Peter I. Tschaikowsky | Eugene Onegin
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”.
Christian Günther stammt aus Freiburg im Breisgau und schloss sein Dirigierstudium 2000 an der Hochschule für Musik und Theater in München ab. Er besuchte Dirigierkurse bei Neeme Järvi, Jorma Panula und Gianluigi Gelmetti. Anschließend war er als Gastrepetitor und Assistent am Württembergischen Staatstheater in Stuttgart, am Theater am Gärtnerplatz in München und bei der Münchner Biennale engagiert.
Von 1996 bis 2007 war Christian Günther Dirigent des Ensembles für Neue Musik „piano possibile“ München und dirigierte zahlreiche Ur- und Erstaufführungen. Als Stellvertretender Chordirektor und Leiter des Kinderchores am Bremer Theater wirkte er von 2002 bis 2007, ab 2005 auch als 2. Kapellmeister.
Christian Günther leitete das Ensemble „Atelier Neue Musik“ an der Hochschule für Künste Bremen und hat dort seit 2007 einen Lehrauftrag für Dirigieren inne.
Gastengagements umfassen Tätigkeiten beim Bremer Musikfest, beim Festival der Projektgruppe Neue Musik Bremen und beim Oh Ton-Ensemble Oldenburg.
Seit 2008 ist er Assistent des Chordirektors an der Hamburgischen Staatsoper und wirkte unter anderem bei Premieren von „Die lustige Witwe“, „Faust“, „Don Giovanni“, „Fürst Igor“ und „Madama Butterfly“ mit. Außerdem war er unter anderem verantwortlich für die Chorpartien in den Repertoire-Vorstellungen von „Don Carlos“, „Chowanschtschina“, „Tannhäuser“, „La Fille du Régiment“ und „Die Fledermaus“.
Born in Hanover, Katja Pieweck completed her studies in 1996 at the Hamburg Academy for Music and Theater. From 1997 to 1999 she was a member of the International Opera Studio at the Hamburg State Opera which eventually led to her engagement as an ensemble member in 1999. Here she has performed many roles including Mercedes (Carmen), Siegrune (Die Walküre), Magdalene (Die Meistersinger von Nürnberg), Annina (Der Rosenkavalier), Mutter (Hänsel und Gretel), Fenena (Nabucco), Suzuki (Madame Butterfly), Mère Marie (Dialogues des Carmélites), Meg Page (Falstaff) und Marquise des Berkenfield (La Fille du Régiment). Katja Pieweck has made numerous appearances on prestigious opera stages including the Berlin Staatsoper, the Bavarian State Opera in Munich and the Hanover State Opera. In addition to her activity as an opera singer She is a regular guest on the concert stage. Her repertoire includes works from all eras. Her career has been accompanied by numerous prizes and awards including the "Körber Foundation Oberdörfer Prize 2007" and the "Kulturpreis der Berenberg Bank Hamburg". In 2005 Katja Pieweck worked with Sir Simon Rattle and the Berlin Symphonic Orchestra for a concert performance of Janácek’s "Jenufa". In February 2006 she sang with the Philharmonic Orchestra Hamburg in Hindemith’s "Sancta Susanna" under Simone Young’s baton. In 2007 the mezzo-soprano performed as Elvira in "Don Giovanni" at the Herrenchiemsee Festival. She also sang the part for mezzo-soprano in Bach’s "Christmas Oratorio" – a new Hamburg Ballet production – choreographed by John Neumeier. 2008 Katja Pieweck sang Fricka (Das Rheingold, Die Walküre) in the production of Wagner’s "Ring".
Iulia Maria Dan
Romanian Soprano Iulia Maria Dan graduated from the National University of Music in Bucharest as a student of Maria Slatinaru-Nistor. In 2011, she became a member of the Opernstudio of the Bayerische Staatsoper in Munich, where she was also a member of the Ensemble. In August of 2015, Ms. Dan became a member of the Ensemble at Staatsoper Hamburg. Her engagements there included First Lady in a new production of “Die Zauberlföte”, Mimi in “La Bohème”, Contessa di Almaviva in “Le nozze di Figaro”, Helena in “A Midsummer Night’s Dream”, Mathilde in “Guillaume Tell”, Rosalinde in “Die Fledermaus”, Fiodiligi in “Cosi fan tutte”, Tatyana in “Eugene Onegin” and Agathe in “Der Freischütz”. She also sang Ofelia in Franco Faccio’s Amleto at the Bregenz Festival in Austria. In the 2014/15 season, Ms. Dan made a successful debut as the title role in Massenet’s “Manon” at Oper Graz in Austria. She also sang Waldvogel in “Siegfried” at the Bayerische Staatsoper and premiered “Francesca da Rimini”, music by Stefan Wirth, at the Münchner Opernfestspiele. In August of 2014, Ms. Dan sang Aminta in “Il re pastore” at the Verbier Festival in Switzerland, an appearance received with great reviews. In the 2013/2014 season, as a member of the Ensemble at the Bayerische Staatsoper, she sang Frasquita in “Carmen”, Giannetta in“ L’elisir d’amore”, La contessa di Ceprano in “Rigoletto”, and Dama di Lady Macbeth in Verdi’s “Macbeth”. Ms. Dan’s 2012/13 engagements at the Bayerische Staatsoper included Hilda Mack in Hans Werner Henze’s “Elegie für junge Liebende”, Jano in Janácek’s “Jenufa”, Papagena in “Die Zauberlföte”, and Füchslein Schlaukopf in Janácek’s “The Cunning Little Vixen”.
Iulia Maria Dan has performed in concerts in Bucharest, Modena, Gdansk, Milan and Munich. In 2010, she sang the Soprano solo in the world premiere of acclaimed Romanian composer Felicia Donceanu’s “Salbe – Monodrama for Soprano and Orchestra” at the Bucharest Radio Hall. In 2011, Ms. Dan debuted with great success as Gilda in “Rigoletto” at the Romanian National Opera. That same year, she received a Special Award for Most Promising Young Artist at the renowned Hans Gabor Belvedere International Singing Competition in Vienna, where she was also awarded the Graz Opera Special Prize and the Soroptimist Prize.
In 2010, Ms. Dan won the Grand Prize at the Ionel Perlea National Song Competition and Second Prize at the Hariclea Darclee International Singing Competition in Romania. That same year, she won a Special Prize at the Arta Florescu Masters of the Lyrical Art International Competition in Bucharest. In 2008, Ms. Dan won First Prize in the Orange Young Musicians Competition, First Prize in the Romanian Song Festival and Competition, Special Prize for “Interpretation of Music by Mozart” in Mihail Jora and Dinu Lipatti’s National Competition, and Special Prize for “Chamber Music Style – Martha Joja” in the Ionel Perlea International Song Festival and Competition.
photo: Kartal Karagedik
Minsk born mezzo-soprano Oksana Volkova graduated from the Belarusian State Academy of Music, where she studied with prof. Lidia Galushkina. Oksana has won many national and international singing competitions including the first prizes at the XXII International M. Glinka Competition and Antonin Dvoøák International Competition. While still a student at the Academy of Music, Oksana joined the ensemble of the Belarus Bolshoi Opera in 2002.
Oksana's 2016/17 season highlights included “Rigoletto” at the Metropolitan Opera New York, “The Stone Guest” at the Bolshoi Theatre, “La forza del destino” at the Israeli Opera and “Carmen” at the Lithuanian National Opera, Latvian National Opera and Estonian National Opera.
Over the past seasons, Oksana has made her debut at La Scala in “Cavalleria Rusticana”, sung in “Lady Macbeth of Mtsensk”, “Onegin” and “Rigoletto” at the Met, at Bayerische Staatsoper Munich in “Rigoletto”, “Eugene Onegin” at the Royal Opera House Covent Garden, “Carmen” (title role) on a major six city tour of Japan with the Maribor National Theater and with the Indianapolis Symphony Orchestra, and “Nabucco”, “Tsars Bride” and “Carmen” all at the Bolshoi. She also sang the role of Laura in “La Gioconda” at the Teatro Massimo di Palermo, Marguerite in “La Damnation de Faust” at Opéra de Nice, Santuzza in “Cavalleria Rusticana” at Teatro San Carlo Napoli, Lyubasha in “The Tsar’s Bride” and Olga in “Onegin” at the Bolshoi Theatre and the title role in “Carmen” at the Mariinsky Theatre St Petersburg; Teatro Colon Buenos Aires and Latvian National Opera, Riga.
Currently, she is a member of the Bolshoi Theatre in Moscow, with whom she went on tour in the summer of 2010 singing Olga in “Eugene Onegin” at the Royal Opera House Covent Garden and the Teatro Real Madrid.
Her repertoire includes “Carmen” (title role), “Prince Igor” (Konchakovna), “Boris Godunov” (Marina Mnischek), “Madama Butterfly” (Suzuki), “La damnation de Faust” (Marguerite), “Prince Igor” (Konchakovna), “Khovanshchina” Marfa), “La Gioconda” (Laura), “Cavalleria rusticana” Santuzza, “The Tsar’s Bride” (Lyubasha), “Kashey the Immortal” (Kasheevna), “Eugene Onegin” (Olga), “Pique Dame” (Polina & Milovzor), “Nabucco” (Fenena), “La Traviata” (Flora) and “Aida” (Amneris). In concert, she has already sung the Mozart and Verdi “Requiem”, Tchaikovsky’s “Moscow Cantata” and Prokofiev’s “Alexander Nevsky”.
Die junge polnische Sängerin erhielt ihre Ausbildung an der Hochschule für Musik und Darstellende Kunst (Frankfurt am Main) und absolvierte ihren Master im Fach Gesang bei Professor Thomas Heyer. Davor studierte sie an der Karol Szymanowski Musikakademie (Katowice, Polen) und schloss das Gesangsstudium mit dem Bachelor im September 2013 bei Dr. Pawel Sobierajski erfolgreich ab. Meisterkurse absolvierte sie bei u.a. B.Fassbender, C.Lehmann, U.Finazzi, I.Bogacheva und P.Esswood, Ingrid Kremling und Wieslaw Ochman.
Marta Swiderska nahm erfolgreich an internationalen Wettbewerben teil. Sie erhielt den ersten Preis beim Grand Prix Gesangwettbewerb „Sommerakademie für Gesang“ 2013 (Sopot, Polen), nahm am III. Gesangswettbewerb „J.E.J.Reszków“ (Czestochowa, Polen) mit Auszeichnung teil, erhielt den zweiten Preis und Sonderpreis für die beste Mezzosopranstimme beim II. Internationalen Giulio-Perotti-Gesangswettbewerb (Ückermunde, Deutschland), um nur einige zu nennen.
In den Spielzeiten 2015/2016 und 2016/17 war Marta Swiderska Mitglied des Internationalen Opernstudios der Staatsoper Hamburg und u.a. in Partien wie Un Pastore (Tosca), Dritte Dame (Die Zauberflöte), Theatergarderobiere/Gymnasiast (Lulu), Tisbe (La Cenerentola) und Stimme von oben/Dienerin (Die Frau ohne Schatten) zu erleben.
photo: Kartal Karagedik
Turkish Baritone Kartal Karagedik joined the ensemble of Hamburg State Opera at the beginning of season 2015/16 where he made his debuts in the new production of “Les Troyens” (Chorébe) under the baton of Kent Nagano and as Il Conte Almaviva in Stefan Herheim’s production of “Le nozze di Figaro” with Ottavio Dantone, as well as Lescaut in Puccini’s “Manon Lescaut” and Guglielmo in “Così fan tutte”.
Karagedik’s highlights of season 2016/17 included the title role of Don Giovanni at Savonlinna Opera Festival, Dandini, Marcello, Belcore at Hamburg State Opera, Escamillo at Komische Oper Berlin and Mahler’s Symphony No. 8 under Kent Nagano at Elbphilharmonie.
Before joining the ensemble of Hamburg State Opera, Karagedik was a member of Theater Magdeburg and Theater Erfurt. Guest engagements brought him to stages of Teatro Communale di Bologna, Puccini Festival Torre del Lago, Oper Leipzig and Staatstheater Braunschweig. He had interpreted a very wide range of repertoire including Eugeny Onegin, Don Giovanni, Enrico, Riccardo ,Valentin, Albert, Carlo Gérard, Sharpless, Besenbinder, Michonnet, Simon Boccanegra, Germont , Rodrigo in “Don Carlo” and many others.
Karagedik was born in Turkey and completed his vocal studies in his hometown Izmir. In addition to his artistic career as a singer, he is a prizewinner story telling photographer. Since 2014 his photography exhibition “Emotions IN motion” has been met with widespread public acclaim.
photo: Maria Chabounia
The Turkmen tenor, Dovlet Nurgeldiyev, joined the International Opera Studio of the Staatsoper Hamburg in 2008 where he made an immediate impact with his first night debut as Fenton in “Falstaff”. In 2010 he became an ensemble member of the same house and has been singing major roles there ever since.
This season, he will make role debuts in new productions at the Bayerisches Staatsoper as Medoro in “Orlando Paladino” conducted by Ivor Bolton; and in Hamburg as Telemaco in “Il ritorno d’Ulisse in patria”. He will also appear as Alfred in “Die Fledermaus” at the Bayerisches Staatsoper, and in Hamburg as Lensky (Eugene Onegin), Tamino (Die Zauberflöte) and Alfredo (La traviata). On the concert platform, Dovlet will make his debut with the Prague Radio Symphony Orchestra in Verdi’s “Requiem”; and with the Gyor Philharmonic Orchestra in Budapest. Future seasons will see a series of international debuts including at Théâtre de la Monnaie.
Other important house debuts he has made include Alfredo (La traviata) at the Bayerische Staatsoper; at the Deutsche Staatsoper Berlin as Belfiore in “La finta giardinera” and in a new production by Neuenfels; Lensky, in a new production of “Eugene Onegin” at Opéra de Montpellier where he also sang Don Ottavio (Don Giovanni); a success he repeated at the Opéra Royal de Versailles, the Hungarian State Opera, and at Polish National Opera. In concert, he sang “Mozart ‘s Mass in C minor” at the Frauenkirche in Dresden under the baton of Bertrand de Billy; and Dvorák’s “Stabat Mater” with the Orchestre National de Montpellier.
The Ukrainian bass Alexander Tsymbalyuk is one of the youngest basses to have ever performed the title role in “Boris Godunov” on a major international stage (Bayerische Staatoper in Calixto Bieito’s production). His career is truly soaring, having made very successful company debuts at the Metropolitan Opera New York, Teatro alla Scala Milan, Royal Danish Opera Copenhagen, Bayerische Staatsoper Munich, Deutsche Staatsoper Berlin, Palau de les Arts Reina Sofia in Va-lencia, Royal Opera House Covent Garden, Liceu Barcelona, Bolshoi Theatre Moscow and Maggio Musicale Fiorentino.
In the 2017/2018 season Alexander will make his company debut at the Lyric Opera of Chicago as Sparafucile in “Rigoletto”, and will return to The Metropolitan Opera as Timur in “Turandot”, the Bayerische Staatsoper as Fasolt in “Das Rheingold”, Staatsoper Hamburg as Gremin in “Eugene Onegin”. Further appearances include Rubenstein’s “Demon” at the Gran Teatro del Liceu; and in concert: “Don Giovanni” in Japan, “Samson et Dalila” at the Théâtre des Champs Elysées, and “Boris Godunov” at the Concertgebouw.
Alexander has very successfully worked with conductors including Zubin Mehta, Lorin Maazel, Riccardo Muti, Daniel Barenboim, Sir Colin Davis, Antonio Pappano, Marco Armiliato, Nicola Luisotti, Kent Nagano, Gustavo Dudamel, Riccardo Chailly, Ivor Bolton, Edward Gardner, Anto-nello Manacorda, Daniele Rustioni, Jukka-Pekka Saraste, Alain Altinoglu, Vasily and Kirill Petrenko, Dan Ettinger, Evelino Pidò and Simone Young.
In concert he has appeared at the Maggio Musicale Fiorentino singing Mozart’s as well as Verdi’s Requiem and Don Carlo and he sang his “Gurrelieder” debut at Konzertverein Vienna (all under the baton of Zubin Mehta), Boito “Mephistofeles” (Prologue) with the Accademia Santa Cecilia conducted by Pappano, “Rigoletto” in Concert at the Hollywood Bowl with Gustavo Dudamel, Otello in concert with Sir Colin Davis and the London Symphony Orchestra at Barbican Centre London and at Deutsche Aids Gala in Düsseldorf. He has given a solo recital at St Johns Smith Square London and took part in the 20th anniversary celebration concert of the charity event “Festliche Gala der Deutschen AIDS Stiftung” at Deutsche Oper Berlin.
photo: Henriette Mielke
Shin Yeo wurde in Daegu, Südkorea geboren. Von 2005 bis 2009 besuchte er die Korea National University of Arts in Seoul von Prof. Simon Yang, die er mit einem Bachelor abschloss. 2012 bis 2014 folgte ein Master-Studium für Operngesang an der Staatlichen Hochschule für Musik und darstellende Kunst in Stuttgart in der Klasse von Prof. Francisco Araiza, 2014/2015 die Meisterklasse bei Prof. Sylvia Greenberg an der Hochschule für Musik und Theater in München.
Sein bereits auf verschiedenen Bühnen gesungenes Repertoire umfasst Partien wie Figaro (Le nozze di Figaro), Frank (Die Fledermaus), Don Estoban (Der Zwerg), Gianni Schicchi (Gianni Schicchi) und Don Pasquale (Don Pasquale).
Während der Spielzeiten 2015/2016 und 2016/17 war Shin Yeo Mitglied im Opernstudio Niederrhein und stand dort u.a. in folgenden Partien auf der Bühne: Silvano und Tom in „Un ballo in maschera“ von Giuseppe Verdi, Fiorillo/Offizier und Bartolo in „ll barbiere di Siviglia“ von Gioacchino Rossini, Kuligin in „Katja Kabanowa“ von Leos Janacek , Heerrufer des Königs und Brabantischer Edler in „Lohengrin“ von Richard Wagner sowie Peter in „Hänsel und Gretel“ von Engelbert Humperdinck.
Mit Beginn der Spielzeit 2017/18 ist Shin Yeo Mitglied im Opernstudio der Staatsoper Hamburg.
photo: Kartal Karagedik
The Bulgarian bass-baritone Denis Velev was born in 1992 in Plovdiv and moved to Russia with his family in 1996, where he started playing piano at the age of 6. He then started singing in a children choir and took over his first solos with 12 years and won several prizes in singing contests for children.
In 2012 he entered the Russian University of Theatre Art (GITIS) in Moscow, where he studied with Tamara Siniavskaya and was starring in several theatre and opera productions. He moreover debuted in Stanislavsky and Nemirovich-Danchenko Theatre in Moscow with „Die Zauberflöte“ (Mozart), „The Secret Mariage“ (Cimarosa) and „Orfeo and Euridice“ (Gluck).
In 2015 he graduated from the Russian University of Theatre Art and entered Galina Vishnevskaya's Opera Center, where he debuted especially in parts of Russian operas such as “Iolanta” (Tchaikovsky), “The Tsar's Bride“ (Rimsky-Korsakov), “Onegin” (Tchaikovsky) and “Rigoletto” (Verdi).
Since 2016/17 Denis Velev is part of the International Opera Studio at the Hamburg State Opera.
photo: Kartal Karagedik
Thomas Ebenstein wurde 1979 in Kärnten geboren und erhielt seine Gesangsausbildung an der Wiener Musikuniversität bei Helena Lazarska.
Seit der Spielzeit 2012/13 ist der Tenor Ensemblemitglied der Wiener Staatsoper, von 2003 bis 2012 war er Ensemblemitglied der Komischen Oper Berlin.
Gastengagements führten ihn unter anderem an die Staatsoper Unter den Linden, die Semperoper Dresden, die Hamburgische Staatsoper, die Deutsche Oper am Rhein, das Grand Théâtre de Genève, das Theater an der Wien, die Carnegie Hall New York, das Festspielhaus Baden-Baden, die Philharmonie Berlin, die Elbphilharmonie Hamburg (Laeiszhalle), das Concertgebouw Amsterdam, das Auditorium di Milano, den Wiener Musikverein & Konzerthaus, zur Ruhrtriennale Bochum, zu den Wiener Festwochen, den Osterfestspielen Salzburg, den Salzburger Festspielen, zum Bergen International Festival und zum Hong Kong Arts Festival.
In dieser Zeit konnte Thomas Ebenstein mit Dirigenten wie Thomas Adès, Semyon Bychkov, Christoph Eschenbach, Adam Fischer, Daniele Gatti, Marek Janowski, Zubin Metha, Ingo Metzmacher, Andris Nelsons, Yannick Nézet-Séguin, Kirill Petrenko, Sir Simon Rattle, Christian Thielemann und Franz Welser-Möst zusammenarbeiten.
Sein Repertoire umfasst Partien wie Pedrillo (Die Entführung aus dem Serail) – u.a. bei den Salzburger Festspielen, auch als DVD bei Arthaus Musik, David (Die Meistersinger von Nürnberg), Steuermann (Der fliegende Holländer), Tanzmeister (Ariadne auf Naxos), Schreiber (Chowanschtschina), Truffaldino (Die Liebe zu den drei Orangen) und Alfred (Die Fledermaus).
Im Februar 2018 erscheint sein Debut-Album bei Capriccio (Première Portraits) mit Liedern von R. Strauss, Schönberg, Zemlinsky und Korngold.
In der Spielzeit 2017/18 ist er in den Stücken „Fidelio“, „Eugen Onegin“, „Das Rheingold“ und „Le Nozze di Figaro“ zu erleben.
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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.