Maria Chabounia wurde in Minsk geboren und absolvierte noch vor ihrer Gesangsausbildung, im Alter von 5 Jahren, eine Pianoausbildung an der Belarusian State Academy of Music. Zurzeit macht Maria Chabounia ihr Bachelor-Examen als Sängerin an gleicher Stelle unter Prof. Tatiana Tsybulskaia. Meisterkurse belegte sie unter anderem bei Dimitri Hvrorostovsky, Mietta Sighele und Boris Bloch.
Seit der Spielzeit 2014/2015 ist die junge Sängerin Ensemblemitglied an der National Academic Bolshoi Opera, wo Sie als Gilda debütierte und als Teil des Opernstudios die Norina in Don Pasquale gab. Maria Chabounia gewann zahlreiche Preise an internationalen Wettbewerben. Dazu zählen: Platz 2 am „European opera competition DEBUT“, Platz 1 an der „International Christmas opera competition“ von Minsk im Jahr 2014, sowie den Grand Prix am zehnten internationalen Stimmwettbewerb „Belcanto“ in Naleczow, Polen.
Iulia Maria Dan
Romanian Soprano Iulia Maria Dan graduated from the National University of Music in Bucharest as a student of Maria Slatinaru-Nistor. In 2011, she became a member of the Opernstudio of the Bayerische Staatsoper in Munich, where she was also a member of the Ensemble. In August of 2015, Ms. Dan became a member of the Ensemble at Staatsoper Hamburg. Her engagements there for the 2016/17 season include First Lady in a new production of “Die Zauberlföte”, Mimi in “La Bohème”, Contessa di Almaviva in “Le nozze di Figaro”, Helena in “A Midsummer Night’s Dream” and Mathilde in “Guillaume Tell”.
In the 2015/16 season, Ms. Dan sang Contessa di Almaviva, Rosalinde in “Die Fledermaus”, Fiodiligi in “Cosi fan tutte”, Tatyana in “Eugene Onegin” and Agathe in “Der Freischütz”, all at the Staatsoper Hamburg. She also sang Ofelia in Franco Faccio’s Amleto at the Bregenz Festival in Austria. In the 2014/15 season, Ms. Dan made a successful debut as the title role in Massenet’s “Manon” at Oper Graz in Austria. She also sang Waldvogel in “Siegfried” at the Bayerische Staatsoper and premiered “Francesca da Rimini”, music by Stefan Wirth, at the Münchner Opernfestspiele. In August of 2014, Ms. Dan sang Aminta in “Il re pastore” at the Verbier Festival in Switzerland, an appearance received with great reviews. In the 2013/2014 season, as a member of the Ensemble at the Bayerische Staatsoper, she sang Frasquita in “Carmen”, Giannetta in“ L’elisir d’amore”, La contessa di Ceprano in “Rigoletto”, and Dama di Lady Macbeth in Verdi’s “Macbeth”. Ms. Dan’s 2012/13 engagements at the Bayerische Staatsoper included Hilda Mack in Hans Werner Henze’s “Elegie für junge Liebende”, Jano in Janácek’s “Jenufa”, Papagena in “Die Zauberlföte”, and Füchslein Schlaukopf in Janácek’s “The Cunning Little Vixen”.
Iulia Maria Dan has performed in concerts in Bucharest, Modena, Gdansk, Milan and Munich. In 2010, she sang the Soprano solo in the world premiere of acclaimed Romanian composer Felicia Donceanu’s “Salbe – Monodrama for Soprano and Orchestra” at the Bucharest Radio Hall. In 2011, Ms. Dan debuted with great success as Gilda in “Rigoletto” at the Romanian National Opera. That same year, she received a Special Award for Most Promising Young Artist at the renowned Hans Gabor Belvedere International Singing Competition in Vienna, where she was also awarded the Graz Opera Special Prize and the Soroptimist Prize.
In 2010, Ms. Dan won the Grand Prize at the Ionel Perlea National Song Competition and Second Prize at the Hariclea Darclee International Singing Competition in Romania. That same year, she won a Special Prize at the Arta Florescu Masters of the Lyrical Art International Competition in Bucharest. In 2008, Ms. Dan won First Prize in the Orange Young Musicians Competition, First Prize in the Romanian Song Festival and Competition, Special Prize for “Interpretation of Music by Mozart” in Mihail Jora and Dinu Lipatti’s National Competition, and Special Prize for “Chamber Music Style – Martha Joja” in the Ionel Perlea International Song Festival and Competition.
Praised by the New York Times for her “sweet-voiced soprano,” lyric soprano Heather Engebretson is quickly becoming known for her "overwhelming power" (ITÄ-SAVO, Savonlinna) and her "long lines and beautiful sound." (Helsingin Sanomat, Helsinki)
In 2016, Ms. Engebretson makes a return to the Royal Opera stage in the role of Sophie (Werther), which will also serve as her HD Cinema debut. Thereafter, Engebretson debuts as Liù (Turandot) for l'Opéra Royal de Wallonie Liège, and joins the solo ensemble of Staatsoper Hamburg, where her roles will include Konstanze (Die Entführung aus dem Serail) and Musetta (La bohème). She will also return to Wiesbaden in the title role of La traviata. Future seasons include Ms. Engebretson's highly-anticipated role debut in the title role of “Lulu”.
In the 2015-2016 season, Ms. Engebretson made her debut with Royal Opera Covent Garden as Barbarina (Le nozze di Figaro). Other notable debuts in the 2015-2016 season included Frasquita (Carmen) for Staatsoper Hamburg and the soprano solo in “Messiah” with the Dresdener Philharmonie.
Before joining the solo ensemble in Hamburg, Ms. Engebretson spent two seasons in the solo ensemble of Staatstheater Wiesbaden where she appeared in such diverse roles as Violetta in “La traviata”, the title role of “Alcina”, Fiordiligi (Cosi fan tutte), Konstanze (Die Entführung aus dem Serail), Euridice (Orfeo ed Euridice) and Musetta in “La bohème”. Prior to her time in Wiesbaden, Ms. Engebretson was engaged by Staatsoper Hannover.
In the summer of 2012, Ms. Engebretson was the first place winner of Finland’s prestigious Savonlinna Opera Festival Competition. She was also awarded the Sonderpreis der Oper Graz in the International Hans Gabor Belvedere Competition, after which she appeared in concert at the Stadttheatre of Baden bei Wien. In the 2012-2013 season, Ms. Engebretson’s appearences included her Carnegie Hall Stern Auditorium debut as the soprano soloist in Schubert’s G Major Mass, Gretel (Hänsel und Gretel) with the Macon Symphony Orchestra, the title role (cover) in The Cunning Little Vixen at Juilliard, the soprano solo in Verdi’s Requiem with Kirchenmusik an St. Sebald in Nürnberg, and the soprano solo in Brahms’ Ein deutsches Requiem with the Virginia Consort.
The 2011-2012 season marked Ms. Engebretson’s debut with the Saint Louis Symphony as the Queen of the Night (Die Zauberflöte) and Alice Tully Hall debut as soloist in Bach’s Magnificat. She appeared as Li in the American premiere of “Kommilitonen!” with Juilliard Opera in November, and covered the role of Donna Anna (Don Giovanni) at Juilliard in April. Previously performed roles include Zerbinetta (Ariadne auf Naxos), the Queen of the Night and Papagena (Die Zauberflöte), Grilletta (Lo Speziale), and Amahl (Amahl and the Night Visitors).
As a 2009 Crested Butte Music Festival young artist, Ms. Engebretson performed the role of Barbarina (Le nozze di Figaro). She returned for the 2010 season to perform the roles of Dew Fairy (Hansel and Gretel) and Musetta (La bohème). In the 2011 season, Ms. Engebretson was a Gerdine Young Artist at Opera Theatre of Saint Louis where she covered Yniold (Pelleas and Melisande).
In the spring of 2013, Ms. Engebretson earned a Master of Music degree from the Juilliard School where she studied with Edith Wiens and coached with Steven Blier. Her studies at Juilliard were supplimented with frequent work with New York area coach Earl Buys.
Prior to her studies at Juilliard, Ms. Engebretson earned a Bachelor of Music degree from the Cleveland Institute of Music where she studied voice with Mary Schiller and violin with David Russell. While at CIM she also completed a minor in music theory. An accomplished violinist, Ms. Engebretson has appeared on National Public Radio's From the Top, and studied with esteemed pedagogues Connie Heard and Robert Lipsett. Ms. Engebretson's studies were made possible in part by The Davidson Institute, by whom she was awarded the Davidson Institute Laureate Fellowship in 2006.
Ms. Engebretson still studies with world-renowned soprano Edith Wiens.
Austrian soprano Christina Gansch is a graduate of Salzburg's Mozarteum and the Royal Academy of Music and is the winner of the 2014 Kathleen Ferrier Award.
As former member of the International Studio of the Hamburg State Opera, her roles there this season include Ascagne in a new production of "Les Troyens", Juliette "Die tote Stadt" and Gemmy in a new production of "Guillaume Tell". Her 2015/16 season also includes a return to the Salzburger Festspiele as Barbarina "Le nozze di Figaro" and her début at the Deutsche Staatsoper as Waldvogel in "Siegfried" under Barenboim. She has also sung Barbarina at the Theater an der Wien under Harnoncourt; Servilia "La clemenza di Tito" and Amore "Orfeo ed Euridice" at the Opéra national de Montpellier and Gretel "Hänsel und Gretel", Oscar "Un ballo in Maschera" and Frasquita "Carmen" for the Hamburg State Opera.
In 2016/2017 Christina Gansch joins the ensemble of the Hamburg State Opera.
In concert, she has appeared in Vienna's Musikverein with the Orchester Wiener Akademie and in the Konzerthaus as part of the international festival Resonanzen, at the Verbier Festival under López-Cobos and Harding, at the Internationale Händel-Festspiele Göttingen, the London Handel Festival, at the Wigmore Hall with the Royal Academy of Music's Song Circle and in Salzburg's Mozarteum. Artists with whom she has studied include Richard Bonynge, Gudrun Volkert, Angela Gheorghiu, Edita Gruberova, Angelika Kirchschlager, Ann Murray, Dennis O´Neill, Thomas Quasthoff and Gudrun Volkert. She continues her studies with Lillian Watson.
Russian born Mezzo Soprano Nadezhda Karyazina was born in Moscow and trained at the Russian Academy of the Theatrical Arts in Moscow. Upon graduation, she attended the Galina Vishnevskaya Opera Centre.
She has won multiple prizes including a Diploma at the Russian Theatrical Competition 'Capital Renaissance' (2008) and second prize at the Savonlinna Opera Competition in Finland (2012). She was also a prize winner at the prestigious Operalia and Neue Stimmen competitions (2012).
She was a member of the Young Artist Program of the Bolshoi Theatre of Russia, where she has taken part in master-classes with Gloria Guida Borelli, Laura Claycomb, Elena Obraztsova, Eugeny Nesterenko, Luba Orfenova, Diane Zola, Richard Bado and Ann Hallenberg among others. Her debut at the Bolshoi was as Petronova “The Tsar’s Bride”, conducted by Vasily Sinaisky.
She was a member of the Jette Parker Young Artists Programme at the Royal Opera House Covent Garden (2013/14) and made her stage debut there as Mercedes (Carmen). Other operatic roles there included Flora (La Traviata), Madrigal Singer (Manon Lescaut), Maddalena (Rigoletto), Second Lady (Die Zauberflote), Bersi (Andrea Chenier), Suzuki (Madama Butterfly) and Meg Page (Falstaff). She has also sung Polinesso (Ariodante) and Charlotte (Werther) at the Salzburger Landestheater, Lel (The Snow Maiden), Soneyetka (Lady Macbeth of Mtsensk) and Princess Clarice (The Love of three Oranges) at the Bolshoi Theatre.
She has performed the roles of Marquise Melibea in scenes from “Il viaggio a Reims” by Rossini at the Tchaikovsky Concert Hall in Moscow with the 'Moscow Soloists' Chamber Orchestra under Yuri Bashmet. In March 2011 she sung the part of mezzo-soprano in Mozart's Requiem at the Novosibirsk State Academic Opera and Ballet Theatre.
She continues her work this season at the Hamburgische Staatsoper and will make her debut at the Festival Opera New Zealand in “Carmen”.
Die in Seoul geborene Hellen Kwon studierte an der Kölner Musikhochschule. Fast zeitgleich debütierte sie als Königin der Nacht am Staatstheater Wiesbaden. Mit dieser Rolle gelang der Sopranistin eine Weltkarriere. Bis 2005 hat sie die gefürchtete Partie an die vierhundert Mal auf den Bühnen großer internationaler Häuser gesungen, darunter Wien, Paris, Tokio, Jerusalem, Zürich, München oder Berlin.
Rolf Liebermann komponierte für Hellen Kwon 1986 die Partie der Alexis in seiner Oper „La Forêt“ die am Grand Théâtre de Genève uraufgeführt wurde. 1987 holte er die junge Sängerin an die Hamburgische Staatsoper, deren Ensemble sie bis heute angehört.
Hier sang sie zunächst die großen Rollen des lyrischen Koloraturfachs wie Blonde, Norina, Susanna, Adina, Rosina, Gilda, Musetta, Adele, Zdenka, Sophie und Zerbinetta. Ab Mitte der 90er-Jahre erweiterte sie sukzessive ihr Repertoire mit Partien des dramatischen Koloraturfachs, darunter Konstanze, Fiordiligi, Vitellia, Elettra, Donna Anna und Rosalinde. Nach und nach wandte sie sich auch dem italienischen und französischen Repertoire zu und gestaltete Mimì, Liú, Violetta Valéry, Micaëla und Madama Butterfly. Inzwischen hat sie auch Partien aus dem jugendlich dramatischen Fach wie Salome, Senta, Agathe, Freia und 3. Norn in ihr Repertoire aufgenommen. Für ihre Interpretation der „Frau“ in Wolfgang Rihms „Das Gehege“ wurde sie 2010 mit dem Rolf-Mares-Preis ausgezeichnet.
Im Laufe ihrer Karriere arbeitete Hellen Kwon mit zahlreichen namhaften Dirigenten zusammen, darunter Giuseppe Sinopoli, Vladimir Ashkenazy, Horst Stein, Neville Marriner, Zubin Mehta, James Levine, Jeffrey Tate, Marcello Viotti und Simone Young. Gastengagements führten sie unter anderem an die Konzert- und Opernhäuser in Paris, Seoul, Tokio, Rom, Oslo, Wien, München, Amsterdam, in die USA und zu den Festspielen in Aix-en-Provence, den Bayreuther und Salzburger Festspielen sowie den Festivals in Glyndebourne und in Israel. Zahlreiche Rundfunk- und TV-Aufnahmen sowie CD-Einspielungen liegen vor, darunter Walter von Braunfels’ „Die Vögel“ unter dem Dirigat von Lothar Zagrosek. Diese Aufnahme wurde für den Grammy Award nominiert. Im Februar 2011 verlieh der Senat der Freien und Hansestadt Hamburg Hellen Kwon den Titel „Hamburger Kammersängerin“.
2013 wurde sie von der koreanische Regierung mit dem Order of Civil für herausragende künstlerische Leistungen ausgezeichnet.
The “excellent” (Kurier) young Hungarian mezzo-soprano Dorottya Láng has earned international acclaim for her “ravishing” (Musik Heute) and “impeccable” talent. John Allison writes in The Telegraph that “she quickly showed herself to be a singer of great musical poise. …with rich and even tone rising to a pure top.”
Born in Budapest in 1986, Ms Láng studied at the Universität für Musik und Darstellende Kunst Wien (Vienna’s University of Music and the Performing Arts) with Claudia Visca. Her awards and honours include Prize Winner of the 2012 Emmerich Smola Competition, Third Prize at the 2011 Wigmore Hall/Kohn Foundation Song Competition and Prize Winner at the 2013 Mozart Academie competition in Aix-en-Provence.
Highlights of her 2016/17 season include “Angelina” in Renaud Doucet’s La Cenerentola and “Hermia” in Simon Phillips A Midsummer Night’s Dream at Hamburgische Staatsoper; Mahler’s Symphony No. 8 in the new Elbphilharmonie under Kent Nagano; Beethoven’s Symphony No. 9 in her Tonkünstler debut; a Schubertiade recital debut with Helmut Deutsch; and a further recital with Mr Deutsch at Budapest’s Palace of the Arts.
The Korean Soprano Hayoung Lee was born in Seoul and absolved her vocal studies at Yon-Sei University and at the Korean National University of Arts.
Before her debut in Europe she had engagements at the Seoul Arts Centre, the Peking Opera and with the Tokyo National Theater.
In 2001/02 she attended the National Opera Studio in London. This was followed by her participation in the Vilar Young Artist Programme at the Covent Garden Royal Opera House where she sang Violetta (La Traviata), Queen of the Night (The Magic Flute), Clorinda (La Centerola), Ophelie (Hamlet), Sophie (Werther) and Woglinde (Das Rheingold).
In 2005 Hayoung Lee received the Audience Prize at the “BBC Cardiff Singer of the World” competition. In the same year she sang in Fauré’s “Requiem” in a benefit concert for the tsunami victims that was broadcast by the BBC.
The Korean soprano is a member of the Hamburg State Opera since the 2005/06 season where she has sung the roles of Marzelline (Fidelio), Soeur Constance (Dialogues des Carmélites), Gretel (Hänsel und Gretel), Karolka (Jenufa), Nannetta (Falstaff), Susanna (Le Nozze di Figaro), Badi’at (L’Upupa und der Triumph der Sohnesliebe), Tytania (A Midsummer Night’s Dream) and Violetta Valery (La Traviata).
Born in Hanover, Katja Pieweck completed her studies in 1996 at the Hamburg Academy for Music and Theater. From 1997 to 1999 she was a member of the International Opera Studio at the Hamburg State Opera which eventually led to her engagement as an ensemble member in 1999. Here she has performed many roles including Mercedes (Carmen), Siegrune (Die Walküre), Magdalene (Die Meistersinger von Nürnberg), Annina (Der Rosenkavalier), Mutter (Hänsel und Gretel), Fenena (Nabucco), Suzuki (Madame Butterfly), Mère Marie (Dialogues des Carmélites), Meg Page (Falstaff) und Marquise des Berkenfield (La Fille du Régiment). Katja Pieweck has made numerous appearances on prestigious opera stages including the Berlin Staatsoper, the Bavarian State Opera in Munich and the Hanover State Opera. In addition to her activity as an opera singer She is a regular guest on the concert stage. Her repertoire includes works from all eras. Her career has been accompanied by numerous prizes and awards including the "Körber Foundation Oberdörfer Prize 2007" and the "Kulturpreis der Berenberg Bank Hamburg". In 2005 Katja Pieweck worked with Sir Simon Rattle and the Berlin Symphonic Orchestra for a concert performance of Janácek’s "Jenufa". In February 2006 she sang with the Philharmonic Orchestra Hamburg in Hindemith’s "Sancta Susanna" under Simone Young’s baton. In 2007 the mezzo-soprano performed as Elvira in "Don Giovanni" at the Herrenchiemsee Festival. She also sang the part for mezzo-soprano in Bach’s "Christmas Oratorio" – a new Hamburg Ballet production – choreographed by John Neumeier. 2008 Katja Pieweck sang Fricka (Das Rheingold, Die Walküre) in the production of Wagner’s "Ring".
Gabriele Rossmanith was born in Stuttgart. After receiving a diploma in violin she studied singing in her home town with Sylvia Geszty. Upon her graduation in 1984 she joined the Badisches Staatstheater Karlsruhe. She performed as a guest soloist at the opera houses of Munich, Antwerp, Brussels, Berlin, Dresden, Leipzig, Frankfurt, Barcelona, Toulouse and Strasbourg. Since 1988 she has been an ensemble member of the Hamburg State Opera, where she has sung numerous roles, including Pamina (Die Zauberflöte), Micaëla (Carmen), Sophie (Der Rosenkavalier), Morgana (Alcina), Oscar (Un ballo in maschera), Helena (A Midsummer Night’s Dream), Nedda (Pagliacci), Lauretta (Gianni Schicchi), Anne Truelove (The Rake’s Progress), Gretel (Hänsel und Gretel) and Musetta (La Bohème).
Gabriele Rossmanith has enjoyed major success as Mélisande (Pelléas et Mélisande), Susanna (Le Nozze di Figaro) and Blanche (Dialogues des Carmélites). She sang in new productions of “Der Rosenkavalier” (Duenna), “Das Rheingold” (Wellgunde) and “Die Walküre” (Ortlinde.) In the 2010/11 season she sang Clorinda in the première of “La Cenerentola” and Rosine in Oscar Strasnoy’s “Le Bal”. In 2012 she made her debut as Echo in the premiere of “Ariadne auf Naxos” and sang, among other roles, Zerlina in “Don Giovanni”. Her roles in the 2015/16 season included Despina in “Così fan tutte” and Ännchen in “Der Freischütz”.
Numerous concerts, radio and television recordings, as well as “Liederabende”, “chansons” and chamber music programs round out Ms. Rossmanith’s creative activities. Tours have led Gabriele Rossmanith to opera houses and concert halls throughout the world, including Central and South America, Japan, Canada and Israel. Several CD recordings of her work are available. With the Süddeutscher Rundfunk she recorded telecasts of “Italienisches Liederbuch” (Hugo Wolf) and “Des Knaben Wunderhorn” (Gustav Mahler). For the past several years, Gabriele Rossmanith has been studying with Ks. Brigitte Eisenfeld, and has increased her focus on “Lieder”, “chansons” and chamber music. In 2011 the senate of the Freie und Hansestadt Hamburg honored her with the title “Kammersängerin”.
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.
Alin Anca wurde 1986 in Rumänien geboren. Er studierte Gesang an der Gheorge Dima-Musikhochschule in Klausenburg, wo er 2010 mit einem Diplom abschloss. Schon während seines Studiums war er an der Opera Nationala Romana in Klausenburg engagiert. Dort interpretierte er unter anderem folgende Partien: die Titelrolle in „Don Giovanni“, den Großinquisitor in Verdis „Don Carlo“, Fiorillo in „Il Barbiere di Siviglia“, Dulcamara in „L’Elisir d’Amore“ und Colline in „La Bohème“. Weitere Engagements führten ihn an die Opera Nationala in Bukarest. Neben den Rollen im Bereich des Musiktheaters sang Alin Anca auch in Puccinis „Messa di Gloria“, Dvoráks „Stabat Mater“ und im Verdi-Requiem. Von 2011 bis 2013 war er Stipendiat der Liz Mohn Kultur- und Musikstiftung sowie Mitglied im Opernstudio der Staatsoper Berlin.
Seit September 2013 gehört er zum Ensemble der Staatsoper Hamburg und war bisher u.a. als Leporello (Don Giovanni), Pietro (Simon Boccanegra), Panthée (Les Troyens), Walther Fürst (Guillaume Tell) und als Figaro (Le nozze di Figaro) zu erleben.
Vladimir Baykov was born in Moscow and graduated from the Moscow’s Tchaikovsky Conservatory in 2001. In 2009 Vladimir made a brilliant role debut as Vodník in Rusalka at the Finnish National Opera and was invited back for the title role of Bluebeard in Bartók's Bluebeard's Castle for season 2012-13. He was a prize winner at many international competitions such as "Mirjam Helin (Helsinki, 1999); "Neue Stimmen" (Gütersloh, 1999); "Maria Callas" (Athens, 2001); "Belvedere" Vienna, 2001); "Queen Sonja" (Oslo, 2003) and "Queen Elizabeth" (Brussels 2004), amongst others. His most important past engagements include Boris Godunov at the Théâtre Royal de la Monnaie in Brussels (2006), where he sang the title role, alternating with José van Dam. He works regularly at the opera house in Bonn where he has sung Tscherewik in Mussorgski’s Sorotschinskaya Jarmarka, Méphistophélès in Gounod’s Faust and Tomsky in Pique Dame.
He repeated the role of Méphistopélès at the Teatr Wielki in Warsaw in Robert Wilson’s much celebrated production. He has also performed at Teatro Nacional de São Carlos, Lisbon; Aalto Theatre Essen; the Festival di due Mondi in Spoleto and Finnish National Opera in Helsinki. An early resident contract at the theatre in St. Gallen gave him the opportunity to add roles such as Alidoro, Leporello and Silva in Ernani to his repertoire. Vladimir has sung also dramatic baritone roles, such as Heerrufer (Lohengrin) in Innsbruck, Donner (Das Rheingold) in Amsterdam and Jochanaan (Salome) in Erfurt. His Surin (Pique Dame) and Varlaam (Boris Godunov) were heard at Teatro Regio in Turin and his Mephistophélès (Faust) at Wielki Theatre in Warszawa.
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.
Peter Galliard was born in Chur, Switzerland. He studied under Rico Peterelli, at the Conservatory in Feldkirch under Maria Eibenschütz and at the Mozarteum University in Salzburg under Rudolf Knoll. In 1985 he won First Prize at the International Mozart Competition in Salzburg. In 1986 Rolf Liebermann invited him to join the Hamburg State Opera where the tenor has been working until today. In Hamburg he sang roles such as 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“. Concert performances of “Siegfried” and “Das Rheingold” led him to Lisbon, Australia, Rome and Lucerne.
Peter Galliard performed at opera houses in Germany (Staatsoper and Deutsche Oper Berlin, Frankfurt, Dresden and Leipzig), Japan, Spain, France and Israel. The tenor worked with famous stage directors such as August Everding, Johannes Schaaf, Harry Kupfer and Peter Konwitschny as well as with renowned conductors such as Nikolaus Harnoncourt, Christian Thielemann, Ingo Metzmacher, Simone Young and Kirill Petrenko.
Turkish Baritone Kartal Karagedik joined the ensemble of Hamburg State Opera at the beginning of season 2015/16 where he made his debuts in the new production of “Les Troyens” (Chorébe) under the baton of Kent Nagano and as Il Conte Almaviva in Stefan Herheim’s production of “Le nozze di Figaro” with Ottavio Dantone, as well as Lescaut in Puccini’s “Manon Lescaut” and Guglielmo in “Così fan tutte”.
Karagedik’s highlights of season 2016/17 include the title role of Don Giovanni at Savonlinna Opera Festival, Dandini, Marcello, Belcore at Hamburg State Opera, Escamillo at Komische Oper Berlin and Mahler’s Symphony No. 8 under Kent Nagano at Elbphilharmonie.
Before joining the ensemble of Hamburg State Opera, Karagedik was a member of Theater Magdeburg and Theater Erfurt. Guest engagements brought him to stages of Teatro Communale di Bologna, Puccini Festival Torre del Lago, Oper Leipzig and Staatstheater Braunschweig. He had interpreted a very wide range of repertoire including Eugeny Onegin, Don Giovanni, Enrico, Riccardo ,Valentin, Albert, Carlo Gérard, Sharpless, Besenbinder, Michonnet, Simon Boccanegra, Germont , Rodrigo in “Don Carlo” and many others.
Karagedik was born in Turkey and completed his vocal studies in his hometown Izmir. In addition to his artistic career as a singer, he is a prizewinner story telling photographer. Since 2014 his photography exhibition “Emotions IN motion” has been met with widespread public acclaim.
Tigran Martirossian was born in Armenia, where he studied physics. Following this, he began his musical studies at the Gnesin State Academy of Music with Prof. Artur Eizen and Prof. Pavel Lisitsian. During his studies, he made his operatic debut at the Moscow Municipal Theatre where he performed numerous roles including Salieri in Rimski-Korsakov's “Mozart and Salieri“, Gremin (Eugen Onegin), Farlaf (Ruslan and Lyudmila), Cecil (Maria Stuarda) and Stromminger (La Wally). In 1995 he was invited to perform at the Bolshoi Theatre, where he sang Ramfis (Aida), King Rene (Iolanta), Raimondo (Lucia di Lammermoor), as well as Pimen (Boris Godunov) and Galitsky (Prince Igor). In 1998 he made a highly successful debut as King Treff in Peter Ustinov’s new production of Prokofiev's “The Love of Three Oranges“. In 1993 he won the first prize at the “Competition of Russian Music“ in Moscow. In 1994 he was awarded a special prize and diploma at the “X. International Tchaikovsky Competition“. He took the second prize winner at the “Neue Stimmen“ Competition in Guetersloh in 1997 and in 1999 he won the first prize at the “Ondina Otta Competition“ in Marburg. In 2000 he was a finalist at Placido Domingo's “Operalia“ in Los Angeles, after which he was invited to perform Verdi's “Requiem“ in Washington conducted by Placido Domingo.
His engagements include concerts of Pulcinella at the Salzburg Festival, his debut with the London Symphony Orchestra in Shostakovich's King Lear conducted by Rostropovich and concerts of Shostakovich's Suite on verses by Michelangelo Buonarotti with the LSO. He also made his debut at the BBC Proms in the premiere of a contemporary Russian piece written by Gerard McBurney. In 2003 he sang two concerts of “Les Troyens“ in London and Birningham. The recording of this Opera with the LSO won the “Grammy Award for Best Classical Recording and Best Opera Recording“. 2003 also brought him debuts at the Lyric Opera Chicago and at Covent Garden. Tigran Martirossian joined the ensemble of the Hamburg State Opera in 2005/06 where he has sung Selim (Il Turco in Italia), Sparafucile (Rigoletto), Sagrestano (Tosca), Soljony in Peter Eötvös’ “Tri Sestri“, La Voce (Idomeneo), Fiesco (Simon Boccanegra), Dulcamara (L’Elisir d’Amore) and Sulpice (La Fille du Régiment). In the new production of Wagner’s Ring he sang Fasolt (Das Rheingold).
Dovlet Nurgeldiyev began his vocal studies in his native country Turkmenistan. He continued his studies in the Netherlands at the Conservatory in Tilburg (2001-2005) and in September 2006 was admitted to The Royal Conservatory in The Hague where he was awarded his bachelors and masters degree. In September 2008 he joined the International Opera Studio at the Hamburg State Opera where he made a highly acclaimed European debut as Fenton in Verdi's Falstaff. From 2008 to 2010 he sang in many other productions. In November 2009 Dovlet was awarded one of the main prizes in the Stella Maris Competition, a recording with Deutsche Grammophon. Since 2010 Dovlet has been a member of the ensemble at the Hamburg State Opera with highly acclaimed debuts as Alfredo in La Traviata & Lensky in Eugene Onegin. In the autumn of 2011 he gave a series of outstanding performances as Don Ottavio in a new production of Don Giovanni in Hamburg which received glowing reviews in the German press as well as the Financial Times. He has since followed this series with similarly well received performances in a separate new production at the Hungarian State Opera in Budapest. In 2012 Dovlet enjoyed great success in Hamburg with his roles as Nemorinoin Donizetti’s L’Elisir D’Amore and Vladimir Igorevich in a new production of Borodin’s Prince Igor.
Future engagements include a.o. Lensky/Eugene Onegin at Polish National Opera in January 2017.
Der finnische Tenor Markus Nykänen begann seine musikalische Ausbildung im Knabenchor seiner Heimatgemeinde Espoo bei Helsinki und studierte am Kungsvägen Musikinstitut Gesang. Er ergänzte seine Studien durch Unterricht mit Susanna Eken, Petri Lindroos, Margareta Haverinen-Brandt, Sherman Lowe, Mariella Devia, Vittorio Terranova, Norman Reinhardt, Kiri te Kanawa, Thomas Allen und Tom Krause und Rita Ahonen.
2005-2012 arbeitete er als Schauspieler und Musicalsänger und gab sein professionelles Debüt am Theater Viirus in Helsinki; es folgten Engagements am Klockriketeatern, am Wasa Teater und am Svenska Teatern in Helsinki. 2009-2012 war er Mitglied der freien Improvisationstheatergruppe Stjärnfall.
Er debütierte als Opernsänger 2011 als Azael in Debussys „L’enfant prodigue“ in Raseborg, Finnland. Im Sommer 2012 beim Festival della Valle d’Itria wirkte er an der Uraufführung von Marco Tarallis zeitgenössischer Oper „Nur“ mit.
2012 bis 2014 war Markus Nykänen Mitglied des OperAvenir des Theater Basel, wo er in der Spielzeit 2014/2015 als Cassio in Verdis „Otello“ (Regie: Calixto Bieito, Dirigat: Gabriel Feltz) gastierte. Im Sommer 2015 sang er den Bräutigam in Jean Sibelius‘ Oper „Jungfrau im Turm“ samt eine Rolle in der neuen Oper von Seppo Pohjola unter der Leitung von Sakari Oramo beim Kokkola Opernfestival. Im September 2015 debütierte er an der Hamburgischen Staatsoper unter der Leitung von Kent Nagano als Iopas in Berlioz‘ „Les Troyens“ und war im November 2015 als Remendado in „Carmen“ ebenfalls an der Hamburgischen Staatsoper zu hören.
Zu seiner Konzerttätigkeit gehören Liederabende und Kirchenkonzerte. Er trat 2010 beim Gedenkkonzert für Jussi Björling und 2014 beim Gedenkkonzert für Tom Krause auf. Mit dem Kammerorchester Steffisburg sang er 2013 in Franz von Suppés „Die schöne Galathée“ den Pygmalion. Im Oktober 2014 war er Solist in Pehr-Henrik Nordgrens Werk „Taivaan valot“ mit Ostrobothnian Chamber Orchestra unter der Leitung von Sakari Oramo.
2016/17 übernimmt er an der Hamburgischen Staatsoper die Rollen des Cassio in „Otello“, Remendado in „Carmen“ und Der Bucklige in „Die Frau ohne Schatten“ .
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.
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.
Plans for current and future seasons include: Nemorino as cover for Roberto Alagna at Paris Bastille, The Innocent (Boris Godunov) in Nancy, Ferrando (Così fan tutte) with the Atelier Lyrique of the Opéra National de Paris in Antibes, Lensky (Eugen Onegin) in Garsington, Arturo (Lucia di Lammermoor) and Ruiz in Trovatore at Paris Bastille, Sinowi (Lady Macbeth de Mzenk) and Arturo (Lucia di Lammermoor) in Zurich, Belmonte (Entführung aus dem Serail) in Toulon.
In season 16/17 Oleksiy Palchykov will sing such parts as Lord Arturo Bucklaw in “Lucia di Lammermoor“ und Lysander in “A Midsummer Night’s Dream“ at Hamburg State Opera.
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. Since 2009 Viktor Rud has been a soloist at the Hamburg State Opera, where his roles include: 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.
In the season 2015/16 in Hamburg he sung Figaro in “Barbiere“, Conte Almaviva in ”Le nozze di Figaro“ and Poeta Prosdocimo in “Turco in Italia“. He also performed Hiroto in the world premiere “Stilles Meer“ by Toshio Hosokawa conducted by Kent Nagano and directed by Oriza Hirata.
Seit 1991 ist Jürgen Sacher Mitglied der Hamburgischen Staatsoper. Hier ist er seitdem in zahlreichen Rollen aufgetreten, so als Andres in „Wozzeck“, Maler in „Lulu“, Truffaldino in Prokofjews „Die Liebe zu den drei Orangen“, Monostatos und 1. Geharnischter in „Die Zauberflöte“, Valzacchi in „Der Rosenkavalier“ und David in „Die Meistersinger von Nürnberg“. Zudem interpretierte er Junger Mann (Moses und Aron), Steuermann (Der fliegende Holländer), Peter Iwanow (Zar und Zimmermann), Pedrillo (Die Entführung aus dem Serail), Walther von der Vogelweide (Tannhäuser), Goro (Madame Butterfly) und Graf Elemer (Arabella). Weitere Partien im Rahmen seiner Ensembletätigkeit sind die Knusperhexe in „Hänsel und Gretel“ und Raoul de St. Brioche in „Die lustige Witwe“. In der Hamburger Neuinszenierung von Wagners „Ring“ übernahm Jürgen Sacher in der Premierenserie des „Rheingold“ die Rolle des Mime. Außerdem war er als Loge in „Das Rheingold“ und als Mime in „Siegfried“ zu erleben. Zu seinen jüngsten Erfolgen in Hamburg zählen seine Rollendebüts als Herodes (Salome) 2010 und als Novagerio in einer Neuproduktion von „Palestrina“ 2011. In einer Neuproduktion von Telemanns „Flavius Bertaridus“ interpretierte er mit großem Erfolg Orontes. Außerdem wirkte er in „Der Meister und Margarita“ als Asasello, in „Ariadne auf Naxos“ als Tanzmeister, in Aribert Reimanns „Lear“ als Graf von Kent sowie in „Peter Grimes“ als Reverend Adams mit.
Regelmäßige Konzertauftritte gehören ebenfalls zu den Verpflichtungen des Tenors. Gastspiele führten Jürgen Sacher unter anderem an die Berliner Staatsoper, nach Brüssel, Barcelona, Kopenhagen, an die Mailänder Scala sowie zu den Salzburger Festspielen.
2010 sang er in zwei Neuproduktionen am Theater an der Wien: den Tanzmeister in „Ariadne auf Naxos“ und L´Aumonier in „Dialogues des Carmélites“.
Neben seinen Aufgaben an der Hamburger Staatsoper hat er den Herodes in der Saison 2013/14 auch an der Budapester Staatsoper und im Herbst 2014 unter John Neschling in einer Salome Neuproduktion am Teatro Municipal in Sao Paulo gesungen. Im Juni 2015 gastierte Jürgen Sacher beim Wagner Festival in Budapest unter Adam Fischer als Mime im Ring des Nibelungen und 2016 als Goro in Puccinis Butterfly an der Berliner Staatsoper sowie als Aegisth in Richard Strauss´ Elektra abermals am Teatro Municipal in Sao Paulo unter John Neschling.
Born in 1977 in the Bavarian town of Vilsbiburg, the bass Wilhelm Schwinghammer began his musical education as a chorister at the music school that trains the world-famous cathedral choir known as the Regensburger Domspatzen. He later studied singing with Harald Stamm at the University of the Arts in Berlin. Master classes with teachers like Kurt Moll and Marjana Lipovsek rounded off his education.
In 2004 he was a finalist at the 33rd German Federal Competition in Berlin and in 2009 he won second prize and the Audience Prize at the International ARD Music Competition. From 2003 he was for two years a member of the International Opera Studio of the Staatsoper Hamburg. At the beginning of the 2006/2007 season Wilhelm Schwinghammer became a member of the ensemble at the Hamburg Staatsoper: since then, his repertoire has included roles like Rocco (Fidelio), Theseus (A Midsummer Night’s Dream) Sarastro (The Magic Flute), Leporello (Don Giovanni), Figaro (The Marriage Of Figaro), Colline (La Bohème), Don Basilio (The Barber Of Seville), Frank (Die Fledermaus), Il re (Aida), Lodovico (Otello), Sparafucile (Rigoletto), Pietro (Simon Boccanegra), Fasolt (Das Rheingold), Fafner (Siegfried), Daland (The Flying Dutchman), König Heinrich (Lohengrin), Titurel (Parsifal), König Marke (Tristan Und Isolde) and Hermit (Der Freischütz).
Wilhelm Schwinghammer made his debut at the 2005 Salzburg Festival in the role of the young Dr. Grenvil (La Traviata); at the 2011 Easter Festival in Salzburg he played Second Soldier (Salome) under Sir Simon Rattle (director Stefan Herheim). At the Bayreuth Festival he sang King Heinrich (Lohengrin) in the summers of 2012 to 2015. In 2014 and 2015 he also sang Fasolt (Das Rheingold). In the RSB Berlin concertante Wagner cycle under Marek Janowski he sang Biterolf (Tannhäuser) on stage and on the CD recording. In autumn of 2013 he made a guest appearance as König Marke (Tristan Und Isolde) in a new production with the National Opera of Washington and in the Richard Strauss anniversary year (2014) he sang Jörg Pöschel in the operatic poem "Feuersnot" in a concertante performance with the Munich Radio Orchestra under the direction of Ulf Schirmer at the Prinzregententheater in that city. Further guest engagements took the artist to the Aalto-Theater in Essen (Figaro, Le Nozze Di Figaro), the Dresden Semperoper (Sarastro, The Magic Flute), the Bayerische Staatsoper (Titurel, Parsifal) and the Staatsoper Berlin (Pietro, Simon Boccanegra; Hermit, Der Freischütz; Sarastro, The Magic Flute; Osmin, Die Entführung Aus Dem Serail).
Wilhelm Schwinghammer works in the opera and recital sector with renowned conductors including Daniel Barenboim, Philippe Herreweghe, Manfred Honeck, Nicola Luisotti, Sir Neville Marriner, Marc Minkowski, Andris Nelsons, Hans-Christoph Rademann, Sir Simon Rattle, Helmuth Rilling, Ulf Schirmer, Peter Schneider, Stefan Soltesz and Simone Young.
Der Spieltenor Daniel Todd wurde 1987 in Australien geboren und studierte bei Anna Connolly an der University of Melbourne. Anschließend setzte er seine Ausbildung im Developing Artists Program an der Victorian Opera Company und an der Lisa Gasteen National Opera School fort. Er ist Preisträger und Gewinner verschiedener australischer Gesangswettbewerbe, darunter die RMP Aria Competition, und erhielt verschiedene Stipendien wie das German-Australian Opera Grant. Während seines Studiums stand Daniel Todd schon häufig auf der Bühne der Victorian Opera, der Chamber Made Opera und der australischen Gilbert and Sullivan Society. Er sang dort unter anderem die Knusperhexe in „Hänsel und Gretel“, Don Curzio und Basilio in „Le Nozze di Figaro“, Gastone in „La Traviata“ und Pluton in „Orphée aux Enfers“. In den Spielzeiten 2014/15 und 2015/16 gehörte er zum Internationalen Opernstudio der Hamburgischen Staatsoper und sang unter anderem den Messagero in „Aida“, Remendado in „Carmen“, Gastone in „La Traviata“, Contadino in „Luisa Miller“, Parpignol in „La Bohème“, Gastwirt Pasek in „Das schlaue Füchslein“, Capitano in „Simon Boccanegra“ und den Jungen Diener in „Elektra“.
Anna Caterina Antonacci
Tanja Ariane Baumgartner
Pia Salome Bohnert
Anne Sofie von Otter
Jean François Borras
Ks. Andrzej Dobber
Ks. Franz Grundheber
Victor von Halem
Werner Van Mechelen
Robert Dean Smith
Ks. Plácido Domingo
Prof. Dr. Peter Ruzicka
Ks. Franz Grundheber