Monday 21. Jun. 2021, 8.00 pm | Elbphilharmonie, Großer Saal
Antonín Dvorák: Symphony No. 9 in E minor Op. 95 "From the New World"
Alban Berg: Three Pieces for Orchestra Op. 6
Anton Bruckner: Te Deum
Born in Munich, Markus Poschner was awarded the German Conductors Prize in 2004 and has since then received regular invitations from top orchestras both on the national and international platform. Nowadays he is above-all known for his breath-taking interpretations and recordings of Beethoven, Brahms and Mahler. Having studied at the local conservatory in Munich and as assistant of Sir Roger Norrington and Sir Colin Davies, Markus Poschner became Kapellmeister (conductor) at Komische Oper Berlin in 2006. His collaboration with directors like Nicolas Stemann, Hans Neuenfels, Peter Konwitschny, Andreas Homoki and Sebastian Baumgarten lead the Neue Zürcher Zeitung to describe him as the ”most promising up-and-coming talent”.
In 2007 Markus Poschner was appointed GMD of the Free Hanseatic City of Bremen. Together with the Bremen Philharmonic Markus Poschner, who is also an excellent Jazz-pianist, rapidly gained reputation for his innovative and adventurous programming, interpretation and presentation. Combined with his unique gift of communication he created a continuing audience boom. At Bremen Theatre he developed new ideas and forms of contemporary music theatre together with director Benedikt von Peter.
Starting with the 2015/16 season Markus Poschner assumed the position of Chief Conductor of the only Swiss radio orchestra: the Orchestra della Svizzera Italiana in Lugano, at the beginning of his first season he presented a complete Brahms-cycle ”Rereading Brahms” in the much-praised new concert hall LAC situated on the shore of lake Lugano. In April 2018, the production received the International Classical Music Award (ICMA) for the category ”DVD Performance”. ”Rereading Brahms” contains all Brahms symphonies in a special version.
Markus Poschner has been invited by many of the most renowned orchestras and opera houses, including e.g. Staatskapelle Dresden, Dresdner Philharmoniker, Bamberger Symphon¬iker, Münchner Philharmoniker, Wiener Symphoniker, Konzerthausorchester Berlin, the radio symphony orchestras in Berlin, Leipzig, Stuttgart and Cologne, Netherlands Radio Philharmonic, Wiener Kammerorchester, Orchestre Philhar¬monique de Monte Carlo, NHK Symphony Orchestra, Tokyo Metropolitan Orchestra, as well as Staatsoper Berlin, Komische Oper Berlin, Hamburg¬ische Staatsoper, Oper Köln, Oper Frankfurt and Opernhaus Zürich.
The conductor enjoys close artistic ties with many of the above orchestras and opera houses, as e.g. with Staatsoper Berlin, where he had his debut in 2014 with a new production of the Wagner/Jelinek-evening ”Rein Gold” directed by Nicolas Stemann. He also followed the invitation to conduct ”Tosca” and “The Magic Flute” and was responsible for the entire series of Richard Wagner’s “The Flying Dutchman” in 2015/16. His collaboration with the opera houses in Frankfurt (Messiah in 2016) and Zurich (Fidelio in 2015) equally led to immediate re-invitations.
From 2010-14 Markus Poschner was First Guest Conductor of Dresdner Philharmonie, conducting the entire Beethoven symphonies. He remains a regular guest of the orchestra and is currently presenting a Mahler-cycle. Since 2002 Markus Poschner has also been First Guest Conductor of Deutsches Kammerorchester Berlin, on which he has an equally strong formative influence as with the legendary Georgisches Kammerorchester Ingolstadt which he led as Chief Conductor from 2000 to 2006.
Markus Poschner’s bold and offbeat approach, especially as far as the classic works of the repertoire are concerned rapidly convinced the critics: ”…have not heard Beethoven performed so breathtakingly in a long time” raved the Tages¬spiegel, ”Extra applause again and again for the young conductor” reported the FAZ, ”enchanting interpretations” was the praise in the Dresdner Neueste Nachrichten and ”ingenious” in Die Welt. The Süddeutsche Zeitung described his debut in his hometown: ”Poschner lets the Munich Philharmonic shine magnificently time and again”.
In July 2010 Markus Poschner was appointed professor at the Institute of Musicology by the University of Bremen.
Since the season 2017/18, Markus Poschner is Chief Conductor of the Bruckner Orchester Linz and Music Director of the Landestheater Linz.
Soprano Susanne Bernhard from Munich started studying voice in 1995 at the University of Music and Performing Arts Munich. Since the beginning of her studies she took part in numerous productions of the Bayerische Theaterakademie. In 1997 she made her debut as Susanna in Mozart´s Le Nozze di Figaro in Munich´s Prinzregententheater.
In 2000, at the age of 23, she became member of the ensemble of the Opera House Kiel and performed in numerous roles, amongst others, as Lisa (Schreker´s Christophorus) and as Violetta (La Traviata). She guest performed in several Opera Houses and in 2008 made her debut in the Frankfurt Opera with the role of Violetta (Traviata). At the Dresden State Opera she performed as Isotta (Schweigsame Frau).
Besides her artistic activities as opera singer Susanne Bernhard dedicates herself to Lied, Oratoria and Concert singing. Her manifold engagements in this field led her, amongst others, to cooperation with the Georgian Chamber Orchestra (Markus Poschner), Ludwigsburger Schlossfestspiele, Stuttgart Bachakademie (Helmut Rilling), Saint Petersburg Philharmonic Orchestra, Russian National Orchestra, Herrenchiemsee Festival (Enoch zu Guttenberg and Ljubka Biagioni zu Guttenberg), Chorgemeinschaft Neubeuern (Enoch zu Guttenberg), Rheingau-Musikfestival, Menuhin-Festival Gstaad, Beethovenfest Bonn, Bamberg Symphony (Jonathan Nott), Tonhalle Orchestra Zurich, Bremen Philharmonic Orchestra, Dresden Philharmonic Orchestra (Michael Sanderling), Hamburg and Munich Symphonic, Camerata Salzburg, La Verdi Orchestra Milano (Gaetano d‘Espinosa), Saarländischer Rundfunk, Polish Radio Symphony Orchestra, Osaka Philharmonic Orchestra under Eiji Oue, New Japan Philharmonic Orchestra (Ingo Metzmacher), NHK Tokyo Orchestra, as well as with OSESP Orchestra Sao Paulo and Bavarian Radio Symphony Orchestra and Choir. She repeatedly was guest at the WDR Symphony Orchestra Cologne, for example under the baton of Semyon Bychkovs and Jukka Pekka Sarastes and in the context of a big Japan Tour under Yutaka Sados.
Recent engagements include, amongst others, concerts with Mainz Bach Choir (Ralf Otto), Philharmonic Choir Berlin (Jörg-Peter Weigle), mdr Leipzig, concerts with Enoch zu Guttenberg, performances at the Rheingau Music Festival, Menuhin Festival Gstaad, Herrenchiemsee Festival as well as concerts under the baton of Neeme Järvi and operatic concert performances with the Munich Radio Orchestra under the baton of Ulf Schirmer.
Numerous TV and radio recordings as well as CD recordings document her artistic work. These include a recording of sacred songs and arias (Oehms), Beethoven's ”Missa solemnis” under the baton of Enoch zu Guttenberg (Farao), a complete opera recording of J. Myslivececk’s ”Medonte” (deutsche harmonia mundi/Sony) as well as a recording of Britten´s Folksongs (Rondeau, Maria Graf, Regensburger Domspatzen Boys' Choir).
Katrin Wundsam grew up in Neustift, Upper Austria. Since September 2009 she has been an ensemble member of the Operahouse Cologne. Roles since then include Mercedes (Carmen), Nicklausse (Les Contes d’Hoffman), Suzuki (Madama Butterfly), Fuchs (Das schlaue Füchslein), Flosshilde/2. Norn (Das Rheingold/Götterdämmerung), Grimgerde (Walküre), Sesto (La Clemenza di Tito), Ottavia (L'Incoronazione di Poppea), Penelope (Il Ritorno d'Ulisse in Patria), Bradamante (Alcina).
In 2011 she had her very succesfull debuts as Dorabella (Cosí fan tutte) and Hänsel (Hänsel und Gretel) at the Hamburgische Staatsoper, in May 2014 as Rosina (Il Barbiere di Siviglia).
German tenor Werner Güra, born in Munich, received his musical training at the Mozarteum in Salzburg and comple¬ted his vocal studies with Profes¬sor Kurt Widmer. Furthermore, he was coached by Nicolai Gedda, Professor¬ Margreet Honig in Amsterdam and Professor Wessela Zlateva in Vienna.
After guesting at the opera houses of Frankfurt and Basel, he joined the ensemble of the Semperoper Dresden in 1995, where he sang the important Mozart and Rossini parts of his Fach. Daniel Barenboim invited Werner Güra for various productions at the Staatsoper Berlin. He continued as guest in Dresden and also sang his highly acclaimed Mozart roles Tamino, Ferrando and Don Ottavio at Teatro Carlo Felice in Genova, Opéra de Lille, La Monnaie in Brussels and the Opéra National de Paris, at the Innsbruck Festival of Early Music and in Baden-Baden. After a long period appearing in concerts only, Werner Güra decided to take part in a new production of Il Ritorno d’Ulisse in patria at the Zurich Opera in May/June 2014.
At this stage of his career, Werner Güra concentrates his activities on the vocal-symphonic and Oratorio repertoire. He sang on the most prestigious European concert stages such as Konzerthaus and Musikverein Wien, Royal Festival Hall London, Concertgebouw Amsterdam, Philharmonie Berlin, Philharmonie Paris and worked with many orchestras including Royal Concertgebouw Orchestra, London Philharmonic Orchestra, Berlin Philharmonic Orchestra, Wiener Symphoniker, BBC Symphony Orchestra, the German, Dutch, Spanish, Danish Radio Symphony Orchestras, the Gulbenkian Orchestra Lisbon, with conductors such as Claudio Abbado, Riccardo Chailly, Michel Corboz, Sir Colin Davis, Ádám Fischer, Bernard Haitink, Daniel Harding, Thomas Hengelbrock, Philippe Herreweghe, René Jacobs, Marek Janowski, Armin Jordan, Philippe Jordan, Ton Koopman, Fabio Luisi, Kurt Masur, John Nelson, Yannick Nézet-Séguin, Sir Roger Norrington, Trevor Pinnock, Helmuth Rilling, Sir András Schiff, Ralf Weikert, Thomas Zehetmair and David Zinman. The tenor enjoyed close collaboration with Nikolaus Harnoncourt under whose baton he appeared at the Vienna Musikverein, Styriarte Festival, Philharmonie München, Concertgebouw Amsterdam and on tour in Japan.
Highlights of the season 2018/19 included Schubert’s ”Mass in E-flat major” at the Vienna Musikverein with Riccardo Muti, Britten’s ”War Requiem” with the Vienna Symphony and Philippe Jordan, Bach’s ”Magnificat” and Cantatas with Concentus Musicus Wien and Stefan Gottfried, Bach´s ”Christmas Oratorio” with Philippe Jordan, Haydn’s Creation in Eisenstadt, Mendelssohn´s Elias with the Orchestre des Champs-Elysées and Philippe Herreweghe, Beethoven’s ”Symphony No. 9” in Munich, Mendelssohn’s ”Die erste Walpurgisnacht” in Brussels and Antwerp, Bach’s ”St John Passion” with Akamus in Brescia, Munich and Berlin, followed by Schubert’s ”Mass in E-flat major” with The Cleveland Orchestra and Franz Welser-Möst, Bach’s ”St Matthew Passion” with the Cincinnati Symphony Orchestra and Juanjo Mena as well as Beethoven’s ”Symphony No. 9” with the Pittsburgh Symphony Orchestra under the baton of Manfred Honeck.
The 2019/20 season brought Schumann´s Paradies und die Peri with Jérémy Rohrer in Ingolstadt and Bonn, Bach´s Magnificat with Philippe Jordan at the Vienna Musikverein, Bruckner´s Te Deum with the Pittsburgh Symphony under the baton of Manfred Honeck, Beethoven´s Mass in C major with the Concentus Musicus Wien and Stefan Gottfried, Berlioz‘ Requiem with Marc Soustrot in Leipzig, Schumann´s Faust-Scenes with the Royal Concertgebouw Orkest and Sir John Eliot Gardiner in Amsterdam, Bach´s St Matthew Pasison in Munich, Schubert´s Mass in E-flat major with Bertrand de Billy in Vienna, Beethoven´s Symphony No. 9 with Bruno Weil in Helsinki as well as with the Munich Philharmonic and Manfred Honeck in Munich.
Recordings for Harmonia Mundi France include ”Orpheus” (Telemann), ”The Seasons” (Haydn), ”Così fan tutte” (Mozart), ”Christmas Oratorio” and ”St Matthew Passion” (Bach), all under the baton of René Jacobs. Lieder by Schubert and ”Der Rose Pilgerfahr”t with the RIAS Chamber Choir conducted by Marcus Creed were also released at Harmonia Mundi. Beethoven´s ”Fidelio” under the direction of Daniel Barenboim with Werner Güra in the role of Jacquino has been released by the Label Teldec. For Sony/BMG Werner Güra recorded Haydn´s ”Orlando Paladino” and ”The Seasons” as well as Bach´s ”Christmas Oratorio”, all under the baton of Nikolaus Harnoncourt.
Werner Güra is also much appreciated as Lied interpreter, regularly giving recitals amongst others at the Wigmore Hall London, Concertgebouw Amsterdam, Lincoln Center New York and the Schubertiades Schwarzenberg and Barcelona. Upcoming recitals will lead him to the Wigmore Hall London, the Vienna Musikverein, to Zurich and Stuttgart.
In autumn 2000, Schubert’s ”Die Schöne Müllerin” was released as Werner Güra’s first solo recording on Harmonia Mundi, followed by Schumann’s ”Dichterliebe” and Liederkreis op. 39 as well as Hugo Wolf’s ”Mörike Lieder”, all with pianist Jan Schultsz. Latest releases on Harmonia Mundi with pianist Christoph Berner are ”Schöne Wiege meiner Leiden”, featuring songs by Clara & Robert Schumann and Johannes Brahms as well as Schubert’s ”Schwanengesang”, ”Winterreise” and Mozart Lieder. All these solo recordings received the ”Diapason d’or” and were elected Editor’s Choice in Gramophone Magazine. For his ”Winterreise”, Werner Güra received the BBC Music Magazine Award in the category ”Vocal” in 2011. For his latest Schubert-CD ”Willkommen und Abschied”, he was awarded the prestigious German ECHO-Klassik prize in 2012.
with Alejandro Ramirez and Kurt Moll
Kammersänger at Deutsche Oper (2011)
Chorèbe (Les Troyens), Nelusco (Vasco da Gama), Conte Almaviva (Le Nozze di Figaro), Valentin (Faust), Posa (Don Carlo), Renato (Un Ballo in Maschera), Marcello (La Bohème), Germont (La Traviata), Rigoletto (Rigoletto), Wolfram (Tannhäuser), Balstrode (Peter Grimes), Leander (Die Liebe zu den drei Orangen), Wotan (Das Rheingold), Beckmesser (Die Meistersinger von Nürnberg), Musiklehrer (Ariadne auf Naxos), Faninal (Der Rosenkavalier), Peter (Hänsel und Gretel), Fritz (Die tote Stadt), Maurice (Marie Victoire), Egisto (Cassandra), Michonnet (Adriana Lecouvreur), Nelusco (Vasco da Gama), Amonasro (Aida), Macbeth (Macbeth), Sebastiano (Tiefland), Escamillo (Carmen), Baldassare (L'Arlesiana), Frank (Die Fledermaus), Falke (Die Fledermaus), Saul (Saul), Papageno (Die Zauberflöte), Der Kaiser (Le Rossignol), Der Pilot (L’Hirondelle inattendue), Henrik (Maskerade), Donner (Das Rheingold), Gunther (Götterdämmerung), Orest (Elektra), Heerrufer (Lohengrin), Don Fernando (Fidelio), Arzt (Sophie's Choice), Fürst Ottokar (Der Freischütz), Paul Niemand (Unter Eis), Ford (Falstaff), Carlo di Vargas (La Forza del Destino), et al.
Deutsche Oper Berlin, Opernhaus Zürich, Théatre du Capitole Toulouse, Hamburgische Staatsoper, Bayerische Staatsoper, Glyndebourne Festival, Bregenzer Festspiele, Salzburger Festspiele, Oper Köln, Teatro Municipal deSantiago di Chile, Seattle Opera, Opéra Bastille, Semperoper Dresden, Theater Basel, Staatsoper Unter den Linden, Staatsoper Stuttgart, Nationaloper Helsinki, Gran Teatre del Liceu, Teatro alla Scala, New National Opera Tokyo, Volksoper Wien, Ruhrtriennale, Bayreuther Festspiele, Maggio Musicale Fiorentino, Palau de les Arts in Valencia, Konzerthaus Berlin, Berliner Philharmonie, Klangbogen Festival Wien, Canterbury Festival, Metropolitan Opera, et al.
Cooperation with directors:
Robert Carsen, Vera Nemirova, Benedikt von Peter, Barrie Kosky, David Pountney, Stephen Wadsworth, Marco Arturo Marelli, et al.
Cooperation with conductors:
Sir Simon Rattle, Sebastian Weigle, Ives Abel, Enrique Mazzola, Andrea Battistoni, Teodor Currentzis, Asher Fisch, Vladimir Jurowski, Donald Runnicles, Zubin Mehta, Omer Meir Wellber, Ivan Fischer, Philippe Auguin, Marek Janowski, Vladimir Ashkenazy, et al.
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.
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 Telemann, Tchaikovsky, Strauss, Mahler, Prokofiev and Stravinsky, since the 20th century chief conductors such as Karl Muck, Joseph Keilberth, Eugen Jochum, Wolfgang Sawallisch, Horst Stein, Aldo Ceccato, Christoph von Dohnányi, 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 Christian Thielemann, Semyon Bychkov, Kirill Petrenko, Sir Neville Marriner, 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, focusing on experimentation and chamber music. In 2016 Nagano and the Philharmonic undertook a successful three-week concert tour in South America, a tour of Spain followed in 2019. 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 concert recording has been released at ECM.
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 140 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.
In 2008 Simone Young and the Philharmonic State Orchestra won the Brahms Award of the Schleswig-Holstein Brahms Society. 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 Hamburg’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. 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.
"When someday my merciful God shall ask me: ‘What have you done with the talents I gave you,’ I shall hold out the score of my Te Deum to him" – thus Anton Bruckner is quoted. The fact that the composer was a devout Catholic, but also a genius as a composer is well-known. In Markus Poschner, the Philharmonic Orchestra has invited an expert interpreter of Bruckner – since 2017 Poschner has been chief conductor of the Bruckner Orchestra Linz. He juxtaposes the mighty sound of the oratorio with Dvořák’s popular Symphony No. 9 "From the New World" as well as a work by Alban Berg, a representative of the Second Viennese School.
Venue: Elbphilharmonie, Großer Saal, Platz der Deutschen Einheit 4, 20457 Hamburg
Prices: € 74,00 / 57,00 / 46,00 / 31,00 / 13,00
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