Gioachino Rossini | Il Barbiere di Siviglia
Saturday 17. Feb. 2018, 7.30 pm - 10.30 pm
Carlo Rizzari has conducted many important orchestras such as the Montreal Symphony Orchestra, the Suisse Romande Orchestra, Graz Symphony Orchestra, the Orchestra of San Carlo Theatre in Naples, Orchestra di Padova e del Veneto, the Orchestra Regionale Toscana (Regional Tuscan Orchestra), the Orchestra of the Bellini Theatre in Catania, the Italian Swiss Orchestra, Pomeriggi Musicali Orchestra in Milan and many others.
A material point for his training is the experience fully grown, since 2006, as Antonio Pappano’s Musical Assistant at Accademia Nazionale di Santa Cecilia in Rome. With the same he was invited by Claudio Abbado for a concerts series in Bologna and Lucerna with the Orchestra Mozart.
He regularly conducts the Accademia di Santa Cecilia Orchestra during the symphonic seasons and for the Family Concerts, working with great soloists as John Osborn, Barry Banks, Celso Albelo, Sonia Ganassi, Lang Lang.
He was invited at the 2009 edition of Knowlton Festival and began an important collaboration with the Montreal Symphony Orchestra, conducting inside the new Performing Art Center (February 2012) a program dedicated to Respighi (Fontane di Roma, Pini di Roma) with an enthusiastic standing ovation of the audience.
He inaugurated, in Rieti, the Reate Festival editions 2009, 2010 and 2011 conducting, inside the Flavio Vespasiano Theater, Donizetti’s “Il Campanello”, Puccini’s “Gianni Schicchi”, Ravel’s “Heure Espagnole”, Rossini’s “Adina” and a precious music programme dedicated to the “Risorgimento” period: arias, choir pieces and symphonies from the most renowned Verdi’s operas.
As a Belcanto expert he conducted “Don Pasquale” at the Sao Carlo Theater in Lisbon, the Rossini’s opera “Il Signor Bruschino” in Rome, Puccini’s “La Bohème” at the Bellini Theater in Catania, Rigoletto in Bari (Petruzzelli Theater) and Genua (Carlo Felice Theater) and inaugurated the Rome edition of the Belcanto Festival with the Orchestra of the Accademia Nazionale di S. Cecilia in a successful “Three Tenors of Belcanto Concert” with John Osborn, Barry Banks and Celso Albelo.
In June and July 2012, Carlo Rizzari has been the main artist of the Accademia Nazionale di Santa Cecilia Summer Season, in different concerts with the pianist Lang Lang (with Beethoven Concerts n. 1 and n. 5) and facing the five Beethoven odd symphonies, gainig a great success of audience and critics.
In december 2012 he was invited by the Petruzzelli Theater in Bari for the second concert of the new symphonic season with a programme focused on Beethoven 5th and 7th symphonies. He has been one of the four conductors of “Play It!”, the festival held by the Orchestra Regionale Toscana in Florence dedicated to the new italian composers, winner of the prestigous Abbiati price 2014.
Carlo Rizzari is the artistic and musical director of the Young Talents Orchestra EY, the youth orchestra of the Ernst & Young Company in Italy.
Christian Günther stammt aus Freiburg im Breisgau und schloss sein Dirigierstudium 2000 an der Hochschule für Musik und Theater in München ab. Er besuchte Dirigierkurse bei Neeme Järvi, Jorma Panula und Gianluigi Gelmetti. Anschließend war er als Gastrepetitor und Assistent am Württembergischen Staatstheater in Stuttgart, am Theater am Gärtnerplatz in München und bei der Münchner Biennale engagiert.
Von 1996 bis 2007 war Christian Günther Dirigent des Ensembles für Neue Musik „piano possibile“ München und dirigierte zahlreiche Ur- und Erstaufführungen. Als Stellvertretender Chordirektor und Leiter des Kinderchores am Bremer Theater wirkte er von 2002 bis 2007, ab 2005 auch als 2. Kapellmeister.
Christian Günther leitete das Ensemble „Atelier Neue Musik“ an der Hochschule für Künste Bremen und hat dort seit 2007 einen Lehrauftrag für Dirigieren inne.
Gastengagements umfassen Tätigkeiten beim Bremer Musikfest, beim Festival der Projektgruppe Neue Musik Bremen und beim Oh Ton-Ensemble Oldenburg.
Seit 2008 ist er Assistent des Chordirektors an der Hamburgischen Staatsoper und wirkte unter anderem bei Premieren von „Die lustige Witwe“, „Faust“, „Don Giovanni“, „Fürst Igor“ und „Madama Butterfly“ mit. Außerdem war er unter anderem verantwortlich für die Chorpartien in den Repertoire-Vorstellungen von „Don Carlos“, „Chowanschtschina“, „Tannhäuser“, „La Fille du Régiment“ und „Die Fledermaus“.
Il Conte d'Almaviva
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 member of the ensemble of the Hamburg State Opera where he sings such parts as Tamino, Lensky, Ferrando, Nemorino, Steuermann, Eurimaco (Il ritorno d’Ulisse).
Italian baritone Renato Girolami studied Anglistics and German in Rome where he also studied voice with Sesto Bruscantini. For further accomplishment he studied voice with Ernst Haefliger at the Music High School in Munich with Dietrich Fischer-Dieskau in Berlin.
From 1991 until 1996 Renato Girolami was an ensemble member of Wiener Staatsoper. Since 1996/97 he has been working as a freelance artist and performed with international opera houses in Amsterdam, Barcelona, Berlin, Dresden, Florence, Hamburg, Milan, Munich, Oslo, Tokio, Toronto, Venice, Vienna, Zurich, and the Salzburg Festival. Due to his vocal flexibility, his natural recitatives as well as his versatile role portrayals, Renato Girolami has become known as specialist in the Mozart and Rossini operas. Roles he is most often associated with are: Conte di Almaviva and Figaro (Le nozze di Figaro), Leporello (Don Giovanni), Don Bartolo (Il Barbiere di Siviglia), Don Magnifico (La CenerentoIa) and Don Geronio (Il Turco in Italia). In addition, with his belcanto line and phrasing and the warmth of his vocal timbre he has been equally successful as Giorgio Germont (La Traviata), Enrico (Lucia di Lammermoor) and Sharpless (Madama Butterfly). In recordings he has portrayed the roles of Leporello (Don Giovanni) and Figaro (Le nozze di Figaro).
Russian born Mezzo Soprano Nadezhda Karyazina was born in Moscow and trained at the Russian Academy of the Theatrical Arts in Moscow. Upon graduation, she attended the Galina Vishnevskaya Opera Centre.
She has won multiple prizes including a Diploma at the Russian Theatrical Competition 'Capital Renaissance' (2008) and second prize at the Savonlinna Opera Competition in Finland (2012). She was also a prize winner at the prestigious Operalia and Neue Stimmen competitions (2012).
She was a member of the Young Artist Program of the Bolshoi Theatre of Russia, where she has taken part in master-classes with Gloria Guida Borelli, Laura Claycomb, Elena Obraztsova, Eugeny Nesterenko, Luba Orfenova, Diane Zola, Richard Bado and Ann Hallenberg among others. Her debut at the Bolshoi was as Petronova “The Tsar’s Bride”, conducted by Vasily Sinaisky.
She was a member of the Jette Parker Young Artists Programme at the Royal Opera House Covent Garden (2013/14) and made her stage debut there as Mercedes (Carmen). Other operatic roles there included Flora (La Traviata), Madrigal Singer (Manon Lescaut), Maddalena (Rigoletto), Second Lady (Die Zauberflote), Bersi (Andrea Chenier), Suzuki (Madama Butterfly) and Meg Page (Falstaff). She has also sung Polinesso (Ariodante) and Charlotte (Werther) at the Salzburger Landestheater, Lel (The Snow Maiden), Soneyetka (Lady Macbeth of Mtsensk) and Princess Clarice (The Love of three Oranges) at the Bolshoi Theatre.
She has performed the roles of Marquise Melibea in scenes from “Il viaggio a Reims” by Rossini at the Tchaikovsky Concert Hall in Moscow with the 'Moscow Soloists' Chamber Orchestra under Yuri Bashmet. In March 2011 she sung the part of mezzo-soprano in Mozart's Requiem at the Novosibirsk State Academic Opera and Ballet Theatre.
In 2015, she became a member of the ensemble at Staatsoper Hamburg. Her engagements for the 2016/17 season included Mercédès (Carmen), Maddalena (Rigoletto), Emilia (Otello), Suzuki (Madama Butterfly), Kontschakowna (Prince Igor), Pauline (Pique Dame) and Second Lady (Die Zauberflöte).
Alexey Bogdanchikov is a young Russian baritone. Born in Tashkent (Uzbekistan) in 1985. In the 2011/2012 season he embarked upon his first resident contract in the ensemble of the Deutsche Oper Berlin. Alexey Bogdanchikov previously studied at the Galina Vishnevskaya Opera Centre and the Tchaikovsky State Conservatory in Moscow, where, in October 2012, he returned to complete his master’s degree in music. In September 2012 he won the 2nd prize in the prestigious European Vocal Competition “Debut”. He has also taken part in various Russian vocal competitions and won prizes in Smolensk (2006) and Rusa (2007). In 2010 he was winner of the Armel Opera Competition in Hungary, which led to his engagement in the role of Barrett in Marco Tutino’s opera “The Servant” at the Armel Opera Festival in Szeged. He sang this role again in Pilzen, Czech Republic, and, in, 2011, in Lugo, Italy. In January 2011 Alexey Bogdanchikov made his debut at the Teatro Comunale di Bologna as Wolfram in “Tannhauser”.
Alexey Bogdanchikov’s repertoire includes number of important roles in Russian, Italian and German operas like Onegin in "Eugene Onegin", Robert in "Iolanta" and Prince Eletsky in "The Queen of Spades" by Tchaikovsky, Belcore in "L’elisir d’amore" by Donizetti, Marcello in "La Boheme" and Ping in "Turandot" by Puccini, Wolfram in "Tannhauser" by Wagner and Barrett in Marco Tutino’s "The Servant". In June 2013 he represented Russia at the BBC Cardiff Singer of the World Competition. Guest contracts in 2013/2014 included Marchese in "La Traviata" in Guangzhou Opera House, at The Teatro Luciano Pavarotti in Modena and at the Teatro Municipale in Piacenza Alexey made his debut as Paolo Albiani in "Simone Boccanegra" next to Leo Nucci and Carlo Colombara. Also Teatro Delle Muse, Ancona, engaged Alexey to sing the role of Belcore in "Elisir d’amore" and Teatro Dell’Opera di Roma to do Morales in "Carmen". Also Alexey sang the role of Onegin in Astrakhan opera house and in Magnitogorsk. From 2014 Alexey Bogdanchikov is a member of ensemble of Moscow Kolobov Novaya Opera Theatre where he made his debut in the title role in "Eugene Onegin" by Tchaikovsky. In the season 2014/2015 he made his debutes as Conte in "Le Nozze di Figaro", as Prince Eletsky in "The Queen of Spades" and as Mercutio in "Romeo and Julliete" by Gounod.
In 2015/16 he joined the ensemble of the Hamburg State Opera.
photo: Thomas Kunsch
Alexander Roslavets graduated from the vocal department of the St. Petersburg Rimsky-Korsakov State Conservatory in 2014 where he studied under Professor Nikolai Okhotnikov.
While studying at the Conservatory he was a soloist of the Rimsky-Korsakov St. Petersburg State Conservatory theatre where he appeared on stage as Malyuta Skuratov in “The Tsar's Bride” by Rimsky-Korsakov and sang at the numerous festivals and concerts. In July 2013/14 he took part at the open-air opera festivals in Saint Petersburg where he sang the parts of Mephistopheles in the opera “Faust” by Ch. Gounod and King Dodon in the opera “The Golden Cockerel” by Nikolai Rimsky-Korsakov conducted by Fabio Mastrangelo. In April 2014 he made his debut on the stage of the Mikhailovsky Theatre as Tom in “Un ballo in maschera” by Verdi.
In the seasons 2014/15-2015/16 he was an artist of the Young Artist Program of the Bolshoi Theatre of Russia. In 2015 he made his debut on the stage of the Bolshoi performing the part of Marchese d'Obigny in “La Traviata” by Verdi under the baton of Tugan Sokhiev.
In November 2015, he debuted on the stage of the Bolshoi theatre of Belarus singing Don Basilio in “Il Barbiere di Siviglia” by Rossini.
In June 2016 he performed the part of Duke of Cornwall in the World Premier of S. Slonimsky`s King Lear on the stage of the Tchaikovsky Concert Hall conducted by Vladimir Jurowsky.
In July 2016 he covered the part of Mephistopheles in the new production of “La damnation de Faust” staged by Peter Stein in the Bolshoi. He sung the part of Brander in the premiere conducted by Tugan Sokhiev.
In October 2016 he joined the ensemble of the Hamburg State Opera.
Alexander took part in several international competitions among which in 2014 the 42nd Russian National Vocal Graduates Competition in St. Petersburg where he won the Grand Prix and the 1st International Christmas Vocal Competition in Minsk where he was awarded a special prize. In 2015 he took part in the 10th International competition of E. Obraztsova in St. Petersburg where he was awarded a diploma and he won the first prize in the 7th International Competition of Opera Singers «Saint-Petersburg». In 2016 he won the second prize in the 6th Galina Vishnevskaya International Opera Singers Competition in Moscow and the Grand Prix and the Audience Prize in the II International Eva Marton Competition in Budapest. He is the laureate of the Special Foundation of the President of Belarus, which supports young talents.
photo: Jörn Kipping
Der isländische Bariton Jóhann Kristinsson studierte von 2009 bis 2013 an der Akademie für Gesang und vokale Kunst in Reykjavik/Island bei Bergþór Pálsson. Sein Masterstudiom an der Hochschule für Musik „Hanns Eisler” begann er 2015 in der Klasse von Prof. Scot Weir. Unterricht erhielt er außerdem bei KS Prof. Thomas Quasthoff, Prof Wolfram Rieger und Prof. Júlia Várady und sammelte darüber hinaus musikalische Impulse in Meisterkursen bei Thomas Hampson und Graham Johnson.
Nach seinem Studium in Island übernahm er die Rolle des Pfarrer Torfi in der Uraufführung der Isländischen Oper „Ragnheidur” von Gunnar Þórðarson. Das Konzert wurde bei der Isländischen Musikpreiverleihung 2013 als das Musikalische Ereignis des Jahres nominiert. Im Jahr 2013 sang Jóhann Kristinsson auch die Rolle des Morales in Georges Bizets „Carmen” an der Isländischen Oper. Im 2015 sang Johann die Rolle des Eugen Onegin in der Aufführung der Hochschule für Musik „Hanns Eisler”.
Neben den Partien des Morales aus Bizets „Carmen“ und Onegin aus Tchaikovskys „Eugen Onegin“, umfasst sein Repertoire außerdem verschiedene Arien Bellinis, Donizettis, Gounods, Korngolds, Lortzings, Mozarts, Rossinis, Tschaikovskys, Verdis und Wagners.
Im Sommer 2016 wurde er Finalist im Internationalen Robert-Schumann-Wettbewerb für Klavier und Gesang Zwickau. Im März 2017 gewann er den 3. Preis und den Publikumspreis des Wettbewerbs, „Das Lied” in Heidelberg.
Mit der Spielzeit 2017/18 ist Jóhann Kristinsson Mitglied im Internationalen Opernstudio der Staatsoper Hamburg.
photo: Kartal Karagedik
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
Der Bariton Bernhard Weindorf wurde in Mannheim geboren.
Er studierte Gesang an der Hochschule für Musik und darstellende Kunst Mannheim bis zu seinem Abschluss und dann weiter bei Tom Krause in Hamburg.
Er war Gast an verschiedenen Theatern Deutschlands und der Schweiz, wie dem Staatstheater Stuttgart, Theater Halle, dem Stadttheater Chur (CH) u.a.
Sein Opernrepertoire erstreckt sich von Papageno (Zauberflöte) über Graf (Wildschütz), Graf Almaviva (Figaros Hochzeit), Sid (Albert Herring) bis hin zu Escamillo (Carmen) und Posa (Don Carlos).
Auch im modernen Repertoire konnte er durch etwa die Titelpartie des Hans Castorp in der Uraufführung der Oper Zauberberg von R. Grossmann am Stadttheater Chur (CH), welche große Medienpräsenz erzielte, überzeugen.
Als Liedinterpret sang er für den SWR erstmals den Liedzyklus Op. 53 von Hermann Reutter ein. Konzertreisen führten ihn in fast alle Länder Europas sowie nach Israel und Russland.
Seit 2007 ist er Mitglied des Festspielchores der Bayreuther Festspiele. Mitglied des Staatsopernchores Hamburg ist er seit 2011.
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.