Giacomo Puccini | Tosca
Pier Giorgio Morandi
Pier Giorgio Morandi played for ten years as principal oboist in Orchestra del Teatro alla Scala in Milan. He studied composition at Conservatorio G. Verdi in Milan, and orchestra conducting at Salzburg Mozarteum with M Ferdinand Leitner. During the years spent at La Scala, Morandi was assistant conductor of M Riccardo Muti and later of M Giuseppe Patanè, from whom he gained a lot of experience in refining the stylistic Italian repertoire and in learning all the secrets of the Italian operatic tradition.
In 1987 he studied in Tanglewood, USA, with M Leonard Bernstein and M Seiji Ozawa. In the same year, Morandi won the “Tanglewood Competition”, also known as “Bernstein Prize”. In 1989 he became Deputy Principal Conductor at Teatro dell’Opera in Rome, where he conducted “Ernani”, “Madama Butterfly” and several symphonic concerts. In 1990 he recorded his first opera with Roma opera house, Paisiello’s “Don Chisciotte”. From 1991 and for the following five years, he was Principal Guest Conductor at Budapest National Opera House.
Morandi has a wide Italian operatic repertoire and he has been working as regular guest conductor since 1990 in all the major opera houses in Italy, Europe and worldwide: Palermo, Trieste, Roma, Marseille, La Maestranza in Seville, Bunka Kaikan in Tokyo, Osaka, National Opera Theatre in Seoul, Colon in Buenos Aires, Stockholm Royal Opera House, Theatre Royal de La Monnaie in Brussels, Deutsche Oper Berlin, Oper Frankfurt, Wiener Staatsoper, Macerata Opera Festival, Arena di Verona, Opernhaus Zürich, Goteborg, Teatro Regio di Parma, Napoli, Puccini Festival in Torre del Lago, Bilbao, Maiorca, Las Palmas, Valencia, Copenhagen Royal Opera House, Seattle Opera, Royal Albert Hall in London.
An appreciated interpreter of symphonic repertoire, Morandi has worked, among others, with Budapest Radio Orchestra, Budapest Philharmonic Orchestra, Budapest State Orchestra, Flamish Radio Orchestra, Roma’s Santa Cecilia Symphony Orchestra, Orchestra del Filarmonico di Verona, Sanremo Symphony Orchestra, Reggio Calabria Symphony Orchestra, Fukuoka Philharmonic Orchestra, Tokyo Philharmonic Orchestra, Osaka Philharmonic Orchestra, Helsingborg Symphony Orchestra.
A prolific recording artist, Morandi appeared in several releases, including the “Verdi Gala” DVD with tenor José Cura and the London Symphony Orchestra, and two Sony Classic CD’s of the European tour with tenor Vittorio Grigolo.
Recent seasons’ highlights include “La Fanciulla del West”, “Tosca” and “Un Ballo in Maschera” at Stockholm Royal Opera House (where he held the position of Principal Guest Conductor), “Aida” in Oslo and in Qatar, “L’Elisir d’Amore”, “La Bohème” and “Don Carlo” in Dresden, “Maria Stuarda” in Frankfurt, “Macbeth” at La Scala, “Attila” at the Palace of Arts in Budapest, “Rigoletto” in Naples, a symphonic concert at Musikverein in Graz. Furthermore, “Don Carlo”, “Aida” and “Lucia di Lammermoor” at La Scala, “Otello” in Copenhagen, “Madama Butterfly” in Oslo, “Manon Lescaut”, “Rigoletto”, “Turandot”, “Madama Butterfly”, “La Bohème” and “La Traviata” in Dresden, “La Fanciulla del West” in Frankfurt, “Otello” and “L’elisir d’amore” at the China National Center of Performing arts in Bejing, “Manon Lescaut” at the New National Theatre in Tokyo, “Rigoletto” at Opéra Bastille, “Il Barbiere di Siviglia” at the China National Center of Performing arts.
Most recently, “Rigoletto” at Metropolitan Opera, “Lucia di Lammermoor” at Hamburgische Staatsoper, “Turandot” at Sferisterio Opera Festival and “Aida” at Opera Australia.
His future plans include: “Aida” at the Kungliga Operan Stockholm and at the Opera Australia, “Simon Boccanegra” at Teatro Comunale Alighieri di Ravenna, “Tosca” at the Hamburgische Staatsoper and “Otello” at the Royal Danish Opera.
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“.
Tatiana Serjan is considered one of today’s leading primadonnas, expecially for her acclaimed portrayal of the role of Lady Macbeth.
Graduated at the St. Petersburg Conservatory, she made her international debut at Teatro Regio in Turin with “Macbeth”, an opera she performed in the most important theaters around the world where she regularly performs (La Scala in Milan, Rome Opera, Comunale in Bologna, Regio in Parma, Massimo in Palermo, Bayerische Staatsoper in Munich, Deutsche Opera in Berlin, Teatro Real in Madrid, Sao Carlos in Lisbon, Opernhaus in Zurich, Dallas Opera, Liceu in Barcelona, Bregenz Festspiele, Salzburg Festival).
Her repertoire includes: “Un ballo in maschera”, “Trovatore”, “Aida”, “Attila”, “La battaglia di Legnano”, “I due Foscari”, “Norma”, “Tosca”, “Andrea Chenier”, “Simon Boccanegra”, “Pikovaya Dama”, “Sancta Susanna”, which she has performed with such conductors as Muti, Bartoletti, Santi, Renzetti, Altinoglu, Rizzi, Steinberg, Luisotti, Conlon and stage directors like Stein, Wilson, Herzog, Pizzi, Pountney, Bondy, Deflo, Lavia.
In concert she performed Shostakovich’s “XIV Symphony” at Sao Carlos in Lisbon, Verdi’s “Messa da Requiem” in London with the Philarmonia Orchestra conducted by M° Muti, in Toulouse, Moscow, Bologna, Ravenna Festival, Tenerife and Hindemith’s “Sancta Susanna” at the Carnegie Hall in New York, “Macbeth” and “Messa da Requiem” with the Chicago Symphony Orchestra and M° Muti n Chicago.
Jorge de Leon
Jorge de León was born in Santa Cruz de Tenerife where he studied music and singing with Isabel García Soto at the city conservatory, he later continued his studies with Giuseppe Valdengo in Italy and with Alfonso G. Leoz since 2004.
He was granted the 1st Prize of the IV Villa Abarán National Contest in Murcia and began singing opera and zarzuela all around Spain: Auditorio Nacional in Madrid, Palau de Les Arts in Valencia, Auditorio de Gran Canaria, Santander, Huelva, Teatro Campoamor Oviedo, Teatro de la Zarzuela de Madrid etc.
It was in 2004 when his voice developed and he won the 1st Prize of the International Contest Julián Gayarre and 2nd Prize at the Jaime Aragall Singing International Contest.
He was then immediately engaged to sing numerous productions in Spain and abroad: “La Bruja”, “Francisquita”, “Marina”, “Lucia di Lammermoor”, “Gianni Scchicchi”, “Il Tabarro”, “Macbeth”, “La Vida Breve”, “Andrea Chenier”, “West Side Story” etc.
A brilliant substitution at the Teatro Real in Madrid on 2010 brouht him to sing at the most leading opera houses in Italy and Spain: “Aida” and “Cavalleria rusticana” at Scala di Milano, “Carmen” and “Aida” at Massimo di Palermo, San Carlo di Napoli and Arena di Verona. “Tosca” and “Madama Butterfly” at Teatro Real de Madrid, “Cavalleria rusticana”, “Tosca”, “Aida”, “Le Cid”, “Il Trovatore” at Palau de Les Arts de Valencia, “Madama Butterfly” and “Tosca” at Liceo de Barcelona, etc. “Calaf” under conduction of Zubin Mehta in 2012 was one of Jorge de León's most important interpretations.
His debuts at Vienna, Berlin and München opera houses singing “Tosca”, “Madama Butterfly” and “Aida” were so successful that he was invited to sing in productions so important as “Un ballo in maschera” (season opening 2016/17) in Berlin, “Aida”, “Madama Butterfly” and a new “Macbeth” production in Vienna (2016). He has also made his debut in Chicago and his debut at the NY MET (2017) with “Aida” has been a success as well.
Future engagements include “Tosca” at Deutsche Oper Berlin and New National Theatre Tokyo, “Andrea Chérnier” at Gran Teatre del Liceu and Ópera de Oviedo, “Turandot” at Teatro Regio di Torino, “Aida” at Wiener Staatsoper and “Manon Lescaut” at Gran Teatre del Liceu.
Jorge de León has been very lucky to be conducted by two of the most outstanding current conductors Lorin Maazel (Aida, Tosca, Cavalleria Rusticana, La Vida Breve) and Zubin Mehta (Carmen, Tosca, Aida and Turandot).
Franco Vassallo is one of Italy’s leading baritones and has there been acclaimed at Teatro alla Scala di Milano, Teatro La Fenice di Venezia, Teatro San Carlo di Napoli, Teatro Regio di Torino, Teatro Carlo Felice di Genova, Teatro Comunale di Firenze, Teatro dell’Opera di Roma, Teatro Regio di Parma and at the Arena di Verona.
He has also made several significant international debuts at the Metropolitan Opera in New York, Royal Opera House at Covent Garden in London, Bavarian State Opera in Munich, Vienna State Opera, Deutsche Oper and Staatsoper in Berlin, Opernhaus Zürich, Grand Théâtre de Genève, Baden-Baden Festival, Hamburg State Opera, Semperoper Dresden, Teatro Real de Madrid, Teatro de São Carlos in Lisbon as well as in Bilbao, Amsterdam, Paris, Washington, Los Angeles and Philadelphia.
Highlights of the last seasons included a new production of “Rigoletto” at the Bavarian State Opera and a new production of “Macbeth” at the Teatro alla Scala in Milano under the baton of Valery Gergiev. In 2013 Vassallo returned to the Metropolitan Opera in New York as Ford in Falstaff (conducted by James Levine). At the opera in Zurich he sang in the rarely performed oper “La Straniera” together with Edita Gruberivá and returned to the Arena di Verona as Amonasro (Aida). He sang the Conte di Luna (Il Trovatore) at La Scala and Rigoletto in Munich and Hamburg. At the Teatro Real Madrid he made his debut as Monforte in a concert performance of “ I Vespri Siciliani” and he opened the 2014/15 season as Rigoletto in Geneve. In “La Straniera” he gave his debut at the Theater an der Wien an das Germont (La Traviata) he returned to the Royal Opera House Covent Garden. As Amonasro (Aida) he had success in Vienna and in Munich he sang the role of the Duke of Nottingham in “Roberto Devereux”.
In addition to his performances as Amonasro (Aida) and Rigoletto he also sang Macbeth, Ford (Falstaff) and Renato (Un Ballo in Maschera) at the Bavarian State Oper. At the Teatro Felice Genua he gave his role debut in “Simon Boccanegra” and returned there as Rodrigo (Don Carlos). In a concert performance of “La Forza del Destino” he sang Don Carlo di Vargas in Geneve and also sang the title role in “Falstaff”. As Rigoletto he gave his house debut at the opera Bastille in Paris.
The season 2017/18 brings Vassallo to Amsterdam as Don Carlo (La Forza del Destino) and to Paris as Ford (Falstaff). In Hamburg he will make his debut as Scarpia (Tosca) and will also perform Iago (Otello). He will also sing Rigoletto in Frankfurt and return to Munich as Don Alfonso (Lucrezia Borgia).
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.
Alexander Roslavets graduated from the vocal department of the St. Petersburg Rimsky-Korsakov State Conservatory in 2014 where he studied under Professor Nikolai Okhotnikov.
While studying at the Conservatory he was a soloist of the Rimsky-Korsakov St. Petersburg State Conservatory theatre where he appeared on stage as Malyuta Skuratov in “The Tsar's Bride” by Rimsky-Korsakov and sang at the numerous festivals and concerts. In July 2013/14 he took part at the open-air opera festivals in Saint Petersburg where he sang the parts of Mephistopheles in the opera “Faust” by Ch. Gounod and King Dodon in the opera “The Golden Cockerel” by Nikolai Rimsky-Korsakov conducted by Fabio Mastrangelo. In April 2014 he made his debut on the stage of the Mikhailovsky Theatre as Tom in “Un ballo in maschera” by Verdi.
In the seasons 2014/15-2015/16 he was an artist of the Young Artist Program of the Bolshoi Theatre of Russia. In 2015 he made his debut on the stage of the Bolshoi performing the part of Marchese d'Obigny in “La Traviata” by Verdi under the baton of Tugan Sokhiev.
In November 2015, he debuted on the stage of the Bolshoi theatre of Belarus singing Don Basilio in “Il Barbiere di Siviglia” by Rossini.
In June 2016 he performed the part of Duke of Cornwall in the World Premier of S. Slonimsky`s King Lear on the stage of the Tchaikovsky Concert Hall conducted by Vladimir Jurowsky.
In July 2016 he covered the part of Mephistopheles in the new production of “La damnation de Faust” staged by Peter Stein in the Bolshoi. He sung the part of Brander in the premiere conducted by Tugan Sokhiev.
In October 2016 he joined the ensemble of the Hamburg State Opera.
Alexander took part in several international competitions among which in 2014 the 42nd Russian National Vocal Graduates Competition in St. Petersburg where he won the Grand Prix and the 1st International Christmas Vocal Competition in Minsk where he was awarded a special prize. In 2015 he took part in the 10th International competition of E. Obraztsova in St. Petersburg where he was awarded a diploma and he won the first prize in the 7th International Competition of Opera Singers «Saint-Petersburg». In 2016 he won the second prize in the 6th Galina Vishnevskaya International Opera Singers Competition in Moscow and the Grand Prix and the Audience Prize in the II International Eva Marton Competition in Budapest. He is the laureate of the Special Foundation of the President of Belarus, which supports young talents.
Im Sommer 2015 debütierte der junge Tenor beim Festival Schloss Britz in Berlin. Hier sang er die Hauptpartien in „Il barbiere di Siviglia“ (Paisiello) sowie im Folgejahr „Orlando paladino“(Haydn). Mit dem Barockwerk Hamburg konzertierte er in historischer Aufführungspraxis, wie zum Beispiel Telemanns „Bürgercapitainsmusik“. Diese Wiederentdeckungen wurden als CDs veröffentlicht. Weitere Engagements führten ihn an das Konzerthaus am Gendarmenmarkt in Berlin sowie in die Laeiszshalle in Hamburg. Regelmäßig tritt er als Oratorien- und Konzertsänger auf. Rundfunk- und CD-Aufnahmen ergänzen seine Arbeit. Er trat u.a. mit den Hamburger Symphonikern, der Rheinischen Philharmonie und den Hamburg Philharmonic Soloists (Mitglieder des Philharmonischen Staatsorchesters Hamburg) auf.
Mit bereits vier Jahren sammelte Julian Rohde erste Bühnenerfahrungen am Theater Lübeck. Noch als Knabensopran wurde er dann für Solopartien verpflichtet. Sein Gesangsstudium absolvierte er von 2010 bis 2014 an der Hochschule für Musik und Theater Hamburg bei Prof. Yvi Jänicke und vervollständigte sein Studium danach bei Valentina Aleksandrova/ Kozhanova. Zeitgleich studiert er Italienisch und Russisch. Er nahm an Meisterkursen u.a. bei Simone Kermes, Margreet Honig und Robert Gambill teil.
photo: Alex B. Adler
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
Nach einer Berufsausbildung und Tätigkeit im medizinischen Sektor studierte Christian Bodenburg in seiner Heimatstadt Münster/Westf. Gesang und Musikwissenschaften.
Erste Bühnenerfahrungen sammelte der Bassist am Landestheater Schleswig-Holstein, wechselte dann für zwei Spielzeiten an das Staatstheater Hannover und ist nun seit 2002 an der Hamburgischen Staatsoper engagiert. Neben seiner Tätigkeit im Staatsopernchor war er in und um Hamburg an verschiedenen Opernprojekten und Konzerten beteiligt.
Die aus Moskau stammende Mezzosopranistin Ruzana Grigorian begann ihr Gesangsstudium im Alter von 16 Jahren an der Russischen Akademie für Theaterkunst (GITIS). Im Rahmen des dortigen Opernstudios wirkte sie in Purcells „Dido and Aeneas“ mit und sang die Rolle des Orpheus in Glucks „Orfeo ed Euridice“.
Von 2007 bis 2015 war sie Solistin im Orfey Theater in Russland und nahm an der Sommerakademie der GITIS unter der Leitung von A. Kalyagina teil. Im Rahmen eines Projekts übernahm sie die Titelpartie der Carmen in der gleichnamigen Oper. 2011 war sie am Moskauer Musiktheater als Maddalena in Verdis „Rigoletto“ zu hören, bevor sie im Jahr 2012 die Partie der Olga in Tschaikowskys „Eugen Onegin“ im Orfey Theater sang.
Seit Oktober 2015 studiert Ruzana Grigorian Gesang am Mozarteum in Salzburg, zunächst bei Prof. Barbara Bonny, aktuell bei Prof. Mario Diaz. Im Jahr 2016 debütierte sie in der Rolle der Bianca in Brittens „The Rape of Lucretia“ in einer Opernproduktion der Universität und 2017 als Filipjewna in Tschaikowskys „Eugen Onegin“ am Mozarteum Salzburg.
Ruzana Grigorian gehört ab der Spielzeit 2017/2018 zum Internationalen Opernstudio der Staatsoper Hamburg.
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.