Charles Gounod | Faust
Sunday 22. Apr. 2018, 6.00 pm - 9.00 pm
Christopher Ward studied at Oxford University and the Guildhall School of Music and Drama, London. He was Repetiteur Fellow at Scottish Opera and RSAMD, Glasgow, and worked at the International Opera Studio, Zürich, before becoming Kapellmeister and Solorepetiteur at Staatstheater Kassel in 2005. During this time, he also assisted Sir Simon Rattle and the Berlin Philharmonic at the Aix-en-Provence and Salzburg Festivals.
In 2009, Christopher became Kapellmeister and Assistant to Kent Nagano at the Bayerische Staatsoper, Munich. He not only led several new productions, world premieres (including Eötvös’ Die Tragödie des Teufels and Srnka’s Make No Noise) and revivals but also conducted concerts with the Opera Studios of Munich and La Scala Milan, the Bayerisches Staatsorchester, Orchesterakademie and Jungen Münchner Philharmonie. In 2014, he became 1st Kapellmeister at the Saarländisches Staatstheater.
Christopher has made guest appearances at the Deutsche Oper am Rhein, Komische Oper, the Salzburger Landstheater, Musiktheater im Revier Gelsenkirchen, Staatstheater Mainz, GHT Theater, Görlitz , Theater Augsburg and Staatstheater Darmstadt as well as conducting concerts with the Cottbus Philharmonic, Neue Lausitz Philharmonic and Altenburg-Gera Philharmonic orchestras. He recently conducted the world premiere of Lubica Cekovska’s opera „Dorian Gray“ as part of ISCM World New Music Days Festival 2013 at the Slovak National Theatre, Bratislava. This led to his debut at the Prague Spring International Music Festival 2015.
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“.
The tenor Jean François Borras began his studies at Académie de Musique Rainier III de Monaco with Marie-Anne Losco and then improved with Michèle Command et Gabriel Bacquier.
He begins quickly his career singing Alfredo (La traviata) at Mannheim, Edgardo (Lucia di Lammermoor) at Graz, Des Grieux (Manon Lescaut) at Rome and Palau de les Arts de Valencia, the Duke in “Rigoletto” at Rouen, Caracalla, Atene and Genoa. He made his debut as Gounod’s Roméo (Roméo et Juliette) in Trieste, Verona and Genoa, Rodolfo (La bohème) in Trieste, Aachen and Graz. Since 2007 he has been performing in the most important world stages.
He has sung under the baton of Alain Guingal, Evelino Pido, Daniel Oren, P. Fournillier, Daniele Calegari, Fabrizio Carminati, Michel Plasson, Alain Altinoglu and Stéphne Denève.
During last years he has interpreted “Les Chevalier Des Grieux” at Opéra Bastille and at Wiener Staatsoper, Rainbaud in “Robert le Diable” at Covent Garden, Alfredo in Monte Carlo, Le Chevalier de la Force at Accademia di Santa Cecilia, made his debut at Metropolitan Opera, substituting Jonas Kaufmann in “Werther” and obtaining great success from public and critics.
Most recently, he sang “La Bohème” at the Met, “Macbeth” at the Champs Elysées, “Thaïs” at Sao Paulo Opera in Brasil, “Lucia di Lammermoor” in Avignon, Palermo and Florence, “Werther” at Palaus Les Arts in Valencia.
Engagements of the 2017/18 season include “Werther” and “La Traviata” at Wiener Staatsoper, “Faust” at Hamburg State Opera, “Carmen” at Opera Hong Kong, and “Mefistofele” at Orange Festival.
Russian bass-baritone Vladimir Baykov has been a resident artist at the Staatsoper Hamburg since autumn 2015. He has made his name in last years with dramatic parts such as Wotan and Wanderer. His guest appearances have led him to the Mariinsky Theater, De Nederlandse Opera, Vlaamse Opera, Oper Bonn, Oper Köln, Oper Frankfurt, Staatstheater Darmstadt, Theater Erfurt, Teatro Colón in Buenos Aires, Gran Teatre del Liceu in Barcelona, Israeli Opera in Tel Aviv, Teatro Regio di Torino, Finnish National Opera, Opera Malmö, Aalto Theater in Essen, English National Opera in London, Teatr Wielki in Warzaw, Teatro Nacional de Saõ Carlos in Lisbon, Théâtre Royal de la Monnaie in Bruxelles, Theater an der Wien, Theater St. Gallen, Tyrolean Festival in Erl.
Vladimir Baykov’s repertoire consists of bass-baritone, dramatic baritone and bass roles with a wide spectrum from Alidoro, Leporello, Peter (Hänsel und Gretel), to Heerrufer, Donner, Jochanaan, Gunter, Wotan and Wanderer, Ruprecht (Prokofiev’s “The fiery angel”), Tomsky (The Queen of Spades), and to Kaspar (Der Freischütz), Silva (Ernani), Vodnik (Rusalka), Méphisto, Colline, Oroveso, Boris Godunov, Pimen and Varlaam. In 2015 he portrayed the title role of A. Lubchenko’s opera “Dr.Zhivago” in the world premiere at Theater Regensburg.
Vladimir Baykov graduated from the Moscow State Conservatoire in 2001. He is a prizewinner of several competitions, such as Mirjam Helin Competition 1999 in Helsinki, “Neue Stimmen” 1999 in Gütersloh, Maria Callas Competition 2001 in Athens, Belvedere Competition 2001 in Vienna and Queen Elizabeth Competition 2004 in Bruxelles.
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
Shin Yeo wurde in Daegu, Siidkorea geboren. Von 2005 bis 2009 besuchte er die Korea National University of Arts in Seoul von Prof. Simon Yang, die er mit einem Bachelor abschloss. 2012 bis 2014 folgte ein Master-Studium für Operngesang an der Staatlichen Hochschule für Musik und darstellende Kunst in Stuttgart in der Klasse von Prof. Francisco Araiza, 2014/2015 die Meisterklasse bei Prof. Sylvia Greenberg an der Hochschule für Musik und Theater in München.
Sein bereits auf verschiedenen Bühnen gesungenes Repertoire umfasst Partien wie Figaro (Le nozze di Figaro), Frank (Die Fledermaus), Don Estoban (Der Zwerg), Gianni Schicchi (Gianni Schicchi) und Don Pasquale (Don Pasquale).
Während der Spielzeiten 2015/2016 und 2016/17 war Shin Yeo Mitglied im Opernstudio Niederrhein und stand dort u.a. in folgenden Partien auf der Bühne: Silvano und Tom in „Un ballo in maschera“ von Giuseppe Verdi, Fiorillo/Offizier und Bartolo in „ll barbiere di Siviglia“ von Gioacchino Rossini, Kuligin in „Katja Kabanowa“ von Leos Janacek , Heerrufer des Königs und Brabantischer Edler in „Lohengrin“ von Richard Wagner sowie Peter in „Hänsel und Gretel“ von Engelbert Humperdinck.
Mit Beginn der Spielzeit 2017/18 ist Shin Yeo Mitglied im Opernstudio der Staatsoper Hamburg.
photo: Kartal Karagedik
Hailed by the New York Classical Review as having, “a gorgeous instrument with superb dramatic instincts” and possessing a “lovely purity of sound” by the Financial Times, Romanian soprano Anita Hartig is one of the most highly sought-after stars in opera today. During her studies at the Gheorghe Dima Music Academy in Cluj Napoca, she won several national and international vocal competitions, and made her debut as Mimì in “La bohème” at the Romanian National Opera in 2006.
From 2009 to 2014 Anita was a member of the ensemble at the Wiener Staatsoper, giving her the opportunity to make her international debut as Musetta (La bohème). During her time in Vienna, she showcased a number of prestigious roles in house including Pamina (Die Zauberflöte), Despina (Così fan tutte), Zerlina (Don Giovanni), Mimì (La bohème), Marzelline (Fidelio), Micaëla (Carmen) and Susanna (Le nozze di Figaro).
Anita has performed in some of the most important opera houses in the world, including the Bayerische Staatsoper, Kanagawa Kenmin Hall Tokyo, the Megaron Concert Hall Athens, the Royal Opera House Covent Garden, La Monnaie Brussels, Deutsche Oper Berlin, Hamburgische Staatsoper, Teatro alla Scala Milan, the Opéra national de Paris, Gran Teatre del Liceu Barcelona and the Metropolitan Opera New York, and with renowned conductors including Adam Fischer, Franz Welser-Möst, Bertrand de Billy, Daniele Rustioni, Carlo Rizzi, Dan Ettinger, Daniel Oren, Mark Elder, Marco Armiliato and Ivor Bolton.
In early 2013 Anita made her Royal Opera House debut as Mimì in John Copley’s renowned production of “La bohème” under the baton of Alexander Joel. The following year, Anita made her debut at the Metropolitan Opera and Opera Bastille as Mimì, before going on to make her house and role debut as Violetta (La traviata) at Gran Teatre del Liceu.
Recent seasons have seen Anita return to Covent Garden as Susanna (Le nozze di Figaro), to the Wiener Staatsoper and Dresden Semperoper as Mimì and to the Metropolitan Opera to sing Lìu (Turandot) and Susanna (Le nozze di Figaro). Other stand-out performances include Marguerite (Faust) for Opernhaus Zürich and Wiener Staatsoper and her Deutsche Staatsoper Berlin debut as Mimì.
In the 2017/18 season, Anita returns once again to the Metropolitan Opera for Antonia (Les Contes d’Hoffmann), Mimì at the Teatro Real Madrid, Marguerite (Faust) for both the Wiener Staatsoper and Hamburgische Staatsoper and further appearances in Vienna and the Metropolitan Opera as Mimì in “La bohème”. Anita will round off her season with a concert performance of Faust in Moscow and Mimì at the Teatro dell’Opera di Roma.
Die aus Moskau stammende Mezzosopranistin Ruzana Grigorian begann ihr Gesangsstudium im Alter von 16 Jahren an der Russischen Akademie für Theaterkunst (GITIS). Im Rahmen des dortigen Opernstudios wirkte sie in Purcells „Dido and Aeneas“ mit und sang die Rolle des Orpheus in Glucks „Orfeo ed Euridice“.
Von 2007 bis 2015 war sie Solistin im Orfey Theater in Russland und nahm an der Sommerakademie der GITIS unter der Leitung von A. Kalyagina teil. Im Rahmen eines Projekts übernahm sie die Titelpartie der Carmen in der gleichnamigen Oper. 2011 war sie am Moskauer Musiktheater als Maddalena in Verdis „Rigoletto“ zu hören, bevor sie im Jahr 2012 die Partie der Olga in Tschaikowskys „Eugen Onegin“ im Orfey Theater sang.
Seit Oktober 2015 studiert Ruzana Grigorian Gesang am Mozarteum in Salzburg, zunächst bei Prof. Barbara Bonny, aktuell bei Prof. Mario Diaz. Im Jahr 2016 debütierte sie in der Rolle der Bianca in Brittens „The Rape of Lucretia“ in einer Opernproduktion der Universität und 2017 als Filipjewna in Tschaikowskys „Eugen Onegin“ am Mozarteum Salzburg.
Ruzana Grigorian gehört ab der Spielzeit 2017/2018 zum Internationalen Opernstudio der Staatsoper Hamburg.
photo: Kartal Karagedik
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".
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.