Jacques Offenbach | La Belle Hélène
Hochschule der Künste in Zürich with Johannes Schlaefli, Aspen Conducting Academy, degree in History and International Relations from the University of Toronto
with David Zinman, Bernard Haitink, Jorma Panula, Gennady Rozhdestvensky, Michael Tilson Thomas
Recipient of the Ontario Arts Council’s Heinz Unger Award, recipient of the Jean-Marie Beaudet Award from the Canada Council for the Arts, Prix Opus of the “Conseil des arts et des lettres du Québec” for the creation of a new series of concerts for young adults in Montreal, winner of Quebec’s Prix Opus for best disc of the year (2015)
Relation to the Hamburg State Opera:
Musical Assistant of the General Music Director (2015/16-2016/17)
Kapellmeister since 2017/18
“L’Elisir d’Amore“, “Der kleine Schornsteinfeger”, “Il Barbieri di Siviglia”, “Duse”, “Die Zauberflöte”, “Hänsel und Gretel”, “Der Nussknacker”, “Romeo und Julia”, “Alice im Wunderland”, “La Belle Hélène”, “Le Nozze di Figaro”, “Eugen Onegin”, “Don Quixote”, “Anna Karenina”, “Chopin Dances”, et al.
Assistant Conductor of the Montreal Symphony Orchestra (2009-2011), Resident Conductor of the Montreal Symphony Orchestra (2011-2014), foundation of the Aaron Brock Foundation (2007)
Stages / Cooperation with orchestras:
Montreal Symphony Orchestra, Orchestre National D’Ile de France, Toronto Symphony Orchestra, Komische Oper Berlin, Royal Swedish Operan, Orchestre Symphonique de Québec, Orchestre National des Pays de la Loire, et al.
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“.
Oleksiy Palchykov was born in 1986 in Kiev. In 2006 he started his studies at the vocal faculty of the National Musical Tchaikovskiy Academy. In 2004 he is the recipient of the “Art of XXI century” international competition. He made his debut in 2008 singing the roles of Trike and Lenskiy in “Eugeny Onegin” (Tchaikovsky) at the National Shevchenko Opera Theatre and Lykov in “The Tzar’s Bride” (Rimskiy-Korsakov) with the Tatar Academic State Opera and Ballet M. Dzhalil Theatre (Kazan, Russia) and the Shaliapin festival of opera singers.
In 2010 he received the Grand Prix of the XVI International Lydia Abramova vocal student’s competition “Bella voce” (Moscow, Russia), the Grand Prix for the best Tchaikovsky music performance in the National Tchaikovsky Musical Academy vocal faculty competition, the Third Prize of the “International Vocal Competition in Memory of Antonina Nezhdanova” (Odessa , Ukraine), the Special Award of the festival “Tournament Tenors” (Szczecin, Poland), the Special Prize of the Jury at the International Vocal Competition “Debut” (Wiekersheim, Germany). In 2011 he was awarded with the Grand Prix International Vocal Competition Ivana Alchevskogo “Alchevskiy Debut” (Kharkov, Ukraine). He is finalist of the International Vocal Competition in the Opera Festival in Savonlinna (Finland).
He has toured with the Kiev Musical Theatre performing the role of Alfredo in Verdi’s “La traviata” in Switzerland (Theatre du Leman in Geneva, Palazzo dei Congressi in Lugano, Theatre de Beaulieu in Lausanne, Theâtre du Passage in Neuchatel). He performed in France the roles of the Second Policeman, the Second Gentleman, the First Dandy in the “The Nose” of Shostakovich (Festival d’Aix-en-Provence 2011 and the Opera de Lyon) with Kazushi Ono as conductor and William Kentridge as director, the roles of the Third Esquire in “Parsifal” (Opéra de Lyon) with Kazushi Ono as conductor and François Girard as director. With the Symphony Orchestra of Thessaloniki (Greece) performing “Jewish Songs” by Dmitry Shostakovich, conductor Alexander Myrat in 2012.
In October 2012, he joins the Atelier Lyrique of the Opéra National de Paris. He sang the role of Gernando at La Ferme du Buisson and Théâtre Firmin Gémier / La Piscine and Ecclitico at the MC93 Bobigny.
In 2014 and 2015, he made his debut at the Opéra National de Paris in the role of the Messenger (Aida, October 2013), then sang the Male Chorus (The Rape of Lucretia) at the Théâtre de l’Athénée and Don Ottavio in (Don Giovanni) in Bobigny, Ecclitico in Haydn’s “Il mondo della luna”, Scaramuccio (Ariadne auf Naxos) at Paris Bastille, Pylade (Iphigénie en Tauride) with the Atelier Lyrique, Ferrando (Così fan tutte) with the Atelier Lyrique of the Paris Opera in Paris.
In 2014 he received the Prix Lyrique du Carpeaux and Prix Lyrique de L'AROP. In the Summer of 2015 he was among the 5 finalists of the prestigious "BBC Singer Of World" singers competition. In October 2015 he covered Roberto Alagna in the role of Nemorino at Opéra Bastille.
Since 2017 he is a member of the Hamburg State Opera where he sings such parts as Tamino, Lensky, Ferrando, Nemorino, Steuermann, Eurimaco (Il Ritorno d’Ulisse in Patria).
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.
Jennifer Larmore is an outstanding American mezzo-soprano, well known for her versatility, natural beauty and stage craft. This artist has a wide ranging repertoire, having begun with the coloratura roles of the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s “La Clemenza di Tito” and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Berlin Deutsche Oper, and London Covent Garden.
Miss Larmore has been recognized for a 1992 Gramophone award and a Grammy Award in 2007. In 1994 she won the Richard Tucker Award and in 1996 she sang at the Closing Ceremonies of the Summer Olympics in Atlanta. In that same year, she performed during a tribute to Gene Roddenberry on the live TV program “Star Trek 30 Years and Beyond”. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music.
Jennifer Larmore has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date. Her DVD’s include “Jennifer Larmore in Performance” for VAI, “Il Barbiere di Siviglia” (Netherlands Opera), “L’Italiana in Algeri” (Opera de Paris), “La Belle Hélène” (The Hamburg Opera), “Orlando Furioso” (Opera de Paris) and “Jenufa” (Deutsche Oper Berlin). She has recorded two charming books on tape by Kim Maerkl entitled “Mozart’s Magical Night” with Hélène Grimaud and the Bavarian State Orchestra and “The King’s Daughter” with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe.
With her frequent collaborator Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues.
Symphonic repertoire plays a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackarras, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Hengelbrock.
Throughout her illustrious career she has enjoyed an evolution in repertoire and voice, which has brought her new roles along the way. One of those roles is Elvira in “Don Giovanni” which she sung for the first time at Theater an der Wien in December 2016 and Marie in “Wozzeck” for Opera de Genève in February, 2017. In May, 2017 she sung the role of Geschwitz in “Lulu” at the Rome Opera.
Jennifer’s Countess Geschwitz in Berg’s “Lulu” has been a particular favourite, which she debuted to great success at Covent Garden in the Christof Loy production with Tony Pappano, then again in Madrid. Paris Opera Bastille and in the William Kentridge production in Amsterdam; Kostelnicka Buryjovka in Janacek’s “Jenufa” with Donald Runnicles at Berlin Deutsche Oper; Lady Macbeth in Verdi’s “Macbeth”, a role she debuted in a striking new production of Christoph Loy at the Grand Théâtre de Genève and subsequently in Bologna for the opening of the season in a new Robert Wilson production; Eboli in the French version of Don Carlos at the Caramoor Music Festival in New York with Will Crutchfield; Jocasta in Stravinsky’s Oedipus Rex at the Bard Festival, Mère Marie in Poulenc’s the “Les dialogues des Carmélites” again at the Caramoor Festival and Hélène in Offenbach’s “La Belle Hélène” at the Hamburg State Opera. She sang the role of Ottavia in Monteverdi’s “L’Incoronazione di Poppea” at Theater an der Wien, and she reprised the role of Kostelnicka Buryjovka in Tokyo at the National Theater.
In addition to her many activities, travels, performances, master classes and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” was released recently and delves into the psychology of the performer. It’s available at Amazon, Barnes & Noble bookstores and Lulu.com.
Miss Larmore, in collaboration with the double bass player Davide Vittone has created an ensemble called Jennifer Larmore and OpusFive. The three programs they offer are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway which feature string quintet and voice. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Aix en Provence, Dublin and Paris.
Viktor Rud studied choral conducting at the National Tchaikovsky Academy of Music in his native Kyiv, Ukraine and graduated with Masters Diploma with Honours. From 1999 to 2002 he led Ukrainian National Technical University Chorus as its Artistic Director. In 2002 he moved to London to pursue vocal studies at the Royal Academy of Music. He graduated from the RAM in 2006 receiving Special Prize of HRH Duchess of Gloucester, President of RAM. In 2009 Rud was elected Associate of RAM. He completed his vocal studies in Britain at the National Opera Studio. Viktor Rud moved to Germany in 2007 to become a member of the Staatsoper Berlin International Opera Studio for its inaugural season. The IOS was founded by Daniel Barenboim and supported bei Liz Mohn Foundation. Among many roles performed in Berlin were: Mr Astley in Prokofiev “The Gambler“ (conducted by Daniel Barenboim and directed by Dmitri Tcherniakov) and Mamma Agata in Donizetti “Viva La Mamma!“. In summer of 2008 Rud was a member of the Montblanc Young Singers Project at Salzburg Festival. From 2009 to 2017 Viktor Rud has been a soloist at the Hamburg State Opera, where his roles included: Figaro “Il Barbiere di Siviglia“, Conte Almaviva “Le nozze di Figaro“, Guglielmo “Così fan tutte“, Poeta Prosdocimo in “Il Turco in Italia“, Harlequin in “Ariadne auf Naxos“, Silvio “Pagliacci“, Schaunard “Bohème“, Dr Falke “Fledermaus“, Ned Keene “Peter Grimes“, Fernando in Händel “Almira, Königin von Kastilien“, Dandini “Cenerentola“, Belcore “L’Elisir d“Amore“, Agamemnon in Offenbach “La Belle Hélène“, Lord Byron in Aribert Reimann “Unrevealed“, Graf Luna in Pfitzner “Palestrina“, Morales ”Carmen“, Henry Cuffe in Benjamin Britten “Gloriana“, Alex Duval in Brett Dean “Bliss“.
Viktor Rud is the recipient of several awards including the Marilyn Horne Foundation Prize, the William Matheus Sullivan Prize, the International Mozart Competition and the Opera Rara Bel Canto Prize. Viktor Rud has appeared as a guest soloist at La Scala, Milan (Mr Astley “The Gambler“ with Daniel Barenboim), as Don Fernando “Fidelio“ also with Barenboim in a European tour of the East-West Divan Orchestra including the BBC Proms at the Royal Albert Hall, London, the Salzburg Festival and Teatro Maestranza, Seville. He sang Fernando in “Almira, Königin von Kastilien“ for the Innsbrucker Festwochen der Alten Musik, Guglielmo for Staatsoper Hannover, Shaunard for Oper Leipzig and Oper Graz, Herr Fluth in Otto Nicolai „Die lustigen Weiber von Windsor“ for Operklosterneuburg and “Viva la Mamma“ in Dresden.
Max Emanuel Cencic
Max Emanuel Cencic is one of the most fascinating and versatile singing artists in the world today, and one dedicated to the revival and performance of the music of the 18th century.
His 2016/17 season has seen many exciting projects, including Gluck’s “Orfeo ed Euridice” at the Staatsoper Unter den Linden in Berlin, his débuts at the Salzburger Pfingstfestspiele and at the Auditorio Nacional in Madrid, as well as a revival of Gluck’s “Ezio” at the Frankfurt Opera. Another high point was a staged version of “Arminio” at the Handel Festspiele 2017 in Karlsruhe, which he also directed. He fulfilled again this dual role in Hasse’s “Siroe” at the Mai-Festspiele 2017 at the Hessisches Staatstheater, Wiesbaden.
With his remarkable mezzo-soprano voice, Max Emanuel Cencic demonstrates that Baroque singing can be both technically brilliant and at the same time modern and emotionally engaging. For over two decades he has been performing in opera houses of the first rank, including the Wiener Staatsoper, the Theater an der Wien, the Opernhaus Zürich, the Opéra Royal de Versailles, the Bayerische Staatsoper, the Staatsoper Unter den Linden Berlin, Barcelona’s Gran Teatro del Liceu, the Théâtre des Champs-Elysées, Paris and Brussels’ La Monnaie. Concert engagements have taken him to the Laeiszhalle Hamburg, Carnegie Hall (New York), the Barbican Center (London), Amsterdam’s Concertgebouw, the Wiener Musikverein and the Tchaikovsky Hall in Moscow. In addition he has sung at numerous festivals worldwide. He regularly works with such conductors as William Christie, René Jacobs, Ottavio Dantone, Diego Fasolis, George Petrou, Emmanuelle Haïm and Riccardo Muti. His education as a singer began as a member of the Wiener Saengerknaben (Vienna Boys’ Choir), with a solo career as a soprano from 1992, and as a counter-tenor from 2001.
Max Emanuel Cencic entrances his audiences with his numerous projects, opera productions, CD recordings, and extensive tours. TV-stations such as Mezzo TV and Arte Concert have also documented several of his outstanding performances, including his revelatory presentation of Handel’s “Alessandro” (2012). As Artistic Director of Parnassus Arts Productions he is responsible for the conception, supervision and performance of important works of the Italian Baroque, among them the sensational re-discovery of Leonardo Vinci’s last opera, “Artaserse”. As in its premiere in 1730 in Rome, this new production, performed with an all-male cast (including five counter-tenors), was widely praised, both in its live performances and on disc: it received ECHO Klassik awards in 2013 and 2014, the Preis der deutschen Schallplattenkritik and the Diapason d‘or, and was nominated for a Grammy. His inspired revival of Vinci’s opera “Catone in Utica”, with four counter-tenors in the cast, was equally successful, both on stage and as a CD recording.
His solo-recordings are every bit as riveting: with “Venezia” he charmed audiences and critics alike with highlights from Venetian opera, while the CD “Rokoko” contained a fascinating compilation of arias from the extended and virtually unknown opus of Johann Adolph Hasse. Max Emanuel Cencic’s most recent, critically acclaimed CD, “Arie Napoletane”, is dedicated to masterpieces of the Neapolitan school. His wide-ranging discography includes several world premiere recordings and has received a number of awards, among them the Diapason d’Or, the Preis der Deutschen Schallplattenkritik, and Croatia’s Porin Prize. His discs have been “Editor’s Choice” in Gramophone magazine on several occasions. The French Ministry of Culture made him a Chevalier de l’Ordre des Arts et des Lettres.
Max Emanuel Cencic is also well on his way to international fame as director, as with the live production of Hasse’s “Siroe”, which toured all over Europe and was released on CD by Decca. At the Handel festival in Karlsruhe in 2016, he again undertook the double role of lead singer and director of Handel’s rarely performed opera, “Arminio”. In the coming seasons he will extend his directorial portfolio with new productions of Rossini’s “La Donna del Lago”, Handel’s “Il Pastor Fido” and Mozart’s “Don Giovanni”. Also on the horizon is the release by Warner Classics of arias recorded by Max Emanuel Cencic as a boy soprano.
Diplom in Gesang am Libanesisches Nationalkonservatorium in Beirut, Master im Fach Oper an der Universität Mozarteum Salzburg
Bei Siegfried Jerusalem, Kurt Moll, Barbara Bonney, Andrew Watts, Marjana Lipovsek
Bezug zur Staatsoper:
Mitglied im Internationalen Opernstudio der Staatsoper Hamburg von 2008/09 bis 2009/10
Almaviva (Il barbiere di Siviglia), Don Ottavio (Don Giovanni), Natale (UA Esame di mezzanotte), Male Chorus (The Rape of Lucretia), Nerone (Agrippina), Truffaldino (Die Liebe zu den drei Orangen), Alfred (Die Fledermaus), Camille de Rosillon (Die lustige Witwe), Marquis (Der Spieler), Rogelio (UA L’ombre de Venceslao), u.a.
Hamburgische Staatsoper, Staatsoper Unter den Linden Berlin, Nationaltheater Mannheim, Staatstheater Kassel, Théâtre du Capitole Toulouse, Opéra de Marseille, Opéra de Montpellier, u.a.
Zusammenarbeit mit Regisseuren:
Achim Freyer, Tilman Knabe, Tatjana Gürbaca, Lydia Steier, Markus Bothe, Harry Kupfer, Jorge Lavelli, u.a.
Zusammenarbeit mit Dirigenten:
Simone Young, Dan Ettinger, Kent Nagano, Alexander Soddy, Barbara Hannigan, Michael Schønwandt, Constantin Trinks, Stefan Soltesz, Alessandro De Marchi, Dennis Russel Davies, u.a.
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”.
From 2016/17 to 2017/18 Sergei Ababkin was part of the International Opera Studio at the Hamburg State Opera.
photo: Kartal Karagedik
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
Eine bemerkenswerte Vielseitigkeit zeigt sich in der künstlerischen Arbeit des Bassbaritons Otto Katzameier, die sowohl das klassische Opern-, Oratorien- und Liedrepertoire als auch Neue Musik umfasst. Hier hat sich Katzameier unter anderem als exzellenter Interpret der Werke Salvatore Sciarrinos etabliert.
Otto Katzameier studierte in seiner Heimatstadt München Gesang bei Josef Metternich und Hans Hotter. Bald errang er Preise bei renommierten Wettbewerben wie dem Meistersängerwettbewerb Nürnberg, dem Mozartwettbewerb Würzburg, dem Hugo Wolf-Wettbewerb Stuttgart und dem Bundeswettbewerb Gesang Berlin.
Auf der Opernbühne hat er sich in den vergangenen Jahren in wichtigen Rollen seines Faches profiliert: So war er als Don Giovanni, Leporello, Guglielmo, Alfonso (Cosí fan tutte, Rheingau Musik Festival) und als Händels Imeneo (Händelfestspiele Halle) zu hören; sehr erfolgreich gastierte er in Offenbachs Blaubart bei den Bregenzer Festspielen. Zu seinen Konzertpartien gehören Werke wie Elias, Messias, Saul, Matthäuspassion und die Requiem von Brahms und Verdi.
Otto Katzameiers Engagement für das zeitgenössische Musiktheater dokumentiert sich in einer ganzen Reihe von Partien. Dazu gehören Berios Prospero (Un Re in Ascolto), Henzes Landarzt (Ein Landarzt), Stauds Egäus (Berenice), Sciarrinos Macbeth (Macbeth), Eggert‘s Dominique (Freax, UA) sowie Jarrels Papst Urban VIII (Galilée) in Inszenierungen von Achim Freyer, Willy Decker, Trisha Brown, Christoph Schlingensief, Stefan Herheim und Nicolas Brieger. Im Rahmen dieser Produktionen gastierte er bei den Salzburger Festspielen, Wiener Festwochen, Berliner Festspielen, der Münchner Biennale sowie in Rom, Frankfurt, Paris, New York, Venedig, Tokio, Warschau, Amsterdam, Brüssel, Madrid und Tel Aviv.
Soomin Lee was born in 1993 in Daegu, South Korea. After studying there she got the Bachelor‘ s in Voice at the Keimyung University with excellent result. At the age of 22 she gave her debut as an opera-singer at the Opera House in Daegu and made many important experiences on the stage and the concert podium.
She took part in Master Classes with Jenny Anvelt (Keimyung University) and Gianni Tangucci (Daegu Opera). Even when she was studying Soomin Lee sang the big parts of Puccini, Verdi, Bizet, Mozart and Gounod in University-Performances.
The successful participation in vocal competitions – just as Eum Jeung Haung Vocal Music National Competition Yangsan (South Korea 2016) – made her voice enlarged in musical and vocal-technical sense.
Soomin Lee is scholar of the Daegu Opera House Foundation.
photo: Kartal Karagedik
Renate Spingler began her musical studies at the State Conservatory for Music in Munich. She finished her vocal training under the guidance of world acclaimed soprano Professor Reri Grist. Immediately after her studies, she received an engagement as soloist at the Hamburg State Opera, to whose venerable ensemble she still belongs. In the scope of her duties at this opera house, she works with many internationally renowned conductors and directors.
Renate Spingler guests regularly at many European opera houses such as Frankfurt, Dresden, Bonn, Leipzig, Bremen, Brussels, Cologne and Copenhagen. There she creates roles such as Cherubino (Le Nozze di Figaro), Jenny (Mahagonny), Hänsel (Hänsel und Gretel), Donna Elvira (Don Giovanni) and the Composer (Ariadne auf Naxos).
The recordings of this mezzo soprano include the soundtrack of “The Magic of Venus“, starring Glenn Close, in which she sang the role of the Shepherd (Tannhäuser), and another “Tannhäuser“ production with the Hamburg State Opera produced and aired by a Japanese television company.
As an active performer of contemporary music, Renate Spingler also participated in recording productions led by Gerd Albrecht with the Hamburg Philharmonic State Orchestra, which have included ”Hagadah“ by Paul Dessau and the world premiere of „Freispruch für Medea“ by Rolf Liebermann. Under the direction of Ingo Metzmacher and the Hamburg State Opera, she sang the role of Margret in a live EMI recording of Berg’s “Wozzeck“. Recently, two further recordings with the Philharmoniker Hamburg led by Simone Young have been released by Oehms Classics: In the “Walküre“ by Richard Wagner, Renate Spingler sang the role of Rossweiße; in the live recording of the highly acclaimed premiere of Hindemith’s “Mathis der Maler“, she sang the role of Gräfin Helfenstein / Üppigkeit.
Other solo performances include concerts and recitals throughout Europe and North America in cities such as Munich, Hamburg, Bratislava, Monte Carlo, Luxembourg, Prague and New York. Furthermore, Renate Spingler worked as a Guest Professor for Singing at the Hochschule für Musik und Theater Rostock from March 2005 to March 2006. In June 2008, she sang the role of Sigrune in two concert performances of the opera Walküre at the Gran Teatre del Liceu together with Placido Domingo and Waltraud Meier under the direction of Sebastian Weigle.
On December 9, 2017, the Hamburg Senate honored Renate Spingler with the title of “Kammersängerin” for her special merits in the field of music.
photo: Jörn Kipping
Violinstudium an der Musikhochschule Trossingen, Gesangstudium bei Sylvia Geszty an der Musikhochschule Stuttgart
1. Preis Mozartfestwettbewerb (1985), Verleihung des Titels „Hamburger Kammersängerin“ (2011)
Bezug zur Staatsoper:
Ensemblemitglied der Staatsoper Hamburg seit 1988
Pamina (Die Zauberflöte), Susanna (Le Nozze di Figaro), Blanche (Dialogues des Carmélites), Mélisande (Pelléas et Mélisande), Despina (Così fan tutte), Zerlina (Don Giovanni), Ännchen (Der Freischütz), Micaëla (Carmen), Morgana (Alcina), Oscar (Un Ballo in Maschera), Helena (A Midsummer Night’s Dream), Nedda (I Pagliacci), Lauretta (Gianni Schicchi), Anne Truelove (The Rake’s Progress), Gretel (Hänsel und Gretel), Musetta (La Bohème), Sophie/Marianne Leitmetzerin (Der Rosenkavalier), Woglinde/Wellgunde (Das Rheingold), Ortlinde (Die Walküre), Hanna Glawari (Die lustige Witwe), Clorinda (La Cenerentola), Echo (Ariadne auf Naxos), Blumenmädchen (Parsifal), Fortuna/Giunone (Il Ritorno d'Ulisse in Patria), u.a.
Badisches Staatstheater Karlsruhe (1985-88), Gastengagements in München, Antwerpen, Brüssel, Berlin, Dresden, Leipzig, Frankfurt, Barcelona, Toulouse, Straßburg, Glyndebourne Festival, u.a.
Zusammenarbeit mit Regisseuren:
Willy Decker, Cristof Loy, Guy Joosten, Harry Kupfer, Bob Wilson, Marco Arturo Marelli, Peter Konwitschny, Renaud Doucet, Achim Freyer, Calixto Bieito, John Dew, Vera Nemirova, u.a.
Zusammenarbeit mit Dirigenten:
Horst Stein, Christian Thielemann, Donald Runnicles, Michel Plasson, Antonio Pappano, Robin Ticciatti, Silvio Varviso, Nikolaus Harnoncourt, Ivor Bolton, Kirill Petrenko, Gerd Albrecht, Ingo Metzmacher, Simone Young, Kent Nagano, u.a.
photo: Jörn Kipping
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