Wolfgang Amadeus Mozart | Die Zauberflöte
Thursday 10. May. 2018, 6.00 pm - 9.00 pm
General Music Director of Hamburg
Kent Nagano is renowned for interpretations of clarity, elegance and intelligence. He is equally at home in music of the classical, romantic and contemporary eras, introducing concert and opera audiences throughout the world to new and rediscovered music and offering fresh insights into established repertoire. He has been Music Director of the Orchestre symphonique de Montréal since September 2006 where his contract has been extended until 2020. In September 2013, he became Artistic Advisor and Principal Guest Conductor of the Gothenburg Symphony Orchestra. In September 2015, he took up the position of General Music Director of the Hamburg State Opera and Chief Conductor of the Philharmonic State Orchestra. With his Hamburg orchestra he went on South America Tour in the beginning of season 2016/17, with concerts e.g. in Buenos Aires, Sao Paolo and Bogotá. On 13 January 2017 Kent Nagano conducted the world premiere of a new oratorio by Jörg Widmann as the very first concert with the Philharmonic State Orchestra in the Elbphilharmonie in Hamburg on the occasion of the inauguration festivities of the new hall. Since then the traditional Philharmonic Concerts take place in the new Elbphilharmonie. In February 2017 he stood at the rostrum of the orchestra for the premiere of Alban Berg’s “Lulu”. Kent Nagano started his first season with the premiere of Berlioz‘ “Les Troyens”, the world premiere of Toshio Hosokawas “Stilles Meer” followed in January 2016. Messiaen’s symphony “Turangalîla” choreographed by John Neumeier was premiered in early July 2016.
With the Orchestre symphonique de Montréal Kent Nagano went on US tour in March 2016. A milestone at the helm of the OSM was the inauguration of the orchestra’s new concert hall “La Maison Symphonique” in September 2011. Highlights with the orchestra include the complete cycles of Beethoven and Mahler symphonies, Schoenberg's “Gurrelieder”, concert versions of Wagner's “Tannhäuser”, “Tristan und Isolde”, “Das Rheingold”, Honegger’s “Jeanne d’Arc au Bûcher”, Messiaen's “Saint François d'Assise”, and concert series featuring the works of Dutilleux (2010-11) and Boulez (2011-12). Nagano has taken the orchestra on a coast-to-coast tour of Canada and also to tours to Japan, South Korea, Europe and South America. In October 2014 they embarked on their second tour to Japan. Their recordings together include Mahler’s “Orchestral Songs” with Christian Gerhaher, Beethoven’s Piano Concertos Nos. 4 & 5 and a complete recording of all the Symphonies by Beethoven of which the album “Ideals of the French Revolution” with Symphony No. 5 won a Juno award. In March 2015 Kent Nagano conducted the North American Premiere of “L’Aiglon”, a rare opera of Honegger and Ibert. This production was recorded and released by Decca and has won an ECHO Klassik 2016. “Danse Macabre” followed as second production with Decca, with works by Dukas, Dvořák, Mussorgsky, Balakirev, Saint-Saens and Ives in October 2016.
At the Bayerische Staatsoper, where he was General Music Director from 2006 to 2013, Kent Nagano commissioned new operas such as “Babylon” by Jörg Widmann, Das “Gehege” by Wolfgang Rihm and “Alice in Wonderland” by Unsuk Chin. New productions have included Mussorgsky’s “Boris Godunov” and “Khovanshchina”, “Idomeneo”, “Eugene Onegin”, “Ariadne auf Naxos” and “Die Schweigsame Frau”, “Les Dialogues des Carmélites”, “St François d’Assise”, “Wozzeck”, George Benjamin’s “Written on Skin” and “Der Ring des Nibelungen”. With the Bayerisches Staatsorchester Nagano has toured throughout Europe and in Japan and together they have recorded Bruckner Symphonies No. 4, 7 and 8. In January 2014, Kent Nagano returned to the Bayerische Staatsoper to conduct a revival of Widmann’s “Babylon”.
As a much sought after guest conductor, Nagano has worked with most of the world’s finest orchestras, just as the Bavarian Radio Symphony Orchestra, Munich Philharmonics, London Symphony Orchestra, BBC Symphony Orchestra, Tonhalle Orchestra Zurich, WDR Symphony Orchestra, Concerto Köln, Finnish Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rom and at Wiener Festwochen. Since 2014 he is forming his own festival as part of the AUDI Sommerkonzerte, called Vorsprung-Festival. He has an ongoing relationship with Sony Classical and has also recorded for Erato, Teldec, Pentatone and Deutsche Grammophon as well as Harmonia Mundi, winning Grammy awards for his recordings of Busoni’s “Doktor Faust” with Opéra National de Lyon, “Peter and the Wolf” with the Russian National Orchestra and Saariaho’s “L’amour de Loin” with the Deutsches Symphonieorchester Berlin.
A very important period in Nagano’s career was his time as Artistic Director and Chief Conductor of the Deutsches Symphonie-Orchester Berlin, from 2000-2006. He performed Schönberg’s “Moses und Aron” with the orchestra (in collaboration with Los Angeles Opera), and took them to the Salzburg Festival to perform both Zemlinsky’s “Der König Kandaules” and Schreker’s “Die Gezeichneten”, as well as to the Festspielhaus Baden-Baden with “Parsifal” and “Lohengrin” in productions by Nikolaus Lehnhoff. Recordings with the Deutsches Symphonie-Orchester Berlin for Harmonia Mundi include repertoire as diverse as Bernstein’s Mass, Bruckner’s Symphonies Nos. 3 & 6, Beethoven’s “Christus am Ölberge”, Wolf Lieder, Mahler’s Symphony No. 8 and Schönberg’s “Die Jakobsleiter” and “Friede auf Erden”, as well as Brahms’s Symphony No. 4 and Schönberg’s “Variationen für Orchester” Op. 31. In June 2006, at the end of his tenure with the orchestra, Kent Nagano was given the title Honorary Conductor by members of the orchestra, only the second recipient of this honour in their 60-year history. To this day he has a close friendship to the orchestra.
Kent Nagano became the first Music Director of Los Angeles Opera in 2003 having already held the position of Principal Conductor for two years. His work in other opera houses has included Shostakovich’s “The Nose” (Staatsoper Berlin), Rimsky Korsakov’s “The Golden Cockerel” (Châtelet, Paris), Hindemith’s “Cardillac” (Opéra national de Paris), “Dialogues des Carmélites” (Metropolitan Opera) and at the Salzburg Festival “Les Contes d’Hoffmann”, Zemlinsky’s “Der Koenig Kandaules”, Schreker’s “Die Gezeichneten” and the world premiere of Saariaho’s “L’amour de loin”. Other world premieres include Bernstein’s “A White House Cantata” and operas by Peter Eötvös (“Three Sisters”), and John Adams (“The Death of Klinghoffer” and “El Niño”).
Born in California, Nagano maintains close connections with his home state and was Music Director of the Berkeley Symphony Orchestra from 1978-2008. His early professional years were spent in Boston, working in the opera house and as assistant conductor to Seiji Ozawa at the Boston Symphony Orchestra. He played a key role in the world premiere of Messiaen’s opera “Saint François d’Assise” at the request of the composer, who became a mentor and bequeathed his piano to the conductor. Nagano’s success in America led to European appointments: Music Director of Opéra National de Lyon (1988-1998) and Music Director of the Hallé Orchestra (1991-2000).
photo: Benjamin Ealovega
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
Vilsbiburg (Landshut), Deutschland
Gesangsstudium an der Universität der Künste Berlin bei KS Harald Stamm
bei KS Kurt Moll und KS Marjana Lipovšek
2. Preis und Publikumspreis beim Internationalen Musikwettbewerb der ARD (2009), Dr. Wilhelm Oberdörffer-Preis der Stiftung zur Förderung der Hamburgischen Staatsoper (2011)
Figaro (Le Nozze di Figaro), Leporello (Don Giovanni), Sarastro (Die Zauberflöte), Osmin (Die Entführung aus dem Serail), Baron Ochs auf Lerchenau (Der Rosenkavalier), König Heinrich (Lohengrin), Landgraf Hermann (Tannhäuser), König Marke (Tristan und Isolde), Daland (Der fliegende Holländer), Fasolt (Das Rheingold), Rocco (Fidelio), Orest (Elektra), Sparafucile (Rigoletto), Il Re di Scozia (Ariodante), u.a.
Hamburgische Staatsoper, Bayerische Staatsoper, Staatsoper Unter den Linden Berlin, Semperoper Dresden, Wiener Staatsoper, Opéra National de Lyon, Teatro alla Scala, Gran Teatre del Liceu Barcelona, Teatro Real Madrid, Königliche Oper Stockholm, Los Angeles Opera, Washington Opera, Chicago Opera, Bayreuther Festspiele, Salzburger Festspiele, Hong Kong Arts Festival, u.a.
Zusammenarbeit mit Regisseuren:
Stefan Herheim, Hans Neuenfels, Peter Konwitschny, Christof Loy, David McVicar, Frank Castorf, Karoline Gruber, Nikolaus Lehnhoff, u.a.
Zusammenarbeit mit Dirigenten:
Daniel Barenboim, Zubin Mehta, Kirill Petrenko, Andris Nelsons, Sir Simon Rattle, Marek Janowski, Simone Young, Kent Nagano, Sebastian Weigle, Alan Gilbert, William Christie, u.a.
Vocal studies at the Music College in Ashgabat, at the Turkmen National Conservatory, at the Conservatory Tilburg and at Koninklijk Conservatorium Den Haag
Relation to the Hamburg State Opera:
Member of the International Opera Studio (2008-2010)
Ensemble member since 2010
Fenton (Falstaff), Nemorino (L’Elisir d’Amore), Alfredo (La Traviata), Ferrando (Così fan tutte), Belmonte (Die Entführung aus dem Serail), Tamino (Die Zauberflöte), Don Ottavio (Don Giovanni), Lensky (Eugene Onegin), Vladimir (Prince Igor), Telemaco (Il Ritorno d'Ulisse in Patria), Alfred (Die Fledermaus), Medoro (Orlando Paladino), Jenik (Die Verkaufte Braut), Belfiore (La finta giardiniera), et al.
Hamburgische Staatsoper, Bayerische Staatsoper, Münchner Opernfestspiele, La Monnaie, Staatsoper Berlin, Hungarian State Opera, Polish National Opera, Opéra national de Montpellier, Auditorium de Bordeaux, Elbphilharmonie Hamburg, Laeizhalle Hamburg, et al.
Cooperation with directors:
Hans Neuenfels, Marie-Eve Signeyrole, Renaud Doucet, Vincent Boussard, Jette Steckel, Sandra Pocceschi, Willy Decker, Axel Ranisch, Herbert Fritsch, Kirill Serebrennikov, et al.
Cooperation with conductors:
Ivor Bolton, Kent Nagano, Bertrand de Billy, Keri Lynn Wilson, Philippe Auguin, Lothar Zagrosek, Michael Schonwandt, Stefan Soltesz, Henrik Nánási, Stefano Ranzani, Andrea Battistoni, Simone Young, et al.
Born in 1990, Ukrainian soprano Olga Kulchynska gained the attention of the international opera world in 2015 when she was awarded First Prize at the internationally renowned Francisco Viñas Vocal Competition in Barcelona. She subsequently debuted to great acclaim at the Zürich Opera as Giulietta in Christof Loy’s new production of “I Capuleti e i Montecchi”, opposite Joyce DiDonato and conducted by Fabio Luisi, after which she bowed at the Gran Teatre del Liceu in Barcelona as Musetta in “La Bohème”. Kulchynska has since been invited for major debuts at the Paris Opera, Bavarian State Opera in Munich, Royal Opera House, Covent Garden and Metropolitan Opera.
Kulchynska has been a leading member of the Bolshoi Theatre in Moscow since 2014, when she made her debut as Marfa in the new production of Rimsy-Korsakov’s “The Tsar’s Bride”. This season, she appeared at the Bolshoi as Corinna in Rossini’s “Il Viaggo a Reims” and Susanna in “Le Nozze di Figaro”. Subsequent engagements for the 2016/17 season include her return to the Zürich Opera for three roles: Giulietta, and her first performances of Adina in “L’elisir d’amore” and Zerlina in “Don Giovanni”.
Other recent performances include Kulchynska’s debut as Gilda in “Rigoletto” at the Bolshoi, her revival of Giulietta in “I Capuleti e i Montecchi” at Zürich Opera, and her debut at the Gran Teatre del Liceu as Musetta. In the 2017/18 season, Kulchynska will make her debut at the Opera Bastille in Paris as Rosina in “Il Barbiere di Siviglia” and her debut at the Bavarian State Opera as Susanna in the new production of “Le Nozze di Figaro”.
Olga Kulchynska studied music theory at the Kiev Glier State College of Music, and at the age of 19 she began her vocal studies at the Tchaikovsky Kiev National Music Academy of Ukraine with Maria Stefiuk. In addition to her First Prize win at the Viñas Competition, Kulchynska has won many prestigious vocal competitions, including Grand Prix at the 2011 Grigory Alchevsky International Singing Competition in Kharkov, Third Prize at Plácido Domingo’s 2016 Operalia Competition, Third Prize in the 2012 Bul-Bul International Vocal Competition, and First Prize in the 2012 Mykola Lysenko International Music Competition in Kiev. She was also a semi-finalist in the 2012 International Hans Gabor Belvedere Singing Competition in Vienna.
Kulchynska was invited to join the Young Artist Program of the Bolshoi Theater in 2013, during which time she made her debut as Marfa. In 2014, she was invited to join the company itself. Kulchynska has participated in several guest appearances with the Bolshoi, singing Marfa in the new production of Rimsky-Korakov’s “The Tsar’s Bride” in February of 2014.
Other roles in the artist’s developing repertoire include Ilia in “Idomeneo”, Pamina in “Die Zauberflöte”, Amina in “La Sonnambula”, Juliette in “Romeo et Juliette”, Leila in “Les Pecheurs de Perles”, Micaëla in “Carmen” and Antonia in “Les Contes d’Hoffmann”.
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
Königin der Nacht
Hailed by the New York Times as a soprano of "gleaming sound, free and easy
high notes, agile coloratura runs and lyrical grace," Jessica Pratt is considered one of today's foremost interpreters of some of bel canto's most challenging repertoire.
Since her European debut in 2007 as Lucia di Lammermoor Ms. Pratt's schedule has included performances at opera theatres and festivals such as the Teatro alla Scala of Milan, Zurich Opera, Deutsche Oper Berlin, the Vienna State Opera and the Royal Opera House Covent Garden, working with conductors such as Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Christian Thielemann, Donato Renzetti, Pier Giorgio Morandi, Carlo Rizzi, Antonino Fogliani, Wayne Marshall and David Parry.
The 2012/13 season brought several acclaimed debuts at Festival Verdi in Parma, like Gilda next to Rigoletto interpreted by Leo Nucci, at Deutsche Oper Berlin as Lucia, at Vlaamse Opera in New Year's Eve Concert, at Teatro de la Maestranza in Sevilla (Gilda, once more next to Leo Nucci), in the role of Matilde in “Guillaume Tell” next to Juan Diego Florez interpreting Arnold in Lima, Giulietta in “I Capuleti e i Montecchi” in Reims, in the role of Lisinga in “Demetrio e Polibio” of Rossini in Neaples, and in the role of the protagonist in “Giovanna d’Arco” at Festival della Valle d’Itria in Martina Franca.
In the 2013/14 season Ms Pratt could be heard in new productions of “Lucia di Lammermoor” at La Scala and in Amsterdam, as Amina in “La sonnambula” in Bari, Gilda in Padova, in the season opening of La Fenice as Inès in Meyerbeer's “L'Africaine”, as Musetta in “La Bohème” in Salerno, in her role debut as Violetta in “La Traviata” in Melbourne, as Zenobia in “Aureliano in Palmira” at the Pesaro Rossini Opera Festival as well as in recitals in Tokyo and Florence with Vincenzo Scalera.
In 2014/15 the soprano made her role debuts as Cleopatra in Handel's –“Giulio Cesare” at the Teatro Regio in Turin and as Amenaide in Rossini's “Tancredi” at the Opéra de Lausanne. Other performances included Donna Anna in “Don Giovanni” and Giulietta in “I Capuleti e i Montecchi” at the Teatro La Fenice in Venice; Elvira in “I Puritani” in Florence and in Melbourne; Lucia di Lammermoor at the Rome Opera House and at the Festival Granda in Lima; her role and festival debut as Rosina in “Il barbiere di Siviglia” at the Arena di Verona, where she could also be heard as soprano soloist in “Carmina burana”; the soprano solo in Rossini’s “Messa di Gloria” alongside Juan Diego Florez and “La morte di Didone” at the Rossini Opera Festival; as well as concerts in Milan, Bonn, and London.
Performances of the 2015/16 season included Jessica Pratt's returns to Florence, Turin and Melbourne as Lucia di Lammermoor, her debuts at the Gran Teatre del Liceu Barcelona in Desdemona in Rossini's “Otello”, at the Palau de les Arts Reina Sofia Valencia in Mozart's “Davidde penitente” and at the ABAO Bilbao as Amina in “La sonnambula”, her role debuts as Semiramide at the Opéra de Marseille and later at the Washington Concert Opera and as Linda di Chamounix at the Rome Opera House; and concerts in Oviedo and Moscow.
More recently, “Semiramide” and “Rosmonda d'Inghilterra” at the Florence Opera House, a concert with the Queensland Symphony Orchestra, “Rosmonda d'Inghilterra” at the Donizetti Festival Bergamo, her debut at the Metropolitan Opera House New York as Queen of the Night in “The Magic Flute”, and the she sang in “Rigoletto” in Oviedo.
Future engagements include “La Fille du Regiment” at Las Palmas, “I Puritani” in tournée with Teatro Real de Madrid and she will return to Met to sing Lucia.
Her discography includes CD recordings of Rossini's “Otello” and Vaccai's “La sposa di Messina”, DVD/Blu-Ray recordings of Rossini's “Adelaide di Borgogna”, “Ciro in Babilonia” and “Aureliano in Palmira” from the Rossini Opera Festival, the 2012 New Year's Gala from Teatro La Fenice, Donizetti's “Viva la mamma” from Teatro alla Scala Milan as well as Bellini's “La Sonnambula” from La Fenice. In January 2016 her first solo album “Serenade” will be released on Opus Arte.
Ms. Pratt is the winner of numerous international vocal competitions, including the Australian Singing Competition, the Vienna State Opera Award, and the Rome Opera Award.
In May 2013 she was awarded the prestigious international prize for coloratura sopranos “La Siola d'Oro – Lina Pagliughi”.
She completed her vocal studies in Italy working with Maestro Gianluigi Gelmetti at Rome Opera as well as with Renata Scotto and is now studying with Lella Cuberli. British-born and raised in Australia, Ms. Pratt currently resides in Florence, Italy, with her adopted dogs, Daisy and Buddy.
photo: Benjamin Ealovega
Iulia Maria Dan
Romanian Soprano Iulia Maria Dan graduated from the National University of Music in Bucharest as a student of Maria Slatinaru-Nistor. In 2011, she became a member of the Opernstudio of the Bayerische Staatsoper in Munich, where she was also a member of the Ensemble. In August of 2015, Ms. Dan became a member of the Ensemble at Staatsoper Hamburg. Her engagements there included First Lady in a new production of “Die Zauberlföte”, Mimi in “La Bohème”, Contessa di Almaviva in “Le nozze di Figaro”, Helena in “A Midsummer Night’s Dream”, Mathilde in “Guillaume Tell”, Rosalinde in “Die Fledermaus”, Fiodiligi in “Cosi fan tutte”, Tatyana in “Eugene Onegin” and Agathe in “Der Freischütz”. She also sang Ofelia in Franco Faccio’s Amleto at the Bregenz Festival in Austria. In the 2014/15 season, Ms. Dan made a successful debut as the title role in Massenet’s “Manon” at Oper Graz in Austria. She also sang Waldvogel in “Siegfried” at the Bayerische Staatsoper and premiered “Francesca da Rimini”, music by Stefan Wirth, at the Münchner Opernfestspiele. In August of 2014, Ms. Dan sang Aminta in “Il re pastore” at the Verbier Festival in Switzerland, an appearance received with great reviews. In the 2013/2014 season, as a member of the Ensemble at the Bayerische Staatsoper, she sang Frasquita in “Carmen”, Giannetta in“ L’elisir d’amore”, La contessa di Ceprano in “Rigoletto”, and Dama di Lady Macbeth in Verdi’s “Macbeth”. Ms. Dan’s 2012/13 engagements at the Bayerische Staatsoper included Hilda Mack in Hans Werner Henze’s “Elegie für junge Liebende”, Jano in Janácek’s “Jenufa”, Papagena in “Die Zauberlföte”, and Füchslein Schlaukopf in Janácek’s “The Cunning Little Vixen”.
Iulia Maria Dan has performed in concerts in Bucharest, Modena, Gdansk, Milan and Munich. In 2010, she sang the Soprano solo in the world premiere of acclaimed Romanian composer Felicia Donceanu’s “Salbe – Monodrama for Soprano and Orchestra” at the Bucharest Radio Hall. In 2011, Ms. Dan debuted with great success as Gilda in “Rigoletto” at the Romanian National Opera. That same year, she received a Special Award for Most Promising Young Artist at the renowned Hans Gabor Belvedere International Singing Competition in Vienna, where she was also awarded the Graz Opera Special Prize and the Soroptimist Prize.
In 2010, Ms. Dan won the Grand Prize at the Ionel Perlea National Song Competition and Second Prize at the Hariclea Darclee International Singing Competition in Romania. That same year, she won a Special Prize at the Arta Florescu Masters of the Lyrical Art International Competition in Bucharest. In 2008, Ms. Dan won First Prize in the Orange Young Musicians Competition, First Prize in the Romanian Song Festival and Competition, Special Prize for “Interpretation of Music by Mozart” in Mihail Jora and Dinu Lipatti’s National Competition, and Special Prize for “Chamber Music Style – Martha Joja” in the Ionel Perlea International Song Festival and Competition.
photo: Kartal Karagedik
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
Zachariah Njoroge Kariithi was born in 1987 in Nairobi, Kenya. He started his musical training at the age of 12 by taking private piano lessons. He later joined the Kenya Conservatoire of Music, where under the guidance of his teacher, Gachigi Kungu, continued his piano playing and also started taking voice lessons.After two years he successfully completed the Associated Board of the Royal Schools of Music exams in voice and piano, which he passed with distinction and with merit, respectively. He later went on to represent Kenya in the World Youth Choir session in the summer of 2008.
Zachariah was a student and scholarship recipient at the Buchmann Mehta School of Music in the Tel Aviv University, Israel, and was part of the Adler Buchmann International Program for Outstanding Foreign Students since 2008.
He was under the guidance of Prof. Tamar Rachum.
He is also a Master's graduate student from the Hochshule für Muzik und Theater Hamburg 2013-2015. His voice teacher was Prof. Carolyn James.
Zachariah performed with the Buchmann Mehta School of Music Symphony Orchestra as a soloist under the direction of Maestro Zubin Mehta.
He, under the baton of Prof. Zeev Dorman, performed as a soloist in the famed Carnegie hall in New York. He also performed with the Israeli Philharmonic Orchestra and the Haifa Symphony Orchestra in several programs.
Zachariah was also a scholarship recipient from the Hermann und Milena Ebel Stipendium 2014-2015 and the Hamel stiftung Hannover 2015-2016.
Zachariah has taken part in important masterclasses in Europe that involved working with great artists such as Willy Decker, Bo Skovhus, Edda Moser, Renate Behle, Charles Spencer, Verena Keller and Ulf Baestlein.
Zachariah is a winner of several competitions. Zachariah was 2015/16 and 2016/17 part of the International Opera Studio at the Hamburg State Opera.
photo: Kartal Karagedik
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.
Soprano Narea Son was born in Seoul, South Korea and received her Bachelor in Voice from Seoul National University. She completed her studies with a master degree in Opera at the Hamburg University of Music and Theatre and the concert exam Opera with Carolyn James.
At the age of 19 she gave her first solo concert for “Debut für rising star”, a series of concerts at Kumho Concert Hall. She sang Mimi in "La Bohème", Donna Elvira in "Don Giovanni", Le feu, La Princesse and Le Rossignol in "L'Enfant et les Sortilèges", Valencienne (The Merry Widow), Queen of the Night (Die Zauberflöte) as well as the soprano solo of the „Messiah“ by Händel in university productions.
In addition to her studies she has taken part in Master classes with Edda Moser, Cheryl Studer, Bruna Baglioni, Mariella Devia, Brigitte Fassbaender and Joyce DiDonato at Carnegie Hall in New York with Live Stream by Arte TV.
Ever since the season of 2016/17 Narea Son is a member of the International Opera Studio of the Hamburg State Opera.
Highlight of the last seasons were Katze Ivanka (Premiere of “Katze Ivanka” von Vera Nemirova), Papagena (Die Zauberflöte), Taumännchen (Hänsel und Gretel) and Barbarina (Le nozze di Figaro), Giannetta (L'elisir d'amore) as well as Pamina (“Erzittre, feiger Bösewicht!”, premiere by Georges Delnon), under the baton of Kent Nagano.
photo: Kartal Karagedik
The Bulgarian bass-baritone Denis Velev was born in 1992 in Plovdiv and moved to Russia with his family in 1996, where he started playing piano at the age of 6. He then started singing in a children choir and took over his first solos with 12 years and won several prizes in singing contests for children.
In 2012 he entered the Russian University of Theatre Art (GITIS) in Moscow, where he studied with Tamara Siniavskaya and was starring in several theatre and opera productions. He moreover debuted in Stanislavsky and Nemirovich-Danchenko Theatre in Moscow with „Die Zauberflöte“ (Mozart), „The Secret Mariage“ (Cimarosa) and „Orfeo and Euridice“ (Gluck).
In 2015 he graduated from the Russian University of Theatre Art and entered Galina Vishnevskaya's Opera Center, where he debuted especially in parts of Russian operas such as “Iolanta” (Tchaikovsky), “The Tsar's Bride“ (Rimsky-Korsakov), “Onegin” (Tchaikovsky) and “Rigoletto” (Verdi).
Since 2016/17 Denis Velev is part of the International Opera Studio at the Hamburg State Opera.
photo: Kartal Karagedik
Seit 1991 ist Jürgen Sacher Mitglied der Hamburgischen Staatsoper. Hier ist er seitdem in zahlreichen Rollen aufgetreten, so als Andres in „Wozzeck“, Maler in „Lulu“, Truffaldino in Prokofjews „Die Liebe zu den drei Orangen“, Monostatos und 1. Geharnischter in „Die Zauberflöte“, Valzacchi in „Der Rosenkavalier“ und David in „Die Meistersinger von Nürnberg“. Zudem interpretierte er Junger Mann (Moses und Aron), Steuermann (Der fliegende Holländer), Peter Iwanow (Zar und Zimmermann), Pedrillo (Die Entführung aus dem Serail), Walther von der Vogelweide (Tannhäuser), Goro (Madame Butterfly) und Graf Elemer (Arabella). Weitere Partien im Rahmen seiner Ensembletätigkeit sind die Knusperhexe in „Hänsel und Gretel“ und Raoul de St. Brioche in „Die lustige Witwe“. In der Hamburger Neuinszenierung von Wagners „Ring“ übernahm Jürgen Sacher in der Premierenserie des „Rheingold“ die Rolle des Mime. Außerdem war er als Loge in „Das Rheingold“ und als Mime in „Siegfried“ zu erleben. Zu seinen jüngsten Erfolgen in Hamburg zählen seine Rollendebüts als Herodes (Salome) 2010 und als Novagerio in einer Neuproduktion von „Palestrina“ 2011. In einer Neuproduktion von Telemanns „Flavius Bertaridus“ interpretierte er mit großem Erfolg Orontes. Außerdem wirkte er in „Der Meister und Margarita“ als Asasello, in „Ariadne auf Naxos“ als Tanzmeister, in Aribert Reimanns „Lear“ als Graf von Kent sowie in „Peter Grimes“ als Reverend Adams mit.
Regelmäßige Konzertauftritte gehören ebenfalls zu den Verpflichtungen des Tenors. Gastspiele führten Jürgen Sacher unter anderem an die Berliner Staatsoper, nach Brüssel, Barcelona, Kopenhagen, an die Mailänder Scala sowie zu den Salzburger Festspielen.
2010 sang er in zwei Neuproduktionen am Theater an der Wien: den Tanzmeister in „Ariadne auf Naxos“ und L´Aumonier in „Dialogues des Carmélites“.
Neben seinen Aufgaben an der Hamburger Staatsoper hat er den Herodes in der Saison 2013/14 auch an der Budapester Staatsoper und im Herbst 2014 unter John Neschling in einer Salome Neuproduktion am Teatro Municipal in Sao Paulo gesungen. Im Juni 2015 gastierte Jürgen Sacher beim Wagner Festival in Budapest unter Adam Fischer als Mime im Ring des Nibelungen und 2016 als Goro in Puccinis Butterfly an der Berliner Staatsoper sowie als Aegisth in Richard Strauss´ Elektra abermals am Teatro Municipal in Sao Paulo unter John Neschling.
Am 9. Dezember 2017 wurde Jürgen Sacher vom Hamburger Senat ausgezeichnet und erhielt den Titel des Kammersängers für seine anerkannt hervorragenden Verdienste auf dem Gebiet der Musik.
Solisten des Knabenchores Chorakademie Dortmund
Die Chorakademie am Konzerthaus Dortmund wurde 2002 gegründet und ist mittlerweile die größte Singschule in Europa. Der Knabenchor der Chorakademie hat sich unter den besten Knabenchören in Deutschland etablieren können. Die Knaben treten in Theaterproduktionen und Konzerten sowohl als Chor, als auch als Solisten auf.
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.