Giuseppe Verdi | Otello
Paolo Carignani was born in Milan, where he graduated from the Giuseppe Verdi Conservatory in composition, organ and piano. He later studied conducting with Alceo Galliera.
He has conducted in many Italian opera houses and in prestigious international venues such as the Staatsoper Wien, Berlin Staatsoper and Deutsche Oper Berlin, the Bayerische Staatsoper, the San Francisco War Memorial, the Met in New York, the Gran Teatre del Liceu in Barcelona, the Concertgebouw in Amsterdam, Royal Opera House in London, the Opera Bastille in Paris, in Oslo, Brussels, Antwerp, Glyndebourne, Spoleto, the Schleswig Holstein Festival, the Rheingau Festival and at the Rossini Opera Festival in Pesaro.
His symphonic repertoire has led him to work with the Junge Deutsche Philharmonie and the Young Nederland’s Symphony Orchestra, the Munich Philharmonic, the Detroit Symphony Orchestra, the Yomiuri Nippon Orchestra, the KIOTI Sinfonietta, the orchestra of the radio NDR, WDR, ORF, the 'RAI National Orchestra of Turin, the Nederlands Radio Symphony Orchestra, the Detroit Symphony Orchestra, Gothenburg and many others.
From 1999 to 2008 Paolo Carignani was Generalmusikdirektor the Opera House in Frankfurt am Main and Director of the Frankfurter Opern- und Museumsorchester.
He has conducted: “Le Duc d'Albe” in Antwerpen, “Le convenienze e inconvenienze teatrali” in Zurich, “Cavalleria Rusticana” and “Pagliacci”, “Nabucco” and a synphonic concert at Nikikai Opera Foundation in Tokyo, “Tosca” in Paris, “Guillaume Tell” in Amsterdam, “Otello”, “La Bohème” and “Aida” in Munich, “La Traviata” in Wien.
Among his recent engagements were “Il Trovatore”, “Falstaff”, “Otello”, “La Traviata”, “Macbeth”, “Nabucco”, “Norma” in Munich, “Giovanna d'Arco” at the Salzburg Festspiele, “Nabucco”, “Tosca”, “Cavalleria Rusticana” and “Pagliacci”, “Andrea Chénier”, “La Fanciulla del West” in Wien, “Otello” in Zurich, “Rigoletto” in Strasburg, “Tosca” in Barcelona, “Pagliacci” in Bari, “Les Vêpres Siciliennes” in Copenhagen, “Turandot” in Bregenz and New York, “Carmen” in Toronto, “Simon Boccanegra” in Antwerpen, “Stabat Mater” in Tokyo with the Yomiuri Nippon Symphony Orchestra and “Il Trovatore” in Munich, “Turandot” and “Amleto” in Bregenz, “Turandot” and “La Bohème” at Metropolitan of New York, “Carmen” in Toronto, “Mefistofele” and “Don Carlo” in Munich, “Macbeth” in Brussels and Munich and “Otello” in Hamburg, Budapest and Tokyo.
In the 2017/18 season Paolo Carignani conducts “Aida” at New National Theatre Tokyo, “Sancta Susanna”, “Cavalleria rusticana” and “Carmen” at Teatro Lirico di Cagliari, “Otello” at the Hamburg State Opera and “Ali Baba” at Teatro alla Scala, Milan.
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
Carlo Ventre, born in Montevideo (Uruguay), won the prize “Gino Bechi” at the Francisco Viñas in Barcellona and the “Pavarotti Voice Competition” in Philadelphia. Among his teachers we mention Gino Bechi, Magda Olivero and Carlo Cossutta.
Carlo Ventre made his operatic debut in 1994 when he performed as Duca in “Rigoletto” at La Scala di Milano under the baton of Riccardo Muti. He has been several times at the Arena di Verona covering the roles of Cavaradossi in “Tosca”, Radames in “Aida”, Pinkerton in “Madama Butterfly”, Don José in “Carmen” and Calaf in “Turandot”.
In 2011 he made his debut at the Royal Opera House in London and at the Staatsoper in Monaco with “Aida” and at the Opéra Bastille in Paris with “Tosca”. In addition, between the end of 2011 and 2012 he made his debut in Verdi’s “Otello”, in the title role, in Frankfurt, Des Grieux in “Manon Lescaut” in Hamburg, and Maurizio in “Adriana Lecouvreur” in Barcelona. In 2012 he won the first prize “Radames” from the Verona Opera association for his performance of the role at the Arena.
After the success in “Manon Lescaut” in Hamburg, “Aida” in Tokyo and “Fanciulla del West” in Frankfurt, in 2013 he returned to the Arena as Manrico in “Il trovatore”, in “Aida” and for the prestigious Verdi Gala and could be heard in Verdi’s concerts in Barcelona and “Otello” in Bordeaux. In 2014 he was in Milan for “Il trovatore”, in Frankfurt for “La Fanciulla del West”, in Verona for “Turandot”, “Aida” and “Carmen”, in Bari for “Il Tabarro”, in Palermo for “Tosca”, in Frankfurt for “Otello”. In 2015 he returned to Hamburg for “La Fanciulla del West”, he sang in “Tosca” in Leipzig, “Don Carlos” in Bordeaux and Bilbao, “Turandot” at the Teatro San Carlo in Naples.
His 2017/18 engagements include “Pagliacci” at La Monnaie/De Munt, Brussels and Deutsche Oper am Rhein, “Otello” at Hamburg State Opera and “Aida” at the National Centre for the Performing Arts, Beijing.
Franco Vassallo is one of Italy’s leading baritones and has there been acclaimed at Teatro alla Scala di Milano, Teatro La Fenice di Venezia, Teatro San Carlo di Napoli, Teatro Regio di Torino, Teatro Carlo Felice di Genova, Teatro Comunale di Firenze, Teatro dell’Opera di Roma, Teatro Regio di Parma and at the Arena di Verona.
He has also made several significant international debuts at the Metropolitan Opera in New York, Royal Opera House at Covent Garden in London, Bavarian State Opera in Munich, Vienna State Opera, Deutsche Oper and Staatsoper in Berlin, Opernhaus Zürich, Grand Théâtre de Genève, Baden-Baden Festival, Hamburg State Opera, Semperoper Dresden, Teatro Real de Madrid, Teatro de São Carlos in Lisbon as well as in Bilbao, Amsterdam, Paris, Washington, Los Angeles and Philadelphia.
Highlights of the last seasons included a new production of “Rigoletto” at the Bavarian State Opera and a new production of “Macbeth” at the Teatro alla Scala in Milano under the baton of Valery Gergiev. In 2013 Vassallo returned to the Metropolitan Opera in New York as Ford in Falstaff (conducted by James Levine). At the opera in Zurich he sang in the rarely performed oper “La Straniera” together with Edita Gruberivá and returned to the Arena di Verona as Amonasro (Aida). He sang the Conte di Luna (Il Trovatore) at La Scala and Rigoletto in Munich and Hamburg. At the Teatro Real Madrid he made his debut as Monforte in a concert performance of “ I Vespri Siciliani” and he opened the 2014/15 season as Rigoletto in Geneve. In “La Straniera” he gave his debut at the Theater an der Wien an das Germont (La Traviata) he returned to the Royal Opera House Covent Garden. As Amonasro (Aida) he had success in Vienna and in Munich he sang the role of the Duke of Nottingham in “Roberto Devereux”.
In addition to his performances as Amonasro (Aida) and Rigoletto he also sang Macbeth, Ford (Falstaff) and Renato (Un Ballo in Maschera) at the Bavarian State Oper. At the Teatro Felice Genua he gave his role debut in “Simon Boccanegra” and returned there as Rodrigo (Don Carlos). In a concert performance of “La Forza del Destino” he sang Don Carlo di Vargas in Geneve and also sang the title role in “Falstaff”. As Rigoletto he gave his house debut at the opera Bastille in Paris.
The season 2017/18 brings Vassallo to Amsterdam as Don Carlo (La Forza del Destino) and to Paris as Ford (Falstaff). In Hamburg he will make his debut as Scarpia (Tosca) and will also perform Iago (Otello). He will also sing Rigoletto in Frankfurt and return to Munich as Don Alfonso (Lucrezia Borgia).
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).
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.
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
Bachelor an der Korea National University of Arts in Seoul bei Prof. Simon Yang, Master-Studium für Operngesang an der Staatlichen Hochschule für Musik und darstellende Kunst in Stuttgart bei Prof. Francisco Araiz
Bei Prof. Sylvia Greenberg an der Hochschule für Musik und Theater in München (2014/2015)
Bezug zur Staatsoper:
Mitglied im Internationalen Opernstudio der Staatsoper Hamburg seit 2017/18
Figaro (Le Nozze di Figaro), Frank (Die Fledermaus), Don Estoban (Der Zwerg), Gianni Schicchi (Gianni Schicchi), Don Pasquale (Don Pasquale), Silvano und Tom (Un Ballo in Maschera), Fiorillo/Offizier und Bartolo (ll Barbiere di Siviglia), Kuligin (Katja Kabanowa), Heerrufer des Königs und Brabantischer Edler (Lohengrin), Peter (Hänsel und Gretel), Il Marchese d'Obigny (La Traviata), Erster Handwerksbursch (Wozzeck), Zweiter Geharnischter (Die Zauberflöte), Alcindoro (La Bohème), Ein Hauptmann (Eugen Onegin), 2. Gefangener (Fidelio), Usciere/Il Conte di Ceprano (Rigoletto), Sciarrone (Tosca), Wagner (Faust), Montano (Otello), u.a.
Hamburgische Staatsoper, Theater Krefeld Mönchengladbach (Mitglied im Opernstudio Niederrhein, 2015/16-2016/17)
Zusammenarbeit mit Dirigenten:
Christoph Gedschold, Kent Nagano, Adrian Müller, Stefano Ranzani, Carlo Rizzari, Pier Giorgio Morandi, Christopher Ward, Paolo Carignani, u.a.
photo: Kartal Karagedik
Der Bariton Michael Kunze wurde 1976 in Borna bei Leipzig geboren und absolvierte sein Gesangsstudium an der Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ Leipzig, bei Frau Prof. Christina Wartenberg, welches er 2003 mit dem Konzertexamen abschloss.
Bereits während seines Studiums führten ihn wichtige Stationen an das Opernstudio der Region Nürnberg, das Theater Bonn, das Stadttheater Bremerhaven, das Theater Chemnitz, das Staatstheater Cottbus, die Musikalische Komödie Leipzig, das Mittelsächsische Theater Freiberg/ Döbeln, sowie zu den Wernigeröder Schlossfestspielen.
2004 bis 2009 war Michael Kunze Ensemblemitglied des Theaters Plauen/ Zwickau und brillierte u.a. in den Rollen des Papageno (Die Zauberflöte, W.A. Mozart), P. Michailow (Zar und Zimmermann, A. Lortzing), Almaviva (Die Hochzeit des Figaro, W.A. Mozart), Danilo Danilowitsch (Die lustige Witwe, F. Lehar), Leopold Brandmeyer (Im weißen Rössl, R. Benatzky), Hans Scholl (Weisse Rose, Udo Zimmermann), Hieronymus Colloredo (Mozart!, Michael Kunze) und Herrn Fluth (Die lustigen Weiber von Windsor, O. Nicolai).
Aus seiner Liebe zur Tonfilm- und Unterhaltungsmusik, besonders der 20er und 30er Jahre heraus, gründete er 2005 das Salon und Tanzorchester Muggefugg-Symphoniker, mit welchem er sich bis heute bei Tanzveranstaltungen und bunten Abendprogrammen, von Peter Igelhoff über Frank Sinatra, bis hin zu Udo Jürgens, bundesweit einen Namen macht.
Seit 2012 ist Michael Kunze als 1. Bass im Staatsopernchor engagiert und begeisterte mit seinem bunten Bühnenprogramm im Adventskalender der Staatsoper das Publikum am Dammtor.
Polish-born soprano Aleksandra Kurzak began her musical education at the age of 7, playing violin and piano. She studied voice at the conservatories of Wroclaw and Hamburg. She made her professional opera debut at the age of 21 at the Wroclaw State Opera as Susanna in Le Nozze di Figaro. Her mother and teacher Jolanta Zmurko performed the role of Countess. Kurzak is a laureate of singing competitions in Warsaw, Barcelona, Helsinki and Canton. In 2009 she received a PhD in Music.
Between 2001 and 2007 Kurzak was a member of the ensemble of the Hamburg State Opera, where she sang numerous roles: Queen of the Night, Blonde, Susanna, Servilia, Marzelline (Fidelio), Nannetta (Falstaff), Ännchen (Der Freischütz), Gilda, Adèle, Gretel (Hänsel und Gretel), Maid (Powder her Face), Musetta, Cleopatra, Fiorilla (Il Turco in Italia), Marie (La Fille du Régiment).
In 2004 Kurzak made her debut at The Metropolitan Opera in the role of Olympia in “Les Contes d’Hoffmann”. In the same season she debuted at the Royal Opera House-Covent Garden as Aspasia in “Mitridate, Re di Ponto”. The artist returned to the Met, singing Blonde in “Die Entführung aus dem Serail”, Gilda in “Rigoletto”, Gretel in “Hänsel & Gretel” and Adina in “L'Elisir d'amore”. Since her first London appearance, Kurzak has returned regularly to the Royal Opera House, where she has performed roles of Norina (Don Pasquale), Adina (L’elisir d’amore), Susanna, Matilde (Matilde di Shabran), achieving a real triumph on this stage and most recently as Fiorilla (Il Turco in Italia), Rosina (Il Barbiere di Siviglia), Gilda, the title role in “Lucia di Lammermoor” and Liù in “Turandot”.
In February 2010 Kurzak made her debut at the Teatro alla Scala in the role of Gilda and returned as Susanna and Adele in “Le Comte Ory”.
Kurzak has appeared as well at the Staatsoper in Berlin (Queen of the Night, Mimì in “La Bohème”), Teatro Regio in Parma and Théâtre du Capitole in Toulouse (Gilda), Bavarian State Opera in Munich (Cleopatra, Adele, Rosina, Fiorilla, Adina, Rachel in “La Juive”), Vienna State Opera (Rosina, Adina, Susanna, Marie, Gilda, Violetta), Teatro Regio in Torino (Vioetta), Teatro Massimo in Palermo (Norina), Teatro Massimo di Bellini in Catania (concert with arias by Bellini), Teatro Real in Madrid (Susanna, Marie), Lyric Opera House in Chicago (Blonde), Salzburg Festival (concert arias by Mozart, Ännchen and Donna Anna), Arena di Verona (Rosina, Juliette, Gilda, Verdi-Gala), Los Angeles Opera (Fiordiligi), San Francisco Opera (Gilda), Palau de les Arts in Valencia (Adina), Mozart Festival in A Coruña as well as at the Welsh National Opera in Cardiff (Aspasia), Theater an der Wien (Donna Anna and Amenaide), Finnish National Opera (Gilda), National Opera in Warsaw (Gilda, Violetta, Lucia), Teatro La Fenice (Donna Anna), Opernhaus in Zürich (Gilda, Norina, Nedda), Deutsche Oper Berlin (Violetta, Adina), Opéra de Paris (Adina, Micaela in “Carmen”) and Seattle Opera (Lucia).
Kurzak has collaborated with many well known conductors including Ivor Bolton, Bruno Campanella, James Conlon, Sir Andrew Davis, Christoph von Dohnanyi, Riccardo Frizza, Rafael Frühbeck de Burgos, René Jacobs, Fabio Luisi, Nicola Luisotti, Sir Charles Mackerras, Ingo Metzmacher, Daniel Oren, Antonio Pappano, Carlo Rizzi, Ralf Weikert, and Simone Young.
Aleksandra Kurzak has an exclusive recording contract with DECCA.
Season 2017/18 will see Kurzak appear as Alice Ford (Falstaff) and Vitellia (La Clemenza di Tito) at Opéra de Paris, Nedda at the Metropolitan, Desdemona (Otello) and Liù at the Vienna State Opera, Desdemona at the Hamburg State Opera.
photo: Kasia Paskuda
Russian Academy of the Theatrical Arts in Moscow (2003-2008), Galina Vishnevskaya Opera Center (2010-2012), Young Artist Programme of the Bolshoi Theatre (2010-2012), Jette Parker Young Artist Programme (2013-2015)
with Gloria Guida Borelli, Laura Claycomb, Elena Obraztsova, Eugeny Nesterenko, Luba Orfenova, Diane Zola, Richard Bado and Ann Hallenberg
Dr. Wilhelm Oberdörffer Prize of the Foundation for the Support of the Hamburg State Opera (2018), Österreichischer Musiktheaterpreis in the category “Best Young Artist” (2014), second prize in the II International Competition of the Savonlinna Opera Festival (2012), third prize in Placido Domingo’s Operalia Competition in Beijing (2012), fifth prize in the “Neue Stimmen” Competition (2011)
Relation to the Hamburg State Opera:
Ensemble member of the Hamburg State Opera since 2015/16
Flosshilde (Das Rheingold), Mezzo-soprano (Messa da Requiem), Waltraute (Die Walküre), Drittes Blumenmädchen (Parsifal), Suzuki (Madama Butterfly), Kontschakowna (Prince Igor), Emilia (Otello), Pauline (Pique Dame), Cherubino (Le Nozze di Figaro), Rosina (Il Barbiere di Siviglia), Orlofsky (Die Fledermaus), Hänsel (Hänsel und Gretel), Dritte Magd (Elektra), Maddalena (Rigoletto), Madrigal Singer (Manon Lescaut), Flora (La Traviata), Rosette (Manon), Mercédès (Carmen), Charlotte (Werther), Polinesso (Ariodante), Zweite Dame/Dritte Dame (Die Zauberflöte), Fortune Teller (The Fiery Angel), Olga (Eugen Onegin), Clarissa (The Love for Three Oranges), Petrovna/Dunyasha (The Tsar’s Bride), et al.
Tchaikovsky Concert Hall Moscow, International Performing Arts Centre Moscow, National Theatre of
Beijing, Linbury Theatre at the Royal Oper House, Theatre Wielki, De Doelen in Rotterdam, Bolshoi Theatre, Latvian National Opera, Salzburger Landestheater, Royal Opera House Covent Garden, Hamburgische Staatsoper, et al.
Cooperation with directors:
Jim Lucassen, Andreas Žagars, Sir David McVicar, Jonathan Kent, Jette Steckel, Achim Freyer, Calixto Bieito, et al.
Cooperation with conductors:
Yuri Bashmet, Vassily Sinaisky, Jean-Christophe Spinosi, Nathan Brock, Kent Nagano, Kevin John Edusei, Carlo Rizzari, Christoph Gedschold, Mikhail Tatarnikov, Patrick Fournillier, José Aparicio, Gregor Bühl, Stefano Ranzani, Erich Wächter, Philipp Pointner, Vladimir Conta, Maurizio Benini, Dan Ettinger, Emmanuel Villaume, Daniel Oren, Antonio Pappano, Plácido Domingo, et al.
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.