Wolfgang Amadeus Mozart | Die Zauberflöte (The Magic Flute)
General Music Director of Hamburg
Kent Nagano is renowned for interpretations of clarity, elegance and intelligence. He is equally at home in music of the classical, romantic and contemporary eras, introducing concert and opera audiences throughout the world to new and rediscovered music and offering fresh insights into established repertoire. He has been Music Director of the Orchestre symphonique de Montréal since September 2006 where his contract has been extended until 2020. In September 2013, he became Artistic Advisor and Principal Guest Conductor of the Gothenburg Symphony Orchestra. In September 2015, he took up the position of General Music Director of the Hamburg State Opera and Chief Conductor of the Philharmonic State Orchestra. With his Hamburg orchestra he went on South America Tour in the beginning of season 2016/17, with concerts e.g. in Buenos Aires, Sao Paolo and Bogotá. On 13 January 2017 Kent Nagano conducted the world premiere of a new oratorio by Jörg Widmann as the very first concert with the Philharmonic State Orchestra in the Elbphilharmonie in Hamburg on the occasion of the inauguration festivities of the new hall. Since then the traditional Philharmonic Concerts take place in the new Elbphilharmonie. In February 2017 he stood at the rostrum of the orchestra for the premiere of Alban Berg’s “Lulu”. Kent Nagano started his first season with the premiere of Berlioz‘ “Les Troyens”, the world premiere of Toshio Hosokawas “Stilles Meer” followed in January 2016. Messiaen’s symphony “Turangalîla” choreographed by John Neumeier was premiered in early July 2016.
With the Orchestre symphonique de Montréal Kent Nagano went on US tour in March 2016. A milestone at the helm of the OSM was the inauguration of the orchestra’s new concert hall “La Maison Symphonique” in September 2011. Highlights with the orchestra include the complete cycles of Beethoven and Mahler symphonies, Schoenberg's “Gurrelieder”, concert versions of Wagner's “Tannhäuser”, “Tristan und Isolde”, “Das Rheingold”, Honegger’s “Jeanne d’Arc au Bûcher”, Messiaen's “Saint François d'Assise”, and concert series featuring the works of Dutilleux (2010-11) and Boulez (2011-12). Nagano has taken the orchestra on a coast-to-coast tour of Canada and also to tours to Japan, South Korea, Europe and South America. In October 2014 they embarked on their second tour to Japan. Their recordings together include Mahler’s “Orchestral Songs” with Christian Gerhaher, Beethoven’s Piano Concertos Nos. 4 & 5 and a complete recording of all the Symphonies by Beethoven of which the album “Ideals of the French Revolution” with Symphony No. 5 won a Juno award. In March 2015 Kent Nagano conducted the North American Premiere of “L’Aiglon”, a rare opera of Honegger and Ibert. This production was recorded and released by Decca and has won an ECHO Klassik 2016. “Danse Macabre” followed as second production with Decca, with works by Dukas, Dvořák, Mussorgsky, Balakirev, Saint-Saens and Ives in October 2016.
At the Bayerische Staatsoper, where he was General Music Director from 2006 to 2013, Kent Nagano commissioned new operas such as “Babylon” by Jörg Widmann, Das “Gehege” by Wolfgang Rihm and “Alice in Wonderland” by Unsuk Chin. New productions have included Mussorgsky’s “Boris Godunov” and “Khovanshchina”, “Idomeneo”, “Eugene Onegin”, “Ariadne auf Naxos” and “Die Schweigsame Frau”, “Les Dialogues des Carmélites”, “St François d’Assise”, “Wozzeck”, George Benjamin’s “Written on Skin” and “Der Ring des Nibelungen”. With the Bayerisches Staatsorchester Nagano has toured throughout Europe and in Japan and together they have recorded Bruckner Symphonies No. 4, 7 and 8. In January 2014, Kent Nagano returned to the Bayerische Staatsoper to conduct a revival of Widmann’s “Babylon”.
As a much sought after guest conductor, Nagano has worked with most of the world’s finest orchestras, just as the Bavarian Radio Symphony Orchestra, Munich Philharmonics, London Symphony Orchestra, BBC Symphony Orchestra, Tonhalle Orchestra Zurich, WDR Symphony Orchestra, Concerto Köln, Finnish Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rom and at Wiener Festwochen. Since 2014 he is forming his own festival as part of the AUDI Sommerkonzerte, called Vorsprung-Festival. He has an ongoing relationship with Sony Classical and has also recorded for Erato, Teldec, Pentatone and Deutsche Grammophon as well as Harmonia Mundi, winning Grammy awards for his recordings of Busoni’s “Doktor Faust” with Opéra National de Lyon, “Peter and the Wolf” with the Russian National Orchestra and Saariaho’s “L’amour de Loin” with the Deutsches Symphonieorchester Berlin.
A very important period in Nagano’s career was his time as Artistic Director and Chief Conductor of the Deutsches Symphonie-Orchester Berlin, from 2000-2006. He performed Schönberg’s “Moses und Aron” with the orchestra (in collaboration with Los Angeles Opera), and took them to the Salzburg Festival to perform both Zemlinsky’s “Der König Kandaules” and Schreker’s “Die Gezeichneten”, as well as to the Festspielhaus Baden-Baden with “Parsifal” and “Lohengrin” in productions by Nikolaus Lehnhoff. Recordings with the Deutsches Symphonie-Orchester Berlin for Harmonia Mundi include repertoire as diverse as Bernstein’s Mass, Bruckner’s Symphonies Nos. 3 & 6, Beethoven’s “Christus am Ölberge”, Wolf Lieder, Mahler’s Symphony No. 8 and Schönberg’s “Die Jakobsleiter” and “Friede auf Erden”, as well as Brahms’s Symphony No. 4 and Schönberg’s “Variationen für Orchester” Op. 31. In June 2006, at the end of his tenure with the orchestra, Kent Nagano was given the title Honorary Conductor by members of the orchestra, only the second recipient of this honour in their 60-year history. To this day he has a close friendship to the orchestra.
Kent Nagano became the first Music Director of Los Angeles Opera in 2003 having already held the position of Principal Conductor for two years. His work in other opera houses has included Shostakovich’s “The Nose” (Staatsoper Berlin), Rimsky Korsakov’s “The Golden Cockerel” (Châtelet, Paris), Hindemith’s “Cardillac” (Opéra national de Paris), “Dialogues des Carmélites” (Metropolitan Opera) and at the Salzburg Festival “Les Contes d’Hoffmann”, Zemlinsky’s “Der Koenig Kandaules”, Schreker’s “Die Gezeichneten” and the world premiere of Saariaho’s “L’amour de loin”. Other world premieres include Bernstein’s “A White House Cantata” and operas by Peter Eötvös (“Three Sisters”), and John Adams (“The Death of Klinghoffer” and “El Niño”).
Born in California, Nagano maintains close connections with his home state and was Music Director of the Berkeley Symphony Orchestra from 1978-2008. His early professional years were spent in Boston, working in the opera house and as assistant conductor to Seiji Ozawa at the Boston Symphony Orchestra. He played a key role in the world premiere of Messiaen’s opera “Saint François d’Assise” at the request of the composer, who became a mentor and bequeathed his piano to the conductor. Nagano’s success in America led to European appointments: Music Director of Opéra National de Lyon (1988-1998) and Music Director of the Hallé Orchestra (1991-2000).
photo: Benjamin Ealovega
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
Born in 1977 in the Bavarian town of Vilsbiburg, the bass Wilhelm Schwinghammer began his musical education as a chorister at the music school that trains the world-famous cathedral choir known as the Regensburger Domspatzen. He later studied singing with Harald Stamm at the University of the Arts in Berlin. Master classes with teachers like Kurt Moll and Marjana Lipovsek rounded off his education.
In 2004 he was a finalist at the 33rd German Federal Competition in Berlin and in 2009 he won second prize and the Audience Prize at the International ARD Music Competition. From 2003 he was for two years a member of the International Opera Studio of the Staatsoper Hamburg. From 2006/2007 to 2016/17 Wilhelm Schwinghammer has been a member of the ensemble at the Hamburg Staatsoper: his repertoire included roles like Rocco (Fidelio), Theseus (A Midsummer Night’s Dream) Sarastro (The Magic Flute), Leporello (Don Giovanni), Figaro (The Marriage Of Figaro), Colline (La Bohème), Don Basilio (The Barber Of Seville), Frank (Die Fledermaus), Il re (Aida), Lodovico (Otello), Sparafucile (Rigoletto), Pietro (Simon Boccanegra), Fasolt (Das Rheingold), Fafner (Siegfried), Daland (The Flying Dutchman), König Heinrich (Lohengrin), Titurel (Parsifal), König Marke (Tristan Und Isolde) and Hermit (Der Freischütz).
Wilhelm Schwinghammer made his debut at the 2005 Salzburg Festival in the role of the young Dr. Grenvil (La Traviata); at the 2011 Easter Festival in Salzburg he played Second Soldier (Salome) under Sir Simon Rattle (director Stefan Herheim). At the Bayreuth Festival he sang King Heinrich (Lohengrin) in the summers of 2012 to 2015. In 2014 and 2015 he also sang Fasolt (Das Rheingold). In the RSB Berlin concertante Wagner cycle under Marek Janowski he sang Biterolf (Tannhäuser) on stage and on the CD recording. In autumn of 2013 he made a guest appearance as König Marke (Tristan Und Isolde) in a new production with the National Opera of Washington and in the Richard Strauss anniversary year (2014) he sang Jörg Pöschel in the operatic poem "Feuersnot" in a concertante performance with the Munich Radio Orchestra under the direction of Ulf Schirmer at the Prinzregententheater in that city. Further guest engagements took the artist to the Aalto-Theater in Essen (Figaro, Le Nozze Di Figaro), the Dresden Semperoper (Sarastro, The Magic Flute), the Bayerische Staatsoper (Titurel, Parsifal) and the Staatsoper Berlin (Pietro, Simon Boccanegra; Hermit, Der Freischütz; Sarastro, The Magic Flute; Osmin, Die Entführung Aus Dem Serail).
Wilhelm Schwinghammer works in the opera and recital sector with renowned conductors including Daniel Barenboim, Philippe Herreweghe, Manfred Honeck, Nicola Luisotti, Sir Neville Marriner, Marc Minkowski, Andris Nelsons, Hans-Christoph Rademann, Sir Simon Rattle, Helmuth Rilling, Ulf Schirmer, Peter Schneider, Stefan Soltesz and Simone Young.
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.
A hugely versatile artist, Julie Fuchs began her musical and theatrical training in Avignon and went on to attend the Conservatoire National Supérieur in Paris, where she was awarded first prize with honours in singing. Julie quickly went on to make her mark in roles showcasing her vocal and dramatic dexterity, including “Ciboulette” at the Opera-Comique, Morgana (Alcina) and Susanna (Le nozze di Figaro) at the Opernhaus Zürich.
Julie has twice been a prize winner in the “Victoires de la Musique” competition (awarded by the French Government for outstanding contribution to the music industry), firstly in 2012 for Best Opera Newcomer, and in 2014 for Opera Singer of the Year. She was also awarded 2nd prize at the 2013 Operalia Competition in Verona.
In 2015 she made her debut at the Opéra de Paris as la Folie in Rameau’s “Platée”, and has since been reinvited for a number of productions in future seasons including Nanetta (Falstaff) in this coming season. She has also recently performed the role of the Countess of Folleville (Il viaggio a Reims) and Angelica (Orlando) for Opernhaus Zürich, and Musetta at the Bayerische Staatsoper.
Last season, Julie premiered the role of Esther in Francesconi's “Trompe-la-mort” at the Opéra de Paris, made her role debut as Leïla (Les pêcheurs de perles) at the Théâtre des Champs-Elysées and made a critically acclaimed house debut at the Wiener Staatsoper in the title role of Donizetti’s “La fille du regiment”. Julie spent the summer at the Festival d'Aix-en-Provence 2017 as Zerlina in their new production of “Don Giovanni”.
Engagements in the 2017/18 season include returns to the Opéra de Paris, La Comtesse Adèle in Opéra Comique’s new production of “Le Comte Ory”, Morgana at the Théâtre des Champs-Elysées and Poppea at Opernhaus Zürich. Julie also makes her debut at the Teatro Real Madrid as Giunia in Mozart’s “Lucio Silla”.
In addition to operatic appearances, Julie pursues a varied career, giving recitals with pianist Alphonse Cemin, recording with jazz heroes Giovani Mirabassi and Paco Seri and performing in musicals such as Eliza Doolittle in “My Fair Lady” and Maria in “The Sound of Music” for the Théâtre du Châtelet. On the concert platform, Julie’s recent engagements include an American concert at the Choregies d’Orange, “Acis and Galatea” in concert with the Mozarteumorchester Salzburg as well as her debut at the BBC Proms 2016 with the BBC Symphony Orchestra conducted by Marc Minkowski.
Her discography includes a recording of early songs by Mahler and Debussy with Alphonse Cemin, and a disc of Songs for Piano and Voice by Poulenc (Atma Classique). In 2014 Julie signed an exclusive contract with Deutsche Grammophon, with her first solo album “Yes !” released in 2015.
photo: Solène Ballesta
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.
Sergei Ababkin was born in 1991 in Parabel, Russian Federation. In 2008 he entered the vocal faculty of Krasnoyarsk College of Arts by Ivanov-Radkevich (teacher V. M. Gavrichkov). 2011 he won the first prize of the International Competition "Romansiada" in Moscow. A year later Sergei Ababkin entered the vocal faculty of the St. Petersburg State Conservatory by Rimsky-Korsakov (teacher n. a. of Russia, Y. M. Marusin) and is currently in his fourth year.
His repertoire includes Lykov in Rimsky-Korsakov´s "The Tsar's Bride", Lensky in Tchaikovsky´s "Eugene Onegin" and young Romani in Rachmaninoff´s "Aleko".
Since 2016/17 Sergei Ababkin is part of the International Opera Studio at the Hamburg State Opera.
photo: Kartal Karagedik
Königin der Nacht
Hailed by the New York Times as a soprano of "gleaming sound, free and easy
high notes, agile coloratura runs and lyrical grace," Jessica Pratt is considered one of today's foremost interpreters of some of bel canto's most challenging repertoire.
Since her European debut in 2007 as Lucia di Lammermoor Ms. Pratt's schedule has included performances at opera theatres and festivals such as the Teatro alla Scala of Milan, Zurich Opera, Deutsche Oper Berlin, the Vienna State Opera and the Royal Opera House Covent Garden, working with conductors such as Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Christian Thielemann, Donato Renzetti, Pier Giorgio Morandi, Carlo Rizzi, Antonino Fogliani, Wayne Marshall and David Parry.
The 2012/13 season brought several acclaimed debuts at Festival Verdi in Parma, like Gilda next to Rigoletto interpreted by Leo Nucci, at Deutsche Oper Berlin as Lucia, at Vlaamse Opera in New Year's Eve Concert, at Teatro de la Maestranza in Sevilla (Gilda, once more next to Leo Nucci), in the role of Matilde in “Guillaume Tell” next to Juan Diego Florez interpreting Arnold in Lima, Giulietta in “I Capuleti e i Montecchi” in Reims, in the role of Lisinga in “Demetrio e Polibio” of Rossini in Neaples, and in the role of the protagonist in “Giovanna d’Arco” at Festival della Valle d’Itria in Martina Franca.
In the 2013/14 season Ms Pratt could be heard in new productions of “Lucia di Lammermoor” at La Scala and in Amsterdam, as Amina in “La sonnambula” in Bari, Gilda in Padova, in the season opening of La Fenice as Inès in Meyerbeer's “L'Africaine”, as Musetta in “La Bohème” in Salerno, in her role debut as Violetta in “La Traviata” in Melbourne, as Zenobia in “Aureliano in Palmira” at the Pesaro Rossini Opera Festival as well as in recitals in Tokyo and Florence with Vincenzo Scalera.
In 2014/15 the soprano made her role debuts as Cleopatra in Handel's –“Giulio Cesare” at the Teatro Regio in Turin and as Amenaide in Rossini's “Tancredi” at the Opéra de Lausanne. Other performances included Donna Anna in “Don Giovanni” and Giulietta in “I Capuleti e i Montecchi” at the Teatro La Fenice in Venice; Elvira in “I Puritani” in Florence and in Melbourne; Lucia di Lammermoor at the Rome Opera House and at the Festival Granda in Lima; her role and festival debut as Rosina in “Il barbiere di Siviglia” at the Arena di Verona, where she could also be heard as soprano soloist in “Carmina burana”; the soprano solo in Rossini’s “Messa di Gloria” alongside Juan Diego Florez and “La morte di Didone” at the Rossini Opera Festival; as well as concerts in Milan, Bonn, and London.
Performances of the 2015/16 season included Jessica Pratt's returns to Florence, Turin and Melbourne as Lucia di Lammermoor, her debuts at the Gran Teatre del Liceu Barcelona in Desdemona in Rossini's “Otello”, at the Palau de les Arts Reina Sofia Valencia in Mozart's “Davidde penitente” and at the ABAO Bilbao as Amina in “La sonnambula”, her role debuts as Semiramide at the Opéra de Marseille and later at the Washington Concert Opera and as Linda di Chamounix at the Rome Opera House; and concerts in Oviedo and Moscow.
More recently, “Semiramide” and “Rosmonda d'Inghilterra” at the Florence Opera House, a concert with the Queensland Symphony Orchestra, “Rosmonda d'Inghilterra” at the Donizetti Festival Bergamo, her debut at the Metropolitan Opera House New York as Queen of the Night in “The Magic Flute”, and the she sang in “Rigoletto” in Oviedo.
Future engagements include “La Fille du Regiment” at Las Palmas, “I Puritani” in tournée with Teatro Real de Madrid and she will return to Met to sing Lucia.
Her discography includes CD recordings of Rossini's “Otello” and Vaccai's “La sposa di Messina”, DVD/Blu-Ray recordings of Rossini's “Adelaide di Borgogna”, “Ciro in Babilonia” and “Aureliano in Palmira” from the Rossini Opera Festival, the 2012 New Year's Gala from Teatro La Fenice, Donizetti's “Viva la mamma” from Teatro alla Scala Milan as well as Bellini's “La Sonnambula” from La Fenice. In January 2016 her first solo album “Serenade” will be released on Opus Arte.
Ms. Pratt is the winner of numerous international vocal competitions, including the Australian Singing Competition, the Vienna State Opera Award, and the Rome Opera Award.
In May 2013 she was awarded the prestigious international prize for coloratura sopranos “La Siola d'Oro – Lina Pagliughi”.
She completed her vocal studies in Italy working with Maestro Gianluigi Gelmetti at Rome Opera as well as with Renata Scotto and is now studying with Lella Cuberli. British-born and raised in Australia, Ms. Pratt currently resides in Florence, Italy, with her adopted dogs, Daisy and Buddy.
photo: Benjamin Ealovega
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
Russian born Mezzo Soprano Nadezhda Karyazina was born in Moscow and trained at the Russian Academy of the Theatrical Arts in Moscow. Upon graduation, she attended the Galina Vishnevskaya Opera Centre.
She has won multiple prizes including a Diploma at the Russian Theatrical Competition 'Capital Renaissance' (2008) and second prize at the Savonlinna Opera Competition in Finland (2012). She was also a prize winner at the prestigious Operalia and Neue Stimmen competitions (2012).
She was a member of the Young Artist Program of the Bolshoi Theatre of Russia, where she has taken part in master-classes with Gloria Guida Borelli, Laura Claycomb, Elena Obraztsova, Eugeny Nesterenko, Luba Orfenova, Diane Zola, Richard Bado and Ann Hallenberg among others. Her debut at the Bolshoi was as Petronova “The Tsar’s Bride”, conducted by Vasily Sinaisky.
She was a member of the Jette Parker Young Artists Programme at the Royal Opera House Covent Garden (2013/14) and made her stage debut there as Mercedes (Carmen). Other operatic roles there included Flora (La Traviata), Madrigal Singer (Manon Lescaut), Maddalena (Rigoletto), Second Lady (Die Zauberflote), Bersi (Andrea Chenier), Suzuki (Madama Butterfly) and Meg Page (Falstaff). She has also sung Polinesso (Ariodante) and Charlotte (Werther) at the Salzburger Landestheater, Lel (The Snow Maiden), Soneyetka (Lady Macbeth of Mtsensk) and Princess Clarice (The Love of three Oranges) at the Bolshoi Theatre.
She has performed the roles of Marquise Melibea in scenes from “Il viaggio a Reims” by Rossini at the Tchaikovsky Concert Hall in Moscow with the 'Moscow Soloists' Chamber Orchestra under Yuri Bashmet. In March 2011 she sung the part of mezzo-soprano in Mozart's Requiem at the Novosibirsk State Academic Opera and Ballet Theatre.
In 2015, she became a member of the ensemble at Staatsoper Hamburg. Her engagements for the 2016/17 season included Mercédès (Carmen), Maddalena (Rigoletto), Emilia (Otello), Suzuki (Madama Butterfly), Kontschakowna (Prince Igor), Pauline (Pique Dame) and Second Lady (Die Zauberflöte).
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
Zachariah Njoroge Kariithi was born in 1987 in Nairobi, Kenya. He started his musical training at the age of 12 by taking private piano lessons. He later joined the Kenya Conservatoire of Music, where under the guidance of his teacher, Gachigi Kungu, continued his piano playing and also started taking voice lessons.After two years he successfully completed the Associated Board of the Royal Schools of Music exams in voice and piano, which he passed with distinction and with merit, respectively. He later went on to represent Kenya in the World Youth Choir session in the summer of 2008.
Zachariah was a student and scholarship recipient at the Buchmann Mehta School of Music in the Tel Aviv University, Israel, and was part of the Adler Buchmann International Program for Outstanding Foreign Students since 2008.
He was under the guidance of Prof. Tamar Rachum.
He is also a Master's graduate student from the Hochshule für Muzik und Theater Hamburg 2013-2015. His voice teacher was Prof. Carolyn James.
Zachariah performed with the Buchmann Mehta School of Music Symphony Orchestra as a soloist under the direction of Maestro Zubin Mehta.
He, under the baton of Prof. Zeev Dorman, performed as a soloist in the famed Carnegie hall in New York. He also performed with the Israeli Philharmonic Orchestra and the Haifa Symphony Orchestra in several programs.
Zachariah was also a scholarship recipient from the Hermann und Milena Ebel Stipendium 2014-2015 and the Hamel stiftung Hannover 2015-2016.
Zachariah has taken part in important masterclasses in Europe that involved working with great artists such as Willy Decker, Bo Skovhus, Edda Moser, Renate Behle, Charles Spencer, Verena Keller and Ulf Baestlein.
Zachariah is a winner of several competitions. Zachariah was 2015/16 and 2016/17 part of the International Opera Studio at the Hamburg State Opera.
photo: Kartal Karagedik
Peter Galliard was born in Chur, Switzerland. He studied under Rico Peterelli, at the Conservatory in Feldkirch under Maria Eibenschütz and at the Mozarteum Salzburg under Rudolf Knoll, where in 1985 he won First Prize at the International Mozart Competition.
In 1986 Rolf Liebermann invited him to join the Hamburg State Opera, where Galliard has been working till today. In Hamburg he sang Tamino in “Die Zauberflöte”, Jaquino in “Fidelio”, Cassio in “Otello”, Froh, Loge and Mime in “Das Rheingold”, Augustin Moser in “Die Meistersinger von Nürnberg”, Alfred and Eisenstein in “Die Fledermaus”, Peter Iwanow in “Zar und Zimmermann”, Bardolfo in “Falstaff”, Captain in “Wozzeck”, the Witch Knusperhexe in “Hänsel und Gretel”, Lenskij in “Eugen Onegin”, Narraboth in “Salome” and Don Basilio in “Le Nozze di Figaro”. In Amsterdam he sang the Prince in “Lulu and the Captain”. Peter Galliard also sang L'Aumonier in “Dialogues des Carmélites“ and Melot in “Tristan und Isolde“, Walther von der Vogelweide in “Tannhäuser“, Wolfgang Capito in “Mathis der Maler“, Goro in “Madame Butterfly“, Red Whiskers in “Billy Budd“ and Demon in “L'Upupa und der Triumph der Sohnesliebe“. In March 2008 Peter Galliard performed in the new production of “The Ring” in Hamburg as Loge in Rheingold. In 2008/09 he sang the part of Mime in “Das Rheingold” and Augustin Moser in “Die Meistersinger von Nürnberg”. Also in 2009 he made his debut as Mime in the new production of “Siegfried” and was highly praised by the audience and press. In the 2010/2011 season he sang in new productions of “Bliss” and “Palestrina”. In 2011/2012 concert performances of “Siegfried” and “Das Rheingold” led him to Lisbon and Australia. In the 2012/2013 season he gave a concert performance of “Das Rheingold” in Santa Cecilia. In summer 2013 he was part of concert performances of “Das Rheingold” and “Siegfried” at the Lucerne Festival. In spring 2015 “Siegfried” in Nuremberg followed. Apart from his commitments in Hamburg, in 2015/2016 he sang the Gurrelieder in Shanghai and Beijing, a concert at the Salzburger Osterfestspiele and the role of Haushofmeister bei Faninal in “Der Rosenkavalier” at the Opéra National de Paris. 17/18 leads him as guest to the Enescu Festival in Bucharest where he will be singing Capito in “Mathis der Maler”.
Peter Galliard performed at many opera houses in Germany – at the Staatsoper and the Deutsche Oper Berlin, as well as at the Opera Houses in Frankfurt, Dresden and Leipzig. He also worked in Japan, Spain, France and Israel. Peter Galliard’s repertoire is very extensive. There are many TV, radio and CD recordings of his opera, Lied and concert performances. The tenor worked with famous stage directors such as August Everding, Johannes Schaaf, Harry Kupfer and Peter Konwitschny as well as with great conductors such as Nikolaus Harnoncourt, Christian Thielemann, Ingo Metzmacher, Simone Young and Kirill Petrenko.
On December 9, 2017, the Hamburg Senate honored Peter Galliard with the title of “Kammersänger” for his special merits in the field of music.
Soprano Narea Son was born in Seoul, South Korea and received her Bachelor in Voice from Seoul National University. She completed her studies with a master degree in Opera at the Hamburg University of Music and Theatre and the concert exam Opera with Carolyn James.
At the age of 19 she gave her first solo concert for “Debut für rising star”, a series of concerts at Kumho Concert Hall. She sang Mimi in "La Bohème", Donna Elvira in "Don Giovanni", Le feu, La Princesse and Le Rossignol in "L'Enfant et les Sortilèges", Valencienne (The Merry Widow), Queen of the Night (Die Zauberflöte) as well as the soprano solo of the „Messiah“ by Händel in university productions.
In addition to her studies she has taken part in Master classes with Edda Moser, Cheryl Studer, Bruna Baglioni, Mariella Devia, Brigitte Fassbaender and Joyce DiDonato at Carnegie Hall in New York with Live Stream by Arte TV.
Ever since the season of 2016/17 Narea Son is a member of the International Opera Studio of the Hamburg State Opera.
Highlight of the last seasons were Katze Ivanka (Premiere of “Katze Ivanka” von Vera Nemirova), Papagena (Die Zauberflöte), Taumännchen (Hänsel und Gretel) and Barbarina (Le nozze di Figaro), Giannetta (L'elisir d'amore) as well as Pamina (“Erzittre, feiger Bösewicht!”, premiere by Georges Delnon), under the baton of Kent Nagano.
photo: Kartal Karagedik
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.
photo: Jörn Kipping
Seit 1991 ist Jürgen Sacher Mitglied der Hamburgischen Staatsoper. Hier ist er seitdem in zahlreichen Rollen aufgetreten, so als Andres in „Wozzeck“, Maler in „Lulu“, Truffaldino in Prokofjews „Die Liebe zu den drei Orangen“, Monostatos und 1. Geharnischter in „Die Zauberflöte“, Valzacchi in „Der Rosenkavalier“ und David in „Die Meistersinger von Nürnberg“. Zudem interpretierte er Junger Mann (Moses und Aron), Steuermann (Der fliegende Holländer), Peter Iwanow (Zar und Zimmermann), Pedrillo (Die Entführung aus dem Serail), Walther von der Vogelweide (Tannhäuser), Goro (Madame Butterfly) und Graf Elemer (Arabella). Weitere Partien im Rahmen seiner Ensembletätigkeit sind die Knusperhexe in „Hänsel und Gretel“ und Raoul de St. Brioche in „Die lustige Witwe“. In der Hamburger Neuinszenierung von Wagners „Ring“ übernahm Jürgen Sacher in der Premierenserie des „Rheingold“ die Rolle des Mime. Außerdem war er als Loge in „Das Rheingold“ und als Mime in „Siegfried“ zu erleben. Zu seinen jüngsten Erfolgen in Hamburg zählen seine Rollendebüts als Herodes (Salome) 2010 und als Novagerio in einer Neuproduktion von „Palestrina“ 2011. In einer Neuproduktion von Telemanns „Flavius Bertaridus“ interpretierte er mit großem Erfolg Orontes. Außerdem wirkte er in „Der Meister und Margarita“ als Asasello, in „Ariadne auf Naxos“ als Tanzmeister, in Aribert Reimanns „Lear“ als Graf von Kent sowie in „Peter Grimes“ als Reverend Adams mit.
Regelmäßige Konzertauftritte gehören ebenfalls zu den Verpflichtungen des Tenors. Gastspiele führten Jürgen Sacher unter anderem an die Berliner Staatsoper, nach Brüssel, Barcelona, Kopenhagen, an die Mailänder Scala sowie zu den Salzburger Festspielen.
2010 sang er in zwei Neuproduktionen am Theater an der Wien: den Tanzmeister in „Ariadne auf Naxos“ und L´Aumonier in „Dialogues des Carmélites“.
Neben seinen Aufgaben an der Hamburger Staatsoper hat er den Herodes in der Saison 2013/14 auch an der Budapester Staatsoper und im Herbst 2014 unter John Neschling in einer Salome Neuproduktion am Teatro Municipal in Sao Paulo gesungen. Im Juni 2015 gastierte Jürgen Sacher beim Wagner Festival in Budapest unter Adam Fischer als Mime im Ring des Nibelungen und 2016 als Goro in Puccinis Butterfly an der Berliner Staatsoper sowie als Aegisth in Richard Strauss´ Elektra abermals am Teatro Municipal in Sao Paulo unter John Neschling.
Am 9. Dezember 2017 wurde Jürgen Sacher vom Hamburger Senat ausgezeichnet und erhielt den Titel des Kammersängers für seine anerkannt hervorragenden Verdienste auf dem Gebiet der Musik.
Solisten des Knabenchores Chorakademie Dortmund
Die Chorakademie am Konzerthaus Dortmund wurde 2002 gegründet und ist mittlerweile die größte Singschule in Europa. Der Knabenchor der Chorakademie hat sich unter den besten Knabenchören in Deutschland etablieren können. Die Knaben treten in Theaterproduktionen und Konzerten sowohl als Chor, als auch als Solisten auf.
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.