Giuseppe Verdi | Messa da Requiem
Saturday 17. Mar. 2018, 7.30 pm - 9.30 pm
Calixto Bieito was born in Mirando de Ebro (Burgos). His artistic career unfolded, when he directed the Teatre Romea in Barcelona from 1999 till 2011. He organized the Festival Internacional de las Artes de Castilla y León and the Barcelona Internacional Teatre (bit), a worldwide platform for projects of artists and theatres. Bretóns Zarzuela’s “La verbena de la Paloma” (1996) at the Teatro Tivoli in Barcelona was his first encounter with the musical theatre, followed by Schönberg’s “Pierrot Lunaire” (1998) at the Teatre Lliure in Barcelona.
Shakespeare’s “Macbeth” at the Salzburg Festival 2001 and Mozart’s “Don Giovanni” in Hanover 2002, co-produced with London’s ENO and Barcelona’s Teatre Liceu, were followed by a widely scandalized production of Mozart’s “Die Entführung aus dem Serail” at Berlin’s Komische Oper (2004). These productions established his fame as one of Europe’s foremost opera directors, who was both loved and hated for his shocking visions of cruelty and sexuality within theatrical interpretations of outright contemporaneity.
Calixto Bieitos style in both opera and drama has changed and matured greatly over the years. His recent work list contains Zimmermann’s “Die Soldaten” in Zurich and Berlin’s Komische Oper in 2013, Parra’s “Wilde” in Schwetzingen in 2014, Wagner’s “Tannhäuser” in Flanders in 2015, Purcell’s “The Fairy Queen” in Stuttgart, Reimann’s “Lear” in Paris and Halevy’s “La Juive” in Munich in 2016.
Amongst his forthcoming projects are Britten’s “Requiem” and Puccini’s “Tosca” in Oslo, Verdi’s “Jerusalem” in Freiburg and “Otello” in Hamburg, Bizet’s “Carmen” in Paris, Xenakis’ “Oresteia” in Basle and Prokofiev’s “The Fiery Angel” in Zurich. His highly successful production of Verdi’s “La forza del destino” (2015) will be transferred from London’s ENO to the Metropolitan Opera in 2017 and to Toronto in 2020.
Calixto Bieito was honored as opera director with the European Cultural Prize by Basle’s Kulturstiftung Pro Europa in 2009. In 2012 he received the Italian Franco Abbiati Prize, to be followed in 2014 by the Spanish Premios Líricos Campoamor in Oviedo. From 2013 to 2015 he was an “artist in residence” at the Theater Basle.
In January 2017 he directed “Otello” and “¡Gesualdo!” at the Hamburgische Staatsoper. In the 2017/2018 season his production of Verdi’s “Messa da Requiem” will premiere.
photo: Monika Rittershaus
Kevin John Edusei
Kevin John Edusei is one of today's most promising young conductors. He is known for his delicate, clear conducting which creates space for new nuances in a wide-ranging repertoire from baroque to contemporary music.
Since the season 2014/2015 he brings exceptional new vision to the Münchner Symphoniker as their chief conductor and has established a strong relationship with the audience.
Starting in the season 2015/16 he also acts as chief conductor at the Konzert Theater Bern where he has led the productions “Peter Grimes”, “Ariadne auf Naxos”, “Salome”, “Herzog Blaubarts Burg”, “Le nozze di Figaro”, “Tannhäuser” and “Symphonie imaginaire” a new concert format that he has developed.
He first attracted international attention in 2008 when he won the first prize of the “International Dimitris Mitropoulos Competition” in Athens. Since then he has been invited as guest conductor by many prestigious orchestras as the Deutsches Symphonie-Orchester Berlin, the Bamberger Symphoniker, the Staatskapelle Dresden, the Philharmonia Orchestra, the St. Petersburg Philharmonic, the Tonkünstler-Orchester Wien, the Mozarteumorchester Salzburg and the Ensemble Modern. In the year 2017 he gave his USA debut with the Colorado Symphony and for the first time appeared with the Chineke! Orchestra at the BBC Proms.
Following his successful debut at the Semperoper Dresden with Mozart's “Die Entführung aus dem Serail” in 2009 he took over Hindemith's “Cardillac” the year after. In 2013 he presented himself to the Viennese audience with Mozart's “Magic Flute” at the Volksoper Wien. At the Komische Oper Berlin Edusei took over the production of “Don Giovanni”. At the NTR ZaterdagMatinee at the Concertgebouw Amsterdam he led a spectacular concert performance of John Adams' “Nixon in China” in 2017.
Kevin John Edusei collaborates closely with leading soloist as Jan Vogler, Albrecht Mayer, Christoph Prégardien, Arabella Steinbacher, Lauma Skride, Lise de la Salle, Edgar Moreau, David Orlowsky, Daniel Müller-Schott, Chen Reiss, Martin Stadtfeld, Nareh Arghamanyan, Anna Vinnitskaya and many others.
He was a prizewinner of the 2007 Lucerne Festival's conducting competition under the artistic direction of Pierre Boulez to conduct Stockhausens opus magnum “Gruppen”. During the Aspen Music Festival 2004 maestro David Zinman awarded him the fellowship for the American Academy of Conducting.
Kevin John Edusei received important artistical guidance from maestros Jac van Steen, Kurt Masur, Jorma Panula, Sylvain Cambreling and Peter Eötvös.
Furthermore Kevin was awarded the “Dirigentenforum” stipend of the German Music Council, the fellowship of the International Ensemble Modern Academy and the stipend of the Deutsche Bank affiliated organization “Akademie Musiktheater heute”.
Susanne Gschwender schloss 1997 ihr Architekturstudium an der Universität Stuttgart mit Diplom ab. Seit 1999/2000 ist sie als künstlerische Produktionsleiterin Bühnenbild an der Staatsoper Stuttgart tätig. Von 2005 bis 2008 war sie zudem künstlerische Mitarbeiterin am Lehrstuhl für Bühnenbild bei Professor Martin Zehetgruber an der Staatlichen Akademie für Bildende Künste in Stuttgart.
Seit 2006 realisiert sie eigene Bühnenbilder, insbesondere regelmäßig für den Regisseur Calixto Bieito, mit dem sie die Bühnenbilder zu „Jenùfa“ 2006/07 in Stuttgart, 2008/09 am Deutschen Nationaltheater Weimar sowie „Der fliegende Holländer“, „Parsifal“, „Il trionfo del tempo e del disinganno“ und „Platée“ an der Staatsoper Stuttgart und „Hanjo“ bei der Ruhrtriennale 2011 und 2013 an der Staatsoper Unter den Linden erarbeitete. 2010/11 entwarf sie die Bühne zu „Die lustige Witwe“ in der Regie von Lydia Steier am Deutschen Nationaltheater Weimar.
In der Spielzeit 2012/13 gestaltetet Susanne Gschwender die Bühne für „Die Entführung aus dem Serail“ am Konzerttheater Bern (Regie: Lydia Steier), „War Requiem“ in der Inszenierung von Calixto Bieito am Theater Basel und „La Cenerentola“ an der Staatsoper Stuttgart (Regie: Andrea Moses). Es folgten in der Spielzeit 2014/15 „Otello“ am Theater Basel, die Uraufführung von Héctor Parras „Wilde“ bei den Schwetzinger Festspielen, 2015/16 „The Fairy Queen“ am Schauspielhaus Stuttgart, 2016/17 „Tosca“ an Den Norske Opera und „Otello“ an der Hamburgischen Staatsoper, alles in der Regie von Calixto Bieito.
Biography will be published shortly.
Michael Bauer ist seit 1998 für die Beleuchtung an der Bayerischen Staatsoper in München verantwortlich. Unter vielen anderen Produktionen gestaltete er dort das Licht folgender Opern: „Tosca“, „Don Carlos“, „Nabucco“, „Die Fledermaus“, „Der fliegende Holländer“, „Tristan und Isolde“, „Jenufa“, „Die Zauberflöte”, „Medea”, „Guillaume Tell”, „L`Elisir d´Amore“, „Orfeo“, „Arabella“ sowie „Mefistofele“.
Michael Bauer arbeitet als Light Designer an den Opernhäusern von Paris, Madrid, San Francisco, New York, Mailand, Antwerpen, Basel, Genf, Athen und St. Petersburg.
Für Calixto Bieito gestaltete er das Licht von: „Boris Godunow“, „Lady Macbeth von Mzensk”, „Così fan tutte“, „Tannhäuser”, „La Juive” und „Otello”.
Janina Zell, geboren 1988 in Ehringshausen, studierte Gesang sowie Musikwissenschaft mit der Studienrichtung Konzert- und Musiktheaterdramaturgie u. a. bei Nobert Abels an der Folkwang Universität der Künste Essen. Für ihre Masterarbeit über die Inszenierung von Richard Wagners „Der Ring des Nibelungen“ am Aalto-Theater Essen bekam sie 2014 den Folkwang Preis verliehen und wurde im selben Jahr als Stipendiatin der Akademie „Musiktheater heute“ aufgenommen. Erste berufliche Erfahrungen sammelte sie beim Klavier-Festival Ruhr, dem Konzerthaus Dortmund und der Oper Frankfurt. Von 2013 bis 2015 wirkte Janina Zell als Dramaturgin für Oper, Ballett und Konzert am Aalto-Theater Essen und verantwortete u. a. die Dramaturgie der Musiktheater-Produktionen „Into the Little Hill“ von George Benjamin sowie „Le Grand Macabre“ von György Ligeti. Seit der Saison 2015/16 ist sie als Dramaturgin für die Staatsoper und das Philharmonische Staatsorchester Hamburg tätig.
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
Maria Bengtsson studied at the University of Music in Freiburg. From 2000 until 2002 she was an ensemble member of the Volksoper Wien and from 2002 until 2007 of the Komische Oper Berlin, where she sang the leading parts in many of Kirill Petrenko’s most important productions. Since 2007 Maria Bengtsson works as a freelance artist.
Since then she was guest at the Oper Frankfurt, at the Royal Opera House Covent Garden, at the Staatsoper Berlin, at the Staatsoper in Munich, at the Opéra National de Bordeaux, the Oper Köln, the Opéra National de Lyon, the Teatro la Fenice, the Opera in Antwerpen, the Theater an der Wien, La Scala in Milan, the Bolshoi in Moscow, at the Wiener Staatsoper and at the Festival in Salzburg and in Aix en Provence.
Her most important roles include Donna Anna and Donna Elvira (Don Giovanni), Fiordiligi (Cosi fan tutte), Contessa (Le Nozze di Figaro), Pamina (Zauberflöte), Ilia and Elettra (Idomeneo), Richard Strauss’s Daphne (title role), Cunegonde in “Candide” (Bernstein), the title role of Monteverdi’s “L’Incoronazione di Poppea”, Feldmarschallin (Rosenkavalier), Lady Harriet Durham (Martha) and Arabella (title role).
As a concert and Lieder singer the Swedish soprano was guest at festivals and institutions like the Carinthinischer Sommer Festival, the Berliner Festspiele, the Konzerthaus and the Musikverein in Vienna, the Gewandhausorchester Leipzig, the Klangbogen Festival in Vienna, the Gulbenkian Foundation in Lisbon, Teatro Nacional Sao Carlo in Lisbon, at the Alte Oper in Frankfurt and the Konzerthaus Berlin. Additionally she gave a concert in Tel Aviv with the Israel Philharmonic Orchestra under Kirill Petrenko, as well as with the Hamburg Philharmonic State Orchestra under Bertrand de Billy. In celebration of the Elbphilharmonie’s opening Maria Bengtsson performed Mendelssohn’s “Lobgesang” under the baton of Thomas Hengelbrock.
The current season leads her to the Staatsoper Berlin, the Staatsoper Hamburg, the May Festival in Wiesbaden, to the Dresden Philharmonic Orchestra, the Rundfunk-Sinfonieorchester Berlin and the Elbphilharmonie Hamburg, a.o.
photo: Monika Rittershaus
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).
Ukrainian tenor Dmytro Popov began his career as a soloist with Kiev National Theatre where he made his professional debut as Lensky (Eugene Onegin). He came to international attention in 2013 when he performed the role of Rodolfo (La bohème) at the Royal Opera House, Covent Garden.
From here, his global career took off and he has performed multiple roles across the world at significant opera houses with highlights including; Rodolfo (La bohème) at the Metropolitan Opera, Nicias (Thaïs) at Teatro Regio di Torino, Pinkerton (Madama Butterfly), Cavaradossi (Tosca) and Rodolfo (Luisa Miller) with Deutsche Oper Berlin, Vodemont (Iolanta) with Teatro Real Madrid, Macduff (Macbeth) with Opéra National de Lyon, Andrej (Mazeppa) with Opéra de Monte-Carlo and “Un Ballo in maschera” at Theatre du Capitole de Toulouse. Other operatic roles include “Tosca” at Oper Stuttgart and Dresden Semperoper, “La traviata” at Wiener Staatsoper and “La bohème” at Bayerische Staatsoper.
Engagements of the season 2017/2018 include performing “La bohème” at The Metropolitan Opera, Semperoper Dresden and Grand Théâtre de Genève, “Rusalka” at Wiener Staatsoper, “Un ballo in maschera” at Deutsche Oper Berlin, “Carmen” at Opernhaus Zurich, before making his BBC Proms debut performing Verdi’s “Requiem”. Looking further ahead, Dmytro returns to The Metropolitan Opera and Opéra National de Paris.
As well as being an experienced character performer, Popov is established on the concert platform having performed works including Rachmaninov’s “The Bells” with the Accademia Nazionale di Santa Cecilia in Rome conducted by Antonio Pappano and the Berlin Philharmonic conducted by Sir Simon Rattle, and in the 2017/2018 season performs it with Orchestre de Paris conducted by Gianandrea Nosed and with Gürzenich Orchestra Cologne with Dmitri Kitayenko. Other performances have included Verdi’s “Requiem” for the Tanglewood Music Festival and London Philharmonic Orchestra and in the 2017/2018 season with Hamburgische Staatsoper, “A Life for the Tsar” at the Festival Radio France, Montpéllier and most recently “Carmen” in concert at the Verbier Festival under Charles Dutoit.
He has recorded Rachmaninov’s “The Bells” with the Berliner Philharmoniker, conducted by Sir Simon Rattle and released on EMI (2013) and continues to work with many great conductors including Antonio Pappano, Valery Gergiev, Kent Nagano, Kazushi Ono, and Vladimir Jurowski to name a few.
Dmytro became the youngest ever opera artist to be granted the title of “Honoured Artist of Ukraine” (2003) which recognises outstanding contribution to performing arts. In 2007, he also became a winner of the prestigious Placido Domingo Operalia Competition.
Find further information about Dmytro Popov here.
photo: Anton Ovcharov
Born in Budapest, Gábor Bretz began his vocal training with Stephan Czovek in Los Angeles and with Prof. Albert Antalffy in Budapest. He subsequently studied at the Béla Bartók Conservatory of Music with Maria Fekete and the Franz Liszt Academy of Music with Sandor Solyom-Nagy, and won the 2005 Maria Callas Grand Prix Competition in Athens.
Since graduating from the Franz Liszt Academy, Gábor’s regular performances at the Hungarian State Opera have included the title-roles in “Mefistofele” and “Le Nozze di Figaro”, Leporello and the title-role in “Don Giovanni”, Banquo in “Macbeth”, Colline in “La Bohème”, Don Basilio in “Il Barbiere di Siviglia”, Escamillo in “Carmen”, Gurnemantz in “Parsifal”, Zaccaria in “Nabucco”, Orestes in “Elektra”, and Landgraf in “Tannhäuser” at the Wagner Festival under Adam Fischer in Budapest.
Other notable appearances include Escamillo in “Carmen” at the the Bayerische Staatsoper, the Royal Opera House, and the Metropolitan Opera, New York; Colline in “La Bohème” at the Royal Opera House; Shaklovity in “Khovanshchina” at Dutch National Opera; Phillipe II in “Don Carlos” under Renato Palumbo at the Hamburg State Opera, in a Peter Konwitschny production; and numerous performances in the title role of “Bluebeard’s Castle” with Helsinki Philharmonic Orchestra, the Bayerische Rundfunk Orchestra, and the New York Philharmonic under Daniel Barenboim, Gustavo Dudamel, Adam Fischer, Ed Gardner, Daniele Gatti, Valery Gergiev, Daniel Harding, Michele Mariotti and Esa-Pekka Salonen.
Gábor Bretz also sings regularly in concert; his repertoire includes the major oratories of Bach, Haydn, and Mozart; Beethoven’s Symphony No. 9; Tippett’s “A Child of our Time”; Berlioz’s “L’Enfance du Christ”; Verdi’s “Requiem”; Mahler’s Symphony No. 8 and Händel’s “Messiah” under Sylvain Cambreling, Carlo Montanaro and Helmuth Rilling.
The 2016/2017 season started with Bretz performing the title role in “Bluebeard’s Castle” with the Oregon Symphony Orchestra, followed by the role of Ferrando in “Il Trovatore” at the Royal Opera House, Escamillo in “Carmen” at the New National Theatre in Tokyo and the Hamburg State Opera, the title role in “Der fliegende Holländer” at the Passionstheater GmbH in Oberammergau, and the title role in “Bluebeard’s Castle” with the Berlin Philharmonic. Bretz’s Hungarian State Opera appearances included a production of “Bluebeard’s Castle” by the Béla Bartók National Concert Hall in Shanghai, Colline in “La Bohème”, Escamillo in “Carmen”, Gurnemantz in “Parsifal”, Zaccaria in “Nabucco”, and Orestes in “Elektra”.
The 2017/18 season will see Bretz come to the Barbican, London to sing the role of Brander in “The Damnation of Faust” with the London Symphony Orchestra, followed by “Bluebeard’s Castle” with the Danish National Symphony Orchestra and the Teatro di San Carlo di Napoli; Scarpia in “Tosca” at the Teatro Comunale di Bologna; a staged Verdi “Requiem” at the Hamburg State Opera; King Heinrich in “Lohengrin” at La Monnaie, Brussels; Fasolt as part of Odense Symphony Orchestra’s complete “Ring Cycle”, and Jochanaan in “Salome” at the Salzburg Festival. Gábor Bretz’s appearances with the Hungarian State Opera will include Marcel in “Les Huguenots”, Zaccaria in “Nabucco”, and Fiesco in “Simon Boccanegra”. He will also sing Landgraf in “Tannhäuser” for the Palace of Arts, Budapest.
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.