg, Basel Symphony Orchestra and the New Japan Philharmonic in Tokio.
2015/16 he made his debut at the Hamburg State Opera with Janacek Opera “Katja Kabanova”.
Eberhard Friedrich, geboren in Darmstadt, studierte Dirigieren bei Helmuth Rilling in Frankfurt am Main. Ab 1986 war er Chordirektor am Theater der Stadt Koblenz, ab 1991 am Hessischen Staatstheater Wiesbaden. Von 1998 bis 2013 leitete er den Chor der Staatsoper Unter den Linden in Berlin. Seit der Spielzeit 2013/14 ist er Chordirektor der Staatsoper Hamburg.
Schon seit 1993 arbeitet Eberhard Friedrich außerdem bei den Bayreuther Festspielen. Zunächst begann er seine Tätigkeit dort als Assistent, im Jahr 2000 wurde er zum Chordirektor des Festspielchores berufen. Daneben gastierte er bei zahlreichen anderen renommierten Chören, darunter die Sänger der Internationalen Bachakademie Stuttgart, der Philharmonische Chor Prag, der Chor des Niederländischen Rundfunks, der Rundfunkchor Berlin, der Rias Kammerchor und der Bayerische Rundfunkchor. 2003 gewann die Einspielung des „Tannhäuser“ an der Staatsoper Unter den Linden mit Daniel Barenboim einen Grammy. Für diese Aufnahme hatte Eberhard Friedrich die Chorpartien einstudiert, wie auch für mehrere andere CD- und DVD-Aufnahmen. Im Rahmen seiner unterschiedlichen Projekte arbeitete Eberhard Friedrich mit zahlreichen bekannten Dirigenten zusammen. Neben Daniel Barenboim gehörten dazu unter anderem Pierre Boulez, Sir Simon Rattle und Marek Janowski. In der Saison 2012/13 übernahm er die Chorleitung an der Niederländischen Oper in Amsterdam für das selten gespielte Spätwerk „Guillaume Tell“ von Gioachino Rossini. Der Chor der Staatsoper Unter den Linden wurde, unter Eberhard Friedrichs Leitung, 2004 zum Chor des Jahres gewählt und erhielt 2009 den Europäischen Kulturpreis.
photo: Enrico Nawrath
As one of today’s foremost Italian dramatic baritones, Claudio Sgura has electrified audiences throughout the world with his performances of Verdi, Puccini, and Verismo repertoire.
A native of Puglia, Mr. Sgura began his vocal studies in Lecce with soprano Maria Mazzotta. After coming to international attention at the prestigious competition “Voci Verdiane” in Busseto in 2006, he debuted at the Teatro alla Scala in Milan in the following year as Sharpless in “Madama Butterfly” under the musical direction of Myung Whun Chung.
Performances since then have led him to the Royal Opera House Covent Garden (Jack Rance in “La fanciulla del West”), the Vienna State Opera (Scarpia in “Tosca”), the Opéra National de Paris (Barnaba in “La Gioconda” and “La fanciulla del West”), the Zurich Opera (La fanciulla del West), the Bavarian State Opera Munich (Iago in “Otello”), the Sydney Opera House (Otello), the New National Theatre Tokyo (Amonasro in “Aida”), the Teatro de la Maestranza Sevilla (Marcello in “La bohème”), the ABAO Bilbao (Giacomo in “Giovanna d'Arco”), the La Coruña Festival (Otello), the Astana Opera (Ezio in “Attila”), the Palm Beach Opera (Tosca), the Savonlinna Festival (Tosca) and to the Den Norske Opera in Oslo (title role in “Macbeth”).
Sgura is a frequent guest on Italy's most important opera stages such as the Teatro La Fenice in Venice (Germont in “La traviata” and Enrico in “Lucia di Lammermoor”), the Teatro San Carlo in Naples (Enrico in “Lucia di Lammermoor”, Amonasro in “Aida” and Tonio in “Pagliacci”), the Teatro Regio in Turin (Marcello in “La bohème”), the Teatro dell'Opera in Rome (La Gioconda), the Teatro Regio in Parma (Conte di Luna in “Il trovatore” and Francesco Foscari in “I due Foscari”), the Macerata Opera Festival (Attila, Madama Butterfly and Tosca) and the Teatro Carlo Felice in Genoa (Tosca). He returned to La Scala in 2011 as Alfio in a new production of “Cavalleria rusticana”.
Mr. Sgura’s 2014/2015 season featured Scarpia in “Tosca” in Cagliari, Sydney, Melbourne, and Rome; Iago in “Otello” at the Royal Swedish Opera, Stockholm; debuts as Miller in Verdi’s “Luisa Miller” at the Teatro San Carlo of Naples and as Rigoletto in Bogotá; and the Conte di Luna in Verdi's “Il trovatore” at the National Centre for the Performing Arts in Beijing.
Engagements in 2015/2016 included Jack Rance in “La fanciulla del West” at the Teatro alla Scala and at the Hamburg State Opera, Claudio in Franco Faccio's “Amleto” at the Bregenz Festival, “Tosca” at the Teatro Regio of Turin and Amonasro at the Teatro Verdi of Salerno.
Season 2016/2017 saw Claudio Sgura successfully perform once again Iago at the Hamburgische Staatsoper and Scarpia at the Den Norske Opera Oslo in two new productions by Callixto Bieito. Further roles were the Grand-Prêtre de Dagon in “Samson et Dalila” at Turin's Teatro Regio and Gellner in “La Wally” at the Teatro Municipale, Piacenza.
Upcoming engagements include a revival of “Tosca” at Den Norske Opera & Ballet in Oslo in August-September and the debut in the title role of “Simon Boccanegra” at Hamburgische Staatsoper in Ocotber-November. In December, he will be Jack Rance in “La fanciulla del West” at Teatro San Carlo. Further plans in 2017/18 include Scarpia at the Royal Swedish Opera in Stockholm, at Palau de les Arts in Valencia and at the New National Theatre in Tokyo, as well as Carlo Gérard in “Andrea Chénier” at Teatro Petruzzellli di Bari.
photo: Jeff Busby
Alexander Vinogradov made his debut at the Bolshoi Theater in Moscow at the age of 21. Since then he has established a remarkable career and he is a regular guest at the leading opera houses in the world, including Royal Opera House Covent Garden London, Washington Opera, Teatro allaScala, Opéra National de Paris, Théâtre du Châtelet de Paris, Staatsoper Berlin, Opernhaus Zürich, Opéra de Monte-Carlo, Palau de les Arts de Valencia, Teatro Real de Madrid, San Diego Opera, Dresden Semperoper, Ravinia Festival, New National Theatre in Tokyo, Teatro Colón de Buenos Aires, Teatro La Fenice di Venezia, Teatro Regio di Torino, Teatro San Carlo di Napoli, Arena di Verona. He worked with such conductors as Daniel Barenboim, Semyon Bychkov, Myung-Whun Chung, Gustavo Dudamel, Lawrence Foster, Valery Gergiev, Mariss Jansons, Philippe Jordan, Vladimir Jurowski, Lorin Maazel, Kent Nagano, Yannick Nézet-Séguin, Gianandrea Noseda, Sir Antonio Pappano, Vasily Petrenko, Helmuth Rilling, Yuri Temirkanov.
Among his many acclaimed performances we can report “Carmen” (Escamillo) at Washington Opera, Teatro alla Scala, Teatro La Fenice di Venezia, Opernhaus Zürich, Palau de les Arts de Valencia, Opéra de Toulon and Royal Danish Theatre Copenhagen, “Rigoletto” (Sparafucile), “Die Zauberflöte” (Sarastro), “Don Carlo” (Grande Inquisitore) and “Evgenij Onegin” (Gremin) at Teatro Regio di Torino, “Faust” (Méphistopélès) at Atlanta Opera, “Ernani” (Don Ruy Gomez) at Opéra de Monte-Carlo, “Petite Messe Solennelle” by Rossini and “Stabat Mater” by Dvorák at Festival Saint Denis, “La bohème” (Colline) and “The Tzar's Brideat” at the ROH Covent Garden London, “Roméo et Juliette” (Frère Laurent) at Teatro alla Scala, “Il barbiere di Siviglia” (Basilio) and “Die Zauberflöte” (Sarastro) at Staatsoper Berlin, “Turandot” (Timur) at Teatro de la Maestranza de Sevilla, “Don Carlo” (Filippo II) at Teatro Colòn de Buenos Aires.
Active also on the concert side, he has sung Beethoven’s “Missa Solemnis” with the Chicago Symphony Orchestra, Beethoven’s IX Symphony under the batons of Daniel Barenboim, Lawrence Foster and Myung-Whun Chung,Verdi’s “Messa da Requiem” with the Symphonieorchester des Bayerischen Rundfunks under the baton of Mariss Jansons and at the Festival Verdi di Parma with Yuri Temirkanov, Shostakovich’ Symphony No. 14 with the Royal Liverpool Philharmonic Orchestra, Schostakovich’ Symphony No.13 at Opéra National de Paris. Mussorgskij’s “Songs and Dances of Death” at the Opéra de Lyon, “Missa solemnis” under Helmuth Rilling’s baton in Stuttgart as well as concerts with the Deutsches Symphonie-Orchester conducted by Kent Nagano and the London Philharmonic Orchestra conducted by Vladimir Jurowski.
His latest performances include “Requiem” by Mozart with the Orchestre National de France in Paris; “Ivan the Terrible” at Konzerthaus Wien; “Carmen” (Escamillo) at the Terme di Caracalla in Rome; “Le coq d’or” (Polkan) at Teatro Real de Madrid; “La damnation de Faust” (Méphistophélès) at Bolshoi Theatre of Moscow; “Macbeth” (Banco) and “Guillaume Tell” (Walter Fürst) at Staatsoper Hamburg; “Les Vêpres siciliennes” (Procida) at Palau de Les Arts de Valencia; Verdi’s “Messa da Requiem” with the London Philarmonia Orchestra.
Forthcoming projects are “Carmen” (Escamillo) at Los Angeles Opera, Bayerische Staatsoper München, ROH Covent Garden London; “Le nozze di Figaro” (Figaro) at Bolshoi Theatre di Mosca; “Simon Boccanegra” (Jacopo Fiesco) at Staatsoper Hamburg; “Don Carlo” (Filippo II) at Palau de Les Arts de Valencia; “Lucia di Lammermoor” (Raimondo), “Carmen” (Escamillo) and “Luisa Miller” (Conte Walter) at Metropolitan Opera New York; “Ernani” (da Silva) at Opéra de Marseille; “Don Giovanni” (title role) at Japan Opera Foundation in Tokyo; “Turandot” (Timur) at Liceu de Barcelona.
photo: Polina Plotnikova
Alexey Bogdanchikov is a young Russian baritone. Born in Tashkent (Uzbekistan) in 1985. In the 2011/2012 season he embarked upon his first resident contract in the ensemble of the Deutsche Oper Berlin. Alexey Bogdanchikov previously studied at the Galina Vishnevskaya Opera Centre and the Tchaikovsky State Conservatory in Moscow, where, in October 2012, he returned to complete his master’s degree in music. In September 2012 he won the 2nd prize in the prestigious European Vocal Competition “Debut”. He has also taken part in various Russian vocal competitions and won prizes in Smolensk (2006) and Rusa (2007). In 2010 he was winner of the Armel Opera Competition in Hungary, which led to his engagement in the role of Barrett in Marco Tutino’s opera “The Servant” at the Armel Opera Festival in Szeged. He sang this role again in Pilzen, Czech Republic, and, in, 2011, in Lugo, Italy. In January 2011 Alexey Bogdanchikov made his debut at the Teatro Comunale di Bologna as Wolfram in “Tannhauser”.
Alexey Bogdanchikov’s repertoire includes number of important roles in Russian, Italian and German operas like Onegin in "Eugene Onegin", Robert in "Iolanta" and Prince Eletsky in "The Queen of Spades" by Tchaikovsky, Belcore in "L’elisir d’amore" by Donizetti, Marcello in "La Boheme" and Ping in "Turandot" by Puccini, Wolfram in "Tannhauser" by Wagner and Barrett in Marco Tutino’s "The Servant". In June 2013 he represented Russia at the BBC Cardiff Singer of the World Competition. Guest contracts in 2013/2014 included Marchese in "La Traviata" in Guangzhou Opera House, at The Teatro Luciano Pavarotti in Modena and at the Teatro Municipale in Piacenza Alexey made his debut as Paolo Albiani in "Simone Boccanegra" next to Leo Nucci and Carlo Colombara. Also Teatro Delle Muse, Ancona, engaged Alexey to sing the role of Belcore in "Elisir d’amore" and Teatro Dell’Opera di Roma to do Morales in "Carmen". Also Alexey sang the role of Onegin in Astrakhan opera house and in Magnitogorsk. From 2014 Alexey Bogdanchikov is a member of ensemble of Moscow Kolobov Novaya Opera Theatre where he made his debut in the title role in "Eugene Onegin" by Tchaikovsky. In the season 2014/2015 he made his debutes as Conte in "Le Nozze di Figaro", as Prince Eletsky in "The Queen of Spades" and as Mercutio in "Romeo and Julliete" by Gounod.
In 2015/16 he joined the ensemble of the Hamburg State Opera.
photo: Thomas Kunsch
Alin Anca wurde 1986 in Rumänien geboren. Er studierte Gesang an der Gheorge Dima-Musikhochschule in Klausenburg, wo er 2010 mit einem Diplom abschloss. Schon während seines Studiums war er an der Opera Nationala Romana in Klausenburg engagiert. Dort interpretierte er unter anderem folgende Partien: die Titelrolle in „Don Giovanni“, den Großinquisitor in Verdis „Don Carlo“, Fiorillo in „Il Barbiere di Siviglia“, Dulcamara in „L’Elisir d’Amore“ und Colline in „La Bohème“. Weitere Engagements führten ihn an die Opera Nationala in Bukarest. Neben den Rollen im Bereich des Musiktheaters sang Alin Anca auch in Puccinis „Messa di Gloria“, Dvoráks „Stabat Mater“ und im Verdi-Requiem. Von 2011 bis 2013 war er Stipendiat der Liz Mohn Kultur- und Musikstiftung sowie Mitglied im Opernstudio der Staatsoper Berlin.
Seit September 2013 gehört er zum Ensemble der Staatsoper Hamburg und war bisher u.a. als Leporello (Don Giovanni), Pietro (Simon Boccanegra), Panthée (Les Troyens), Walther Fürst (Guillaume Tell) und als Figaro (Le nozze di Figaro) zu erleben.
Guanqun Yu is one of the most promising sopranos of the younger generation and appears regularly at big opera houses worldwide.
Born and educated in China, Yu already sang big roles as Pamina (Die Zauberflöte) and Gilda (Rigoletto) as part of the opera education programme during her studies in Shandong and Shanghai and participated in concerts at important events. She finally became known outside of China by winning the first price at the famous Belvedere Singing Competition.
In September 2008 Yu became a member of the opera studio at the Teatro Comunale di Bologna where she sang many roles of the Italian repertoire. In June 2010 she debuted in Honegger’s Jean d’Arc under the baton of Bertrand de Billy at the Musikverein Wien. This was followed, amongst others, by Mimi (La Bohème) at the Pacific Festival in Sapporo conducted by Fabio Luisi and Donna Elvira (Don Giovanni) in Bologna. In spring 2012 she sang Lina in Stiffelio at the Teatro Regio di Parma, which was also published on DVD.
Invited by the Metropolitan Opera, Yu gave her debut in New York in fall 2012 with a highly celebrated Trovatore-Leonora which she had already sung at the Verdi Festival Teatro Giuseppe Verdi in Busseto in summer. The same year she was the award recipient of the Placido Domingo Operalia Singing Competition and on Domingo’s wish she sang on his side as Lucrezia in Verdis I due Foscari at Palau de les Arts Valencia. During the same season she returned to Valencia as Desdemona (Otello) under the baton of Zubin Metha. In summer 2013 Yu gave her debut as Countess Almaviva (Le Nozze di Figaro) at the National Centre for the Performing Arts in Beijing and as Anna (Nabucco), also on the side of Placido Domingo. In 2013/2014 she returned to the Metropolitan Opera New York as Fiordiligi (Così fan tutte) and to Valencia as Maria Boccanegra (Simon Boccanegra) amongst others. Moreover Yu debuted at the Deutsche Oper Berlin, when she agreed o fill in at the last minute and gave a startling performance as Desdemona (Otello).
In 2014/2015 Yu was Fiordiligi (Così fan tutte) and Desdemona (Otello) at Oper Köln, debuted as Nedda (Pagliacci) at the Staatstheater Klagenfurt and as Rosina at the Los Angeles Opera in the sequel opera productions Ghosts of Versailles and Le Nozze di Figaro. Furthermore she was Liù (Turandot) at the Bregenzer Festspiele and Maria Boccanegra at Oper Frankfurt and Semperoper Dresden. Engagements of the last season led Yu to Berlin (Pagliacci), Zurich (Boheme), Marseille (Così fan tutte), as well as once more to the Bregenzer Festspiele. She gave her debut as Mathilde (Guillaume Tell) at the Hamburgische Staatsoper, as Countess Almaviva (Le Nozze di Figaro) at the Bayerische Staatsoper in Munich and was Micaela (Carmen) and Donna Anna (Don Giovanni) at the Oper Frankfurt as well as Liù (Turandot) at the Oper Köln.
Born in Pompeii, Massimo Giordano has gained attention as a leading tenor in such opera houses as the Royal Opera House – Covent Garden, Paris Opera, Deutsche Oper Berlin, Vienna State Opera, Bolshoi Theatre in Moscow, Rome Opera, Metropolitan Opera, Zürich Opera House, Teatro alla Scala in Milan and Bavarian State Opera in Munich. In the current season, Giordano sings Cavaradossi in “Tosca” at the Hamburg State Opera, Korean National Opera and Teatro Verdi in Trieste, Des Grieux in “Manon Lescaut” at the Staatsoper Hannover and New Zealand Opera, and Don José in “Carmen” at the New National Theatre Tokyo.
Engagements from the 2015/16 season included Des Grieux and Cavaradossi at the Deutsche Oper Berlin, the title role in “Don Carlos” at the Semperoper Dresden and Teatro Auditorio de San Lorenzo de El Escorial in Madrid, and Alfredo in “La Traviata” at the Hamburg State Opera. In the 2014/15 season, Giordano sang Don José at the Deutsche Oper Berlin and Arena di Verona, Cavaradossi at the Vienna State Opera and Paris Opera, the title role in “Faust” at the Berlin State Opera, the title role in “Andrea Chenier” at the Vienna State Opera, Des Grieux at the Royal Opera House of Muscat, and Pollione in “Norma” at the Bavarian State Opera House, Munich Opera Festival and National Centre for the Performing Arts in Beijing. Engagements from the 2013/14 season included Alfredo at the Vienna State Opera and Teatro Regio in Turin, Cavaradossi at the Bavarian State Opera and Vienna State Opera, Pollione at the Vienna State Opera and Opéra de Lyon, Rodolfo in “La bohème” at the Paris Opera, Des Grieux at the Festspielhaus Baden-Baden, and Maurizio in “Adriana Lecouvreur” at the Vienna State Opera.
In the 2012/13 season, Giordano sang Alfredo at the Hamburg State Opera, Foresto in “Attila” at the Deutsche Oper Berlin, Don Carlos at Maggio Musicale Fiorentino in Florence, and Cavaradossi at the Royal Opera House – Covent Garden, Zürich Opera House, Deutsche Oper Berlin, San Francisco Opera and Asoc Bilbaina de Amigos de la Opera in Bilbao. Engagements from the 2011/12 season included Don Carlos at the Deutsche Oper Berlin, Don José at the Vienna State Opera and Zürich Opera House, Cavaradossi at the Munich Opera Festival, and Pollione at the Opéra de Nice and Cité de la Musique in Paris. In the 2010/11 season, Giordano sang Don José at the Bavarian State Opera and Zürich Opera House, Cavaradossi at the Paris Opera and Savonlinna Opera Festival, Roméo in “Roméo et Juliette” at the Vienna State Opera, and Rodolfo at the Teatro de la Maestranza in Seville, Spain.
Highlights from Giordano’s previous seasons include “La bohème” at the Bavarian State Opera, Vienna State Opera, Covent Garden, Berlin State Opera, Metropolitan Opera and Los Angeles Opera; “Tosca” at the Semperoper Dresden, Berlin State Opera and Dallas Opera; “La Traviata” at the Metropolitan Opera, Bavarian State Opera, Deutsche Oper Berlin, Bolshoi Theatre, Teatro Regio in Parma, Teatro Giuseppe Verdi in Trieste, Teatro alla Scala (under Lorin Maazel), Los Angeles Opera and Santa Fe Opera (for his American stage debut); “Roméo et Juliette” at the Bavarian State Opera, Frankfurt Opera House, Lyric Opera of Chicago and Pittsburgh Opera; the title role in “Werther” at the Bavarian State Opera, Deutsche Oper Berlin and Zürich Opera House; Des Grieux in “Manon” at the Teatro alla Scala, Vienna State Opera (opposite Anna Netrebko) and Metropolitan Opera (opposite Renée Fleming); Nemorino in “L’elisir d’amore” at the Opera de Monte Carlo and Vienna State Opera; Fenton in “Falstaff” at the Semperoper Dresden and Covent Garden (under Antonio Pappano); Rinuccio in “Gianni Schicchi” at the Metropolitan Opera (under James Levine) and Glyndebourne Festival (under Vladimir Jurowski); Don Ottavio in “Don Giovanni” at the Teatro Regio in Turin and Teatro San Carlo in Naples; the Duke in “Rigoletto” at the Teatro Real in Madrid; Lensky in “Eugene Onegin” at the Glyndebourne Festival (under Vladimir Jurowski); Gerald in “Lakmé” at the Teatro Massimo in Palermo and Rome Opera; Ruggero in “La Rondine” at the Rome Opera; “Macbeth” at the Edinburgh Festival and Rome Opera; Lancelot in “Le Roi Arthus” at the Teatro Lirico in Cagliari, Italy; Wilhelm Meister in a concert performance of “Mignon” with the Opera Orchestra of New York (under Eve Queler); and a European duet recital tour with Anna Netrebko.
Massimo Giordano studied flute and voice at the Conservatorio G. Tartini in Trieste and completed his vocal studies under Cecilia Fusco. After winning numerous vocal competitions, Giordano made his professional debut in 1997 as the title role in Mozart’s “La clemenza di Tito” in Spoleto. This was followed by his first performances as Ernesto in “Don Pasquale” at the Teatro Giuseppe Verdi in Trieste and his first performances as Alfredo in “La Traviata” and the title role in “Werther” in Spoleto. It was his 1999 portrayal of Werther at the Teatro Municipale in Reggio Emilia that led to a rapid succession of important debuts. These debuts included “Roméo et Juliette” at Parma in 1999, the title role in Massenet’s “Le Jongleur de Notre Dame” at the Rome Opera under Gianluigi Gelmetti, Verdi’s “Il Giorno di Regno” at the Teatro alla Scala in 2001, and Fenton in “Falstaff” at the Salzburg Festival in 2001 (at the Easter Festival under Claudio Abbado and then at the Summer Festival under Lorin Maazel).
Giordano often performs in concert and has sung Verdi’s “Requiem” under Riccardo Chailly in Amsterdam, Toulouse, Vienna, Dresden and Budapest, under Zubin Mehta in Tel Aviv, and under Gianluigi Gelmetti in Rome and Sydney. He has also worked with such conductors as Claudio Abbado, Bruno Campanella, Riccardo Chailly, Alain Guingal, Gabriele Ferro and Michel Plasson and with such stage directors as Declan Donnellan, Alberto Fassini, Pierluigi Pizzi, Luca Ronconi, Graham Vick, and Franco Zeffirelli.
photo: Monica Silva
Capitano dei Balestrieri
Sascha Emanuel Kramer
Der junge aufstrebende Tenor Sascha Emanuel Kramer wurde in Zürich (Schweiz) geboren. In jüngster Zeit trat er sowohl im In- als auch im Ausland als gefragter Solist in Erscheinung. Bereits während seines Studiums an der Zürcher Hochschule der Künste (Prof. Jane Thorner-Mengedoth) debütierte er 2013 an den Salzburger Festspielen, wo er im Rahmen der „Akademie Meistersinger“ unter der Leitung von Daniele Gatti die Rolle eines Lehrbuben verkörperte (Meistersinger von Nürnberg). 2014 debütierte sodann in der Tonhalle Zürich. 2015 trat er erstmals mit dem Klangkörper „Spira Mirabilis“ in Italien (u.a. am Teatro di Lucca) auf (9. Sinfonie, Ludwig v. Beethoven).
In der Spielzeit 2015/2016 war Sascha Emanuel Kramer Mitglied des Opernstudios der Mailänder Scala („Accademia Teatro alla Scala“), wo er u.a. von Renato Bruson, Luciana Serra, Luciana D’Intino und Vincenzo Scalera unterrichtet wurde. Sein Debüt am renommierten Teatro alla Scala gab er als Soldat (Wozzeck). Weitere Auftritte an selber Stätte folgten als Tierhändler (Rosenkavalier), Monostatos (Zauberflöte, Neuinszenierung von Peter Stein) sowie zum Anlass der inzwischen traditionellen Konzerte der hauseigenen Accademia.
Seit der Spielzeit 2016/2017 ist Sascha Emanuel Kramer Mitglied des Internationalen Opernstudios der Staatsoper Hamburg. In der vergangenen Spielzeit war er u.a. als Tamino (Erzittre, feiger Bösewicht!, Neuproduktion von Georges Delnon), Malcolm (Macbeth), Borsa (Rigoletto) und Flute (Midsummer Night' Dream) zu erleben.
In der Spielzeit 2017/2018 wird er u.a. als Andres (Wozzeck, Peter Konwitschny), Jaquino (Fidelio, Neuproduktion), Kilian (Freischütz, Peter Konwitschny) in der Staatsoper Hamburg sowie als Ernst Frankenstein (Frankenstein, Neuproduktion Philipp Stölzl) im Hamburger Kampnagel auf der Bühne stehen. Weiter wird er an der Opéra de Toulon als Tamino debütieren (Neuproduktion).
In seiner noch jungen Karriere sang bereits unter der Leitung namhafter Dirigenten wie Adam Fischer, Daniele Gatti, Zubin Mehta, Ingo Metzmacher und Kent Nagano und arbeitete mit Regisseuren wie Achim Freyer, Stefan Herheim, Harry Kupfer, Vera Nemirova sowie Peter Stein zusammen.
Sascha Emanuel Kramer ist Preisträger der Prof. Armin Weltner Stiftung sowie seit Dezember 2015 Stipendiant der siaa-Foundation.
photo: Kartal Karagedik
Ancella di Amelia
Soomin Lee was born in 1993 in Daegu, South Korea. After studying there she got the Bachelor‘ s in Voice at the Keimyung University with excellent result. At the age of 22 she gave her debut as an opera-singer at the Opera House in Daegu and made many important experiences on the stage and the concert podium.
She took part in Master Classes with Jenny Anvelt (Keimyung University) and Gianni Tangucci (Daegu Opera). Even when she was studying Soomin Lee sang the big parts of Puccini, Verdi, Bizet, Mozart and Gounod in University-Performances.
The successful participation in vocal competitions – just as Eum Jeung Haung Vocal Music National Competition Yangsan (South Korea 2016) – made her voice enlarged in musical and vocal-technical sense.
Soomin Lee is scholar of the Daegu Opera House Foundation.
photo: Kartal Karagedik
Philharmonisches Staatsorchester Hamburg
The Philharmonic State Orchestra is Hamburg’s largest and oldest orchestra, looking back on many years of musical history. When the “Philharmonic Orchestra” and the “Orchestra of the Hamburg Municipal Theatre” merged in 1934, two tradition-steeped orchestras combined. Philharmonic concerts have been performed in Hamburg since 1828, artists such as Clara Schumann, Franz Liszt and Johannes Brahms being regular guests of the Philharmonic Society. The history of the opera company goes back even further: Hamburg has been home to musical theatre since 1678, even if a regular opera or theatre orchestra was only formed later. To this day, the Philharmonic State Orchestra has embodied the sound of the Hansa City, a concert and opera orchestra in one.
During its long history, the orchestra encountered great artist personalities. Apart from composers of the 18th, 19th and 20th centuries, such as Georg Philipp Telemann, Piotr I. Tchaikovsky, Richard Strauss, Gustav Mahler, Sergey Prokofiev and Igor Stravinsky, since the 20th century chief conductors such as Karl Muck, Eugen Jochum, Joseph Keilberth, Wolfgang Sawallisch, Horst Stein, Gerd Albrecht, Ingo Metzmacher and Simone Young have shaped the orchestra’s sound. Renowned conductors of the pre-war era such as Otto Klemperer, Wilhelm Furtwängler, Bruno Walter, Karl Böhm and Hans Schmidt-Isserstedt gave brilliant performances, as did outstanding conductors of our times: suffice it to mention Sir Neville Marriner, Christian Thielemann, Semyon Bychkov, Kirill Petrenko, Valery Gergiev and Sir Roger Norrington.
Starting with the 2015/2016 season, Kent Nagano has taken on the position of Hamburg’s General Music Director and Chief Conductor of the Philharmonic State Orchestra and the Hamburg State Opera. In his first season Kent Nagano initiated a new project, the Philharmonic Academy at St. Michaelis, focusing on experimentation and chamber music. In 2016 Nagano and the Philharmonic undertook a successful three-week concert tour in South America. Since 2017 Kent Nagano and the Philharmonic State Orchestra have continued the traditional Philharmonic Concerts at the new Elbphilharmonie, for which they commissioned Jörg Widmann to compose the oratorio ARCHE, which was given its world premiere during the hall’s opening festivities.
The Philharmonic State Orchestra offers approximately 35 concerts per season and performs more than 240 performances per year at the Hamburg State Opera and the Hamburg Ballet – John Neumeier, making it Hamburg’s busiest orchestra. The stylistic bandwidth covered by the 134 musicians, ranging from historically informed performance practice to contemporary works and including concert, opera and ballet repertoire, is unique throughout Germany. Chamber Music has a long tradition at the Philharmonic State Orchestra: what began in 1929 with a concert series for chamber orchestra has been continued since 1968 by a series of chamber music only, which celebrates its 50-year anniversary in 2017/18.
In 2008 Simone Young and the Philharmonic State Orchestra won the Brahms Award of the Schleswig-Holstein Brahms Society. In 2012 Simone Young received a Helpmann Award for performances of Mahler’s Symphony No. 2 and Wagner’s Rheingold with the Philharmonic in Brisbane, Australia. The orchestra has recorded the complete Ring by Wagner as well as the complete symphonies of Johannes Brahms and Anton Bruckner – the latter in the rarely-performed original versions – as well as works by Mahler, Hindemith and Berg, and has released DVDs of opera and ballet productions by Hosokawa, Offenbach, Reimann, Auerbach, J.S. Bach, Puccini, Poulenc and Weber.
The members of the Philharmonic State Orchestra feel equally beholden to the Hansa City’s musical tradition and responsible for the city’s artistic future. Since 1978 the musicians have been participating in education programmes in Hamburg’s schools. To this day, the TV format Musikkontakte initiated by Gerd Albrecht during his tenure as General Music Director is unforgotten. Today, the orchestra maintains a broad education programme, including school and kindergarten visits, patronage for music projects, introductory events for children and family concerts. The orchestra’s own academy prepares young musicians for their professional careers. The Philharmonic’s musicians thereby make an equally enjoyable and valuable contribution to tomorrow’s music education in the music metropolis of Hamburg.
photo: Foto: Felix Broede
Chor der Hamburgischen Staatsoper
The chorus members appear on stage at the Hamburg State Opera in a different role almost every night. From one day to the next, they might be sailors, gypsies, pilgrims or conspirators, then courtiers, hunters, the deranged or the imprisoned. In the role of crusaders in I Lombardi alla prima Crociata they travel to Jerusalem, other nights they are invited to Madama Butterfly's marriage or acclaim Prince Igor. The ladies and gentlemen of the opera chorus demonstrate their artistic prowess, their flexibility, and their love of the stage in every performance.
With a membership around 70, the chorus of the Hamburg State Opera has been one of the world’s best opera choruses for many years. The varied repertoire – almost always in the original language – is multifaceted and includes baroque operas and dramatic operas, major works by Verdi and Wagner as well as contemporary pieces. At the start of the 2013/14 season, Eberhard Friedrich took over the post of Chorus Master.