Giacomo Puccini | Madama Butterfly
Carlo Rizzari has conducted many important orchestras such as the Montreal Symphony Orchestra, the Suisse Romande Orchestra, Graz Symphony Orchestra, the Orchestra of San Carlo Theatre in Naples, Orchestra di Padova e del Veneto, the Orchestra Regionale Toscana (Regional Tuscan Orchestra), the Orchestra of the Bellini Theatre in Catania, the Italian Swiss Orchestra, Pomeriggi Musicali Orchestra in Milan and many others.
A material point for his training is the experience fully grown, since 2006, as Antonio Pappano’s Musical Assistant at Accademia Nazionale di Santa Cecilia in Rome. With the same he was invited by Claudio Abbado for a concerts series in Bologna and Lucerna with the Orchestra Mozart.
He regularly conducts the Accademia di Santa Cecilia Orchestra during the symphonic seasons and for the Family Concerts, working with great soloists as John Osborn, Barry Banks, Celso Albelo, Sonia Ganassi, Lang Lang.
He was invited at the 2009 edition of Knowlton Festival and began an important collaboration with the Montreal Symphony Orchestra, conducting inside the new Performing Art Center (February 2012) a program dedicated to Respighi (Fontane di Roma, Pini di Roma) with an enthusiastic standing ovation of the audience.
He inaugurated, in Rieti, the Reate Festival editions 2009, 2010 and 2011 conducting, inside the Flavio Vespasiano Theater, Donizetti’s “Il Campanello”, Puccini’s “Gianni Schicchi”, Ravel’s “Heure Espagnole”, Rossini’s “Adina” and a precious music programme dedicated to the “Risorgimento” period: arias, choir pieces and symphonies from the most renowned Verdi’s operas.
As a Belcanto expert he conducted “Don Pasquale” at the Sao Carlo Theater in Lisbon, the Rossini’s opera “Il Signor Bruschino” in Rome, Puccini’s “La Bohème” at the Bellini Theater in Catania, Rigoletto in Bari (Petruzzelli Theater) and Genua (Carlo Felice Theater) and inaugurated the Rome edition of the Belcanto Festival with the Orchestra of the Accademia Nazionale di S. Cecilia in a successful “Three Tenors of Belcanto Concert” with John Osborn, Barry Banks and Celso Albelo.
In June and July 2012, Carlo Rizzari has been the main artist of the Accademia Nazionale di Santa Cecilia Summer Season, in different concerts with the pianist Lang Lang (with Beethoven Concerts n. 1 and n. 5) and facing the five Beethoven odd symphonies, gainig a great success of audience and critics.
In december 2012 he was invited by the Petruzzelli Theater in Bari for the second concert of the new symphonic season with a programme focused on Beethoven 5th and 7th symphonies. He has been one of the four conductors of “Play It!”, the festival held by the Orchestra Regionale Toscana in Florence dedicated to the new italian composers, winner of the prestigous Abbiati price 2014.
Carlo Rizzari is the artistic and musical director of the Young Talents Orchestra EY, the youth orchestra of the Ernst & Young Company in Italy.
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“.
Armenian born soprano Liana Aleksanyan started her musical career at the age of 9 with piano lessons at the Mirzoyan Music School. With 16 she became a voice student at the S. Danielyan Academy, where she also appeared in minor roles as a member of the opera studio.
In 2000, Ms. Aleksanyan took up her voice studies at the Komitas Conservatory in Yerevan in the class of Sergey Danielyan, completing her degree with distinction in 2005. Additionally, she participated in master classes given by Dante Mazzola at La Scala, Milan. During her years of study, she made her debut of La Traviata at the Armenian National Theatre in Yerevan.
Also appearing in a few International competitions she was awarded 3rd prize in the “Concours International de Chant” in Toulouse, was a finalist in the “Competizione dell’opera” in Dresden and the Hans Gabor Belvedere competition, after which she got invited by several Opera Houses in Europe.
Ms. Aleksanyan made her first stage experiences in Europe as Fiordiligi (Cosi fan tutte) at the Opera de Bauge Festival/France. That same year she made her debuts in the title role of “Manon Lescaut” at the Oslo National Opera House and the Linz Theatre, and as Contessa (Le nozze di Figaro) at the Vienna Volksoper. During the 2006/2007 season she made her debut with the Staatstheater Braunschweig as Violetta (La Traviata), later successfully returning as Gilda (Rigoletto), Mimì (La Boheme), Desdemona (Otello), Luisa (Luisa Miller), Amelia (Simon Boccanegra), Tatjana (Eugene Onegin), Amelia (Ernani) etc.
In 2010/2011 Liana Aleksanyan was invited to join the ensemble of the Aalto Theater Essen, where she worked together with Maestro Stefan Soltesz on a varied repertoire ranging from Verdi to Puccini, Donizetti and Mozart etc. Her roles in Essen included Donna Anna (Don Giovanni), Contessa (Le nozze di Figaro), Amalia (I Masnadieri), Adina (L’elisir d’amore), Antonia (Tales of Hoffmann), Violetta Valéry (La Traviata).
Ms. Aleksanyan made her debut at the Hamburg State opera house in 2009, singing Lucia (Lucia di Lammermoor) and Gilda (Rigoletto). Later on in Hamburg Ms. Aleksanyan also performed Violetta Valéry (La Traviata), Micaela (Carmen) and Blanche (Dialogues des Carmélites) under the direction of Mrs. Simone Young.
In 2016 Liana Aleksanyan made her debut singing with great success her first “Madama Butterfly” at Oper Köln. Later on she was invited to sing in another wonderful production of “Madama Butterfly” directed by Maestro Hugo de Ana in Buenos Aires, Argentina. Following this, she also sang opposite Maestro Daniel Oren in a Gala concert at the Shanghai Grand Theatre.
In 2016/17 Liana made her debut during the inauguration performances of the Teatro alla Scala season in Milan stepping in as “Madama Butterfly” under the direction of Maestro Riccardo Chailly. In 2017 she furthermore sang “Aida” at the Sferisterio Opera Festival in Macerata and a new production of “Madama Butterfly” at Palau de les Arts Reina Sofia in Valencia, as well as at the Deutsche Oper am Rhein in Düsseldorf.
Russian mezzo-soprano Alisa Kolosova opens her 2017/18 season with the New Zealand Symphony Orchestra and Edo de Waart as Marguerite in “La Damnation de Faust”. Other season highlights include a return to the Bayerische Staatsoper as Maddalena in “Rigoletto”, and house debuts at Teatro alla Scala and Staatsoper Hamburg.
Kolosova has appeared to great acclaim at many of the most prestigious theatres throughout the world, including the Opéra National de Paris, Lyric Opera of Chicago, Bayerische Staatsoper, Salzburg Festival, Wiener Staatsoper, and Glyndebourne Festival Opera, and performed at venues including the Concertgebouw Amsterdam, Kennedy Centre and Carnegie Hall. Recent highlights include a critically acclaimed Isoletta (La Straniera) at the Concertgebouw Amsterdam, her debut as Dalila in Saint Sans’ “Samson et Dalila” in Basel, Maddalena (Rigoletto) at the Bayerische Staatsoper and for Rome Opera, her debut for Dutch National Opera debut in a new production of Berlioz’s “Romeo et Juliette”, “The Glagolitic Mass” with Sir John Eliot Gardiner at the Tonhalle in Zurich, and Foreign Princess (Rusalka) at the Opéra National de Paris and at the Glyndebourne Festival Opera under the baton of Sir Andrew Davis.
On the concert platform recent highlights for Kolosova include her Carnegie Hall debut with performances of Scriabin’s Symphony No.1 and Prokofiev's “Alexander Nevsky” with Riccardo Muti and the Chicago Symphony Orchestra, Mozart’s “Requiem” and Vivaldi’s “Magnificat” at the Teatro dell’Opera di Roma, Schubert’s Mass No.5 with Symphonieorchester des Bayerischer Rundfunk and Vivaldi’s “Magnificat” with the Chicago Symphony Orchestra. Kolosova has collaborated with conductors including Ivor Bolton, Vasily Petrenko, Alain Altinoglu, Andris Nelsons, Gianandrea Noseda, Evelino Pidò, Franz Welser-Möst, Riccardo Muti, William Christie and Ivor Bolton.
A former member of the Atelier Lyrique at the Opéra National de Paris and the Salzburg Festival Young Artists Programme, Kolosova came to international attention in 2010 at the Salzburg Whitsun Festival, performing in the acclaimed production of Mozart’s “La Betulia liberate” under the baton of Riccardo Muti. Between 2011 to 2014 she was a member of the ensemble of Wiener Staatsoper where her roles included Polina (Pique Dame), Olga (Eugene Onegin), Fenena (Nabucco), Suzuki (Madama Butterfly) and Bersi (Andrea Chenier).
photo: Todd Rosenberg
Russische Akademie für Theaterkunst (GITIS), Gesangsstudium am Mozarteum in Salzburg bei Prof. Barbara Bonny und Prof. Mario Diaz
Bezug zur Staatsoper:
Mitglied im Internationalen Opernstudio der Staatsoper Hamburg seit 2017/18
Maddalena (Rigoletto), Olga (Eugen Onegin), Filipjewna (Eugen Onegin), Bianca (The Rape of Lucretia), Zweiter Knappe (Parsifal), Annina (La Traviata), Un pastore (Tosca), Siébel (Faust), Samischa (Miriways), Kate Pinkerton (Madama Butterfly), 3. Dame (Die Zauberflöte), Sandmännchen (Hänsel und Gretel), u.a.
Orfey Theater, Moskauer Musiktheater, Mozarteum Salzburg, Hamburgische Staatsoper, u.a.
Zusammenarbeit mit Regisseuren:
Achim Freyer, Holger Liebig, u.a.
Zusammenarbeit mit Dirigenten:
Christoph Gedschold, Kent Nagano, Carlo Rizzari, Adrian Müller, Pier Giorgio Morandi, Christopher Ward, Volker Krafft, u.a.
photo: Kartal Karagedik
at the Córdoba Conservatory and Teatro Colón in Buenos Aires with Renato Sassola
Pinkerton (Madama Butterfly), Cavaradossi (Tosca), Don José (Carmen), Calaf (Turandot), Paolo (Francesca da Rimini), Don Alvaro (La Forza del Destino), Manrico (Il Trovatore), Rodolfo (La Bohème), Don Carlos (Don Carlos), Riccardo (Un Ballo in Maschera), Macduff (Macbeth), Cassio (Otello), Turridu (Cavalleria Rusticana), Maurizio (Adriana Lecouvreur), et al.
Deutsche Oper Berlin, Oper Stuttgart, Teatro Colón, Teatro de la Zarzuela, Prague State Opera, Royal Opera House Covent Garden, Théâtre Royal de la Monnaie, Canadian Opera Company, Deutsche Oper am Rhein, Michigan Opera Theater, Vancouver Opera, Opera National du Rhin, Opera Australia, Semperoper Dresden, Opéra de Toulon, Oper Leipzig, The Göteburg Opera, St. Margarethen Festival, Opera de Lima, Palau de les Arts Reina Sofía, et al.
Cooperation with directors:
Rainer Mennicken, Robert Dornhelm, Nicola Raab, Keith Warner, Andreas Homoki, et al.
Cooperation with conductors:
Sir Antonio Pappano, Charles Dutoit, Ira Levin, Stefan Lano, Adrian Morar, Michael Güttler, Giuliano Carella, Anthony Bramall, Manlio Benzi, Valerio Galli, Philippe Auguin, Keri-Lynn Wilson, Johannes Fritzsch, Jacques Lacombe, Carlo Rizzari, Mark Wigglesworth, Fabio Luisi, et al.
photo: Helen Blanco
Alexey Bogdanchikov is a young Russian baritone. Born in Tashkent (Uzbekistan) in 1985. In the 2011/2012 season he embarked upon his first resident contract in the ensemble of the Deutsche Oper Berlin. Alexey Bogdanchikov previously studied at the Galina Vishnevskaya Opera Centre and the Tchaikovsky State Conservatory in Moscow, where, in October 2012, he returned to complete his master’s degree in music. In September 2012 he won the 2nd prize in the prestigious European Vocal Competition “Debut”. He has also taken part in various Russian vocal competitions and won prizes in Smolensk (2006) and Rusa (2007). In 2010 he was winner of the Armel Opera Competition in Hungary, which led to his engagement in the role of Barrett in Marco Tutino’s opera “The Servant” at the Armel Opera Festival in Szeged. He sang this role again in Pilzen, Czech Republic, and, in, 2011, in Lugo, Italy. In January 2011 Alexey Bogdanchikov made his debut at the Teatro Comunale di Bologna as Wolfram in “Tannhauser”.
Alexey Bogdanchikov’s repertoire includes number of important roles in Russian, Italian and German operas like Onegin in "Eugene Onegin", Robert in "Iolanta" and Prince Eletsky in "The Queen of Spades" by Tchaikovsky, Belcore in "L’elisir d’amore" by Donizetti, Marcello in "La Boheme" and Ping in "Turandot" by Puccini, Wolfram in "Tannhauser" by Wagner and Barrett in Marco Tutino’s "The Servant". In June 2013 he represented Russia at the BBC Cardiff Singer of the World Competition. Guest contracts in 2013/2014 included Marchese in "La Traviata" in Guangzhou Opera House, at The Teatro Luciano Pavarotti in Modena and at the Teatro Municipale in Piacenza Alexey made his debut as Paolo Albiani in "Simone Boccanegra" next to Leo Nucci and Carlo Colombara. Also Teatro Delle Muse, Ancona, engaged Alexey to sing the role of Belcore in "Elisir d’amore" and Teatro Dell’Opera di Roma to do Morales in "Carmen". Also Alexey sang the role of Onegin in Astrakhan opera house and in Magnitogorsk. From 2014 Alexey Bogdanchikov is a member of ensemble of Moscow Kolobov Novaya Opera Theatre where he made his debut in the title role in "Eugene Onegin" by Tchaikovsky. In the season 2014/2015 he made his debutes as Conte in "Le Nozze di Figaro", as Prince Eletsky in "The Queen of Spades" and as Mercutio in "Romeo and Julliete" by Gounod.
In 2015/16 he joined the ensemble of the Hamburg State Opera.
photo: Thomas Kunsch
Kirchenmusik und Musikerziehung am Augsburger Leopold-Mozart Konservatorium, Gesangsstudium bei Leonore Kirschstein
Stipendiat des Richard Wagner Verbandes, Förderpreis der Hamburgischen Staatsoper, Ernennung zum Hamburger Kammersänger (2017)
Bezug zur Staatsoper:
Ensemblemitglied der Staatsoper Hamburg seit 1991/92
Mime (Siegfried), Mime/Loge (Das Rheingold), Herodes (Salome), Knusperhexe (Hänsel und Gretel), Hauptmann/Andres (Wozzeck), Monostatos/1. Geharnischter (Die Zauberflöte), Maler/Prinz/Marquis/Kammerdiener (Lulu), Dr. Cajus (Falstaff), Tichon (Katja Kabanova), Truffaldino (Die Liebe zu den drei Orangen), Valzacchi (Der Rosenkavalier), David (Die Meistersinger von Nürnberg), 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), Graf Elemer (Arabella), Raoul de St. Brioche (Die lustige Witwe), Novagerio (Palestrina), Orontes (Flavius Bertaridus), Asasello (Der Meister und Margarita), Tanzmeister (Ariadne auf Naxos), Graf von Kent (Lear), Reverend Adams (Peter Grimes), L´Aumonier (Dialogues des Carmélites), Aegisth (Elektra), Fedotik (Tri Sestri), Sylvester von Schaumburg (Mathis der Maler), u.a.
Hamburgische Staatsoper, Staatsoper Unter den Linden Berlin, La Monnaie, Gan Teatro del Liceu, Königliche Oper von Kopenhagen, Teatro alla Scala, Salzburger Festspiele, Theater an der Wien, Budapester Staatsoper, Teatro Municipal in Sao Paulo, Wagner Festival Budapest, Theater Dortmund, Staatstheater Braunschweig, Staatsoper Budapest, u.a.
Zusammenarbeit mit Regisseuren:
Harry Kupfer, Willy Decker, Claus Guth, Mario Martone, Achim Freyer, Géza M. Tóth, Livia Sabag, Roger Vontobel, Stefan Herheim, Karoline Gruber, Vincent Boussard, Jochen Biganzoli, u.a.
Zusammenarbeit mit Dirigenten:
Adam Fischer, Bertrand de Billy, Claudio Abbado, Kent Nagano, Semyon Bychkov, Horst Stein, Christian Thielemann, Ingo Metzmacher, Michael Boder, Kirill Petrenko, Simone Young, Daniel Barenboim, u.a.
Il Principe Yamadori
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.
Lo zio Bonzo
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
Der Bariton Bernhard Weindorf wurde in Mannheim geboren.
Er studierte Gesang an der Hochschule für Musik und darstellende Kunst Mannheim bis zu seinem Abschluss und dann weiter bei Tom Krause in Hamburg.
Er war Gast an verschiedenen Theatern Deutschlands und der Schweiz, wie dem Staatstheater Stuttgart, Theater Halle, dem Stadttheater Chur (CH) u.a.
Sein Opernrepertoire erstreckt sich von Papageno (Zauberflöte) über Graf (Wildschütz), Graf Almaviva (Figaros Hochzeit), Sid (Albert Herring) bis hin zu Escamillo (Carmen) und Posa (Don Carlos).
Auch im modernen Repertoire konnte er durch etwa die Titelpartie des Hans Castorp in der Uraufführung der Oper Zauberberg von R. Grossmann am Stadttheater Chur (CH), welche große Medienpräsenz erzielte, überzeugen.
Als Liedinterpret sang er für den SWR erstmals den Liedzyklus Op. 53 von Hermann Reutter ein. Konzertreisen führten ihn in fast alle Länder Europas sowie nach Israel und Russland.
Seit 2007 ist er Mitglied des Festspielchores der Bayreuther Festspiele. Mitglied des Staatsopernchores Hamburg ist er seit 2011.
Il Commissario Imperiale
Akademie für Gesang und vokale Kunst in Reykjavik bei Bergþór Pálsson (2009-2013); Masterstudium an der Hochschule für Musik „Hanns Eisler“ in der Klasse von Prof. Scot Weir (2015); Unterricht bei KS Prof. Thomas Quasthoff, Prof. Wolfram Rieger und Prof. Júlia Várady
Bei Thomas Hampson, Graham Johnson
Finalist im Internationalen Robert-Schumann-Wettbewerb für Klavier und Gesang Zwickau (2016), dritter Preis und Publikumspreis des Wettbewerbs „Das Lied“ in Heidelberg (2017)
Bezug zur Staatsoper:
Mitglied im Internationalen Opernstudio der Staatsoper Hamburg seit 2017/18
Pfarrer Torfi (Ragnheidur), Morales (Carmen), Eugen Onegin (Eugen Onegin), Il Barone Douphol (La Traviata), Il Commissario Imperiale (Madama Butterfly), Zweiter Handwerksbursch (Wozzeck), Hiroto (Stilles Meer), Fiorillo (Il Barbiere di Siviglia), Marullo (Rigoletto), Miriways (Miriways), Partie 3 (Das Floß), u.a.
Isländische Oper, Hamburgische Staatsoper, u.a.
Zusammenarbeit mit Regisseuren:
Holger Liebig, Aleksi Barrière, Franziska Kronfoth, u.a.
Zusammenarbeit mit Dirigenten:
Christoph Gedschold, Kent Nagano, Carlo Rizzari, Mark Johnston, Volker Krafft, u.a.
photo: Kartal Karagedik
L'Ufficiale del Registro
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.
La Madre di Cio-Cio-San
Die Sopranistin Ilka Zwarg absolvierte ihr Gesangsstudium an der Hochschule für Musik und Theater Hamburg und war bereits während ihres Studiums Mitglied im A-capella Quartett „Cantiamo“ und Aushilfe im NDR Chor. Im Anschluss an ihr Studium sang sie im Opernchor des Deutschen Nationaltheaters Weimar, bevor sie 2000 Mitglied des Opernchores der Hamburgischen Staatsoper wurde.
Christina Gahlen ist 2. Sopran im Chor der Hamburgischen Staatsoper.
Maria Koler ist 2. Alt im Chor der Hamburgischen Staatsoper.
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