Giuseppe Verdi | La Traviata
Wednesday 11. Oct. 2017, 7.30 pm - 10.10 pm
Christoph Gedschold, since the season 2015/16 Kapellmeister at the Leipzig Opera, was born in Magdeburg and studied piano and conducting in Leipzig and Hamburg.
After working as Kapellmeister at the Theater in Lucerne and the Staatstheater in Nuremberg, he went from 2009 to 2015 to the Badische Staatstheater in Karlsruhe, where he worked as a Kapellmeister and conducted performances like “The Greek Passion“, “Euryanthe“, “La Gioconda“, the German first night of M. Weinberg’s opera “Die Passsagierin”, “Die Meistersinger von Nürnberg”, “Peter Grimes”, “Lohengrin”, “Rosenkavalier” “Flying Dutchman“, „Ariadne of naxos“,“Otello“ and „Boris Godunow".
At the Leipzig Opera, he will conduct the new productions of “Der Freischütz“, “Rusalka“, “Bluebeard`s Castle“ / „I Pagliacci“ and performances of “Tannhäuser“, “Madame Butterfly“, “Tosca“ and “Die Zauberflöte“ are planned.
Christoph Gedschold is a regular conducting at the Semperoper Dresden and the State Opera in Hamburg.
In Dresden, he is leading the repertoire performances of “Der Freischütz“ and “The Magic Flute“ as well as the new production “The Passenger“. In Hamburg he is conducting “La Boheme“, “La Traviata“, “Simon Boccanegra“ and “Eugen Onegin“.
In May 2015 he gave his North America debut at the Orchestre Symphonique de Montréal with Shostakovich’s 11th Symphony. A re-invitation was made for concerts in March and April 2017.
In May 2016 he took over the musical direction for „The Passenger “ at the Wiener Festwochen with the opera Frankfurt.
Christoph Gedschold has worked with many of the German and world´s top orchestras, including Leipzig Gewandhausorchester, Staatskapelle Dresden, Hamburg Philharmonic Orchestra, Orchestre Symphonique de Montréal, Frankfurt Opera Orchestra, Nationalorchestra Mannheim, Bavarian Staatsphilharmonie Nuremberg, Basel Symphony Orchestra and the New Japan Philharmonic in Tokio.
2015/16 he made his debut at the Hamburg State Opera with Janacek Opera “Katja Kabanova”.
Find further information about Christoph Gedschold here.
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“.
Dinara Alieva was born in Baku, Azerbaijan, and graduated from the music academy there. She has won prizes and many international competitions, including the Operalia Competition (Milan, La Scala, 2010), the Francesco Viñas Competition (Barcelona, 2010), the Maria Callas Competition (Athens) and the Elena Obraztsova Competition (St Petersburg). In 2010 she gave a joint concert with Plácido Domingo in Baku, and she was awarded the title of Honorary Artist of Azerbaijan.
Dinara Alieva is a soloist of the Bolshoi Theatre, where she performs principal roles in leading productions. It was here that she made her début as Liù in “Turandot”. Other roles include Rosalinde (Die Fledermaus), Leonora (Il Trovatore), Mimì and Musetta (La Bohème), Violetta (La Traviata), Nedda (Pagliacci), Micaëla (Carmen) and Marfa (The Tsar’s Bride). Before joining the Bolshoi, Dinara Alieva was a soloist of the Baku Opera and Ballet Theatre Company. She sang Violetta at the Mikhailovsky Theatre in St Petersburg, and again in a memorial concert performance dedicated to Maria Callas at the Thessaloniki Concert Hall and in the Megaron Concert Hall in Athens. She participated in the Elena Obraztova Jubilee Gala at the Bolshoi Theatre and at the Mikhailovsky Theatre.
In 2011 she made her debut at the Wiener Staatsoper as Donna Elvira (Don Giovanni), and at the Oper Frankfurt as Violetta, and was immediately invited back for new productions in the following seasons by both theatres. Other engagements included Giulietta (Les contes d’Hoffmann) at the Bayerische Staatsoper Munich, Violetta at the Wiener Staatsoper, and her debut at the Deutsche Oper Berlin as Violetta in 2013. In 2014 Ms Alieva returned to the Wiener Staatsoper as Tatyana (Eugene Onegin), and returned to the Deutsche Oper Berlin that same year as Donna Elvira. She sang Marie (Mazeppa) in her debut for the Opera de Oviedo and her first Rusalka in Beijing. Other recent highlights include Mimì at the Semperoper Dresden and Oper Frankfurt, Violetta, Mimì and Micaëla at the Bolshoi Theatre with Tugan Sokhiev, Magda in Rolando Villazon’s production of “La rondine” at the Deutsche Oper Berlin, and Leonora (Il trovatore) for both the Israeli Opera (Daniel Oren) and Verdi Festival Parma. Dinara’s concert engagements include “Missa Solemnis” in Moscow, the Verdi Requiem at the Brucknerhaus Linz, and gala concerts in Lithuania and France.
Engagements of the 2017/18 season include a return to the Deutsche Oper Berlin as Mimì, her debut for the Hamburgische Staatsoper as Violetta, role debuts as Desdemona (Otello) in Frankfurt and Donna Anna (Don Giovanni) in Berlin, and a return to the Wiener Staatsoper as Liù.
Miss Alieva's discography includes a CD of Italian opera arias for Delos Records “Pace Mio Dio”, a vocal recital entitled “Russian Songs and Arias” with the New Russian State Symphony Orchestra on Naxos, and a duo CD of Italian love duets with tenor Alexandr Antonenko, conducted by Constantine Orbelian. The production of “La rondine” from the Deutsche Oper is now available on DVD.
Find further information about Dinara Alieva here.
photo: Vlad Loktev
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).
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
After making his European stage debut as Fenton in the new production of “Falstaff” at the Cologne Opera in October of 2016, Armenian tenor Liparit Avetisyan has been invited to make several other important debuts in the current season: Rodolfo in “La Boheme” with the Frankfurt Opera and Alfredo in “La Traviata” with Opera Australia in Sydney. In the 2017/18 season, Avetisyan will sing Alfredo at the Hamburg State Opera, Berlin State Opera and Semperoper Dresden, and appear as Rodolfo at the Deutsche Oper Berlin. He will also make his French stage debut as Lensky in “Eugene Onegin”at the Opera du Rhin in Strasbourg and adds the role of Nemorino in “L’Elisir d’Amore” to his repertoire in Dresden.
In October of 2015, Avetisyan sang Don Jose in Alexander Titel’s new production of “Carmen” in Yekaterinburg, subsequently making his Moscow debut in January of 2016 as Des Grieux in the new production of Massenet’s “Manon” at the Staniskalvy-Nemirovich-Danchenko Opera. He returned there in June of 2016 as the Prince in the new staging of Prokofiev’s “The Love for Three Oranges” and as Almaviva in “Il Barbiere di Siviglia”. Avetisyan also participated in the company’s tour of China in “Carmen”.
Born in Yerevan in 1990, Liparit Avetisyan moved to Crimea with his parents, where he graduated from music school. From 2008 to 2011, Avetisyan studied with B. Kudryavtsev at the Tchaikovsky Moscow State Conservatory, later transferring to the Komitas State Conservatory of Yerevan to study with R. Hakobyants. During his studies, Avetisyan won Second Prize in both the Maria Biesu International Singing Competition and the III Muslim Magomaev International Vocalists Contest. At the Armenian National Academic Opera, he has sung Alfredo, Don Jose, and the old Gypsy in “Aleko”. Avetisyan sang his first performances of Rodolfo, the Duke in Rigoletto, and the Verdi and Mozart Requiems with the Armenian National Philharmonic Orchestra.
Also active on the concert stage in recent years, Avetisyan has appeared at the XXI International Music Festival Stars of the White Nights in Saint Petersburg, Easter Festival in Moscow, Beethoven Fest in Poland, Mustonen Fest in Estonia, and Midem Fest in France. He also performed in benefit concerts dedicated to the 100th anniversary of the Armenian genocide with Evgeni Kissin at Carnegie Hall and the Music Center at Strathmore in Washington.
Avetisyan has collaborated with such conductors as Constantin Orbelian, Anton Orlov, Vahan Martirosyan, Lior Shambadal, Juozas Domarkas, Michael Guettler, Vladimir Jurovsky, and many others.
photo: Tatev Hakobyan
Juan Jesús Rodríguez
Juan Jésus Rodríguez is considered as being one of leading Verdi-baritones of our times – this is how the press and auditorium values his interpretation in the big Verdi parts in operas like: “Il Trovatore”, “Rigoletto”, “Don Carlo”, “La Traviata”, “Un ballo in maschera”, “Luisa Miller”, “Otello”, “Falstaff” (Ford), “Atila”.
During his carrier, beginning with his debut 1994 at the Teatro della Zarzuela in Madrid, he appeared in the main baritone roles under conductors as Zubin Mehta, Nicola Luisotti, Renato Palumbo, Marco Armiliato, Donato Renzetti, Massimo Zanetti or Riccardo Frizza and with stage directors as Giancarlo del Monaco, Gilbert Defló, John Cox, Emilio Sagi, Davide Livermore, Mario Pontiggia or Hugo de Ana, in theatres like Teatro Massimo Palermo, Teatro San Carlo Napoli, Maggio Musicale Fiorentino, Teatro Regio Torino, Peking Opera House, Gran Teatre Liceu Barcelona, Teatro Real Madrid, Teatro de la Maestranza Seville, Palau de les Arts Valencia or Palacio Euskalduna Bilbao.
The artist participated at important events, as the reopening of the Gran Teatre del Liceu Barcelona and of the Teatro Real Madrid appearing near Plácido Domingo, the inauguration of the Teatro Cuyás in Las Palmas de Gran Canaria and in the gala for the anniversary of 40 years of carrier of Alfredo Kraus in the Teatro de la Zarzuela Madrid.
Native from Huelva, Juan Jésus Rodríguez graduated as a teacher of singing at the Music Academy in Madrid. He studied body expression with the ballerina Ana Pérez and with Arnold Tarraborelli.
He wins the first prizes at the international singing competitions: Concorso Internacional Pedro la Virgen and Concorso Internacional Ciudad de Logrono.
The baritone develops also a rich vocal-symphonic activity (“Requiem” by Fauré, “Mess in Sol M” by Schubert) etc.
Among his engagements during the 2015-16-17-18 seasons should be mentioned “Il Trovatore” in La Coruña and at the Metropolitan Opera New York, “Don Carlo” in Bilbao, “Rigoletto” at the Teatro Real Madrid and in Oviedo, “Nabucco” in Las Palmas, “Macbeth” in Marseille and Avignon, “Un ballo in maschera” in Rome and in La Coruña, “I vespri siciliani” in Valencia, “La Bohème” in Sevilla, “Cyrano de Bergerac” at the Metropolitan Opera New York, “La Traviata” in Hamburg, “Roberto Devereux” in Frankfurt.
Future projects: “Rigoletto” (2018) in Hamburg, “Don Carlo” (2018) in Tel Aviv, “Nabucco” (2020) and “Simon Boccanegra” (2018) in Marseille, “Lucia di Lammermoor” (2019) and “Alzira” (2020) in Bilbao, “Luisa Miller” (2019) in Barcelona, “Falstaff” (2019) at the Metropolitan Opera New York, “Otello” (2020) at the Opernhaus Zürich, “Andrea Chenier” (2019) in Sevilla, “Un ballo in maschera” (2019) in Oviedo.
Peter Galliard was born in Chur, Switzerland. He studied under Rico Peterelli, at the Conservatory in Feldkirch under Maria Eibenschütz and at the Mozarteum Salzburg under Rudolf Knoll, where in 1985 he won First Prize at the International Mozart Competition.
In 1986 Rolf Liebermann invited him to join the Hamburg State Opera, where Galliard has been working till today. In Hamburg he sang 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“. In March 2008 Peter Galliard performed in the new production of “The Ring” in Hamburg as Loge in Rheingold. In 2008/09 he sang the part of Mime in “Das Rheingold” and Augustin Moser in “Die Meistersinger von Nürnberg”. Also in 2009 he made his debut as Mime in the new production of “Siegfried” and was highly praised by the audience and press. In the 2010/2011 season he sang in new productions of “Bliss” and “Palestrina”. In 2011/2012 concert performances of “Siegfried” and “Das Rheingold” led him to Lisbon and Australia. In the 2012/2013 season he gave a concert performance of “Das Rheingold” in Santa Cecilia. In summer 2013 he was part of concert performances of “Das Rheingold” and “Siegfried” at the Lucerne Festival. In spring 2015 “Siegfried” in Nuremberg followed. Apart from his commitments in Hamburg, in 2015/2016 he sang the Gurrelieder in Shanghai and Beijing, a concert at the Salzburger Osterfestspiele and the role of Haushofmeister bei Faninal in “Der Rosenkavalier” at the Opéra National de Paris. 17/18 leads him as guest to the Enescu Festival in Bucharest where he will be singing Capito in “Mathis der Maler”.
Peter Galliard performed at many opera houses in Germany – at the Staatsoper and the Deutsche Oper Berlin, as well as at the Opera Houses in Frankfurt, Dresden and Leipzig. He also worked in Japan, Spain, France and Israel. Peter Galliard’s repertoire is very extensive. There are many TV, radio and CD recordings of his opera, Lied and concert performances. The tenor worked with famous stage directors such as August Everding, Johannes Schaaf, Harry Kupfer and Peter Konwitschny as well as with great conductors such as Nikolaus Harnoncourt, Christian Thielemann, Ingo Metzmacher, Simone Young and Kirill Petrenko.
On December 9, 2017, the Hamburg Senate honored Peter Galliard with the title of “Kammersänger” for his special merits in the field of music.
Il Barone Douphol
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
Il Marchese d'Obigny
Shin Yeo wurde in Daegu, Südkorea 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
Il Dottore Grenvil
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.
Sergei Ababkin was born in 1991 in Parabel, Russian Federation. In 2008 he entered the vocal faculty of Krasnoyarsk College of Arts by Ivanov-Radkevich (teacher V. M. Gavrichkov). 2011 he won the first prize of the International Competition "Romansiada" in Moscow. A year later Sergei Ababkin entered the vocal faculty of the St. Petersburg State Conservatory by Rimsky-Korsakov (teacher n. a. of Russia, Y. M. Marusin) and is currently in his fourth year.
His repertoire includes Lykov in Rimsky-Korsakov´s "The Tsar's Bride", Lensky in Tchaikovsky´s "Eugene Onegin" and young Romani in Rachmaninoff´s "Aleko".
Since 2016/17 Sergei Ababkin is part of the International Opera Studio at the Hamburg State Opera.
photo: Kartal Karagedik
Un Domestico di Flora
Joo-Hyun Lim ist 2. Tenor im Chor der Hamburgischen Staatsoper.
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.