Carl Maria von Weber | Der Freischütz
Sunday 18. Apr. 2021, 6.00 pm - 9.15 pm
Inszenierung
Andreas Kriegenburg
Director
Andreas Kriegenburg wechselte nach einigen Jahren als Regieassistent und Regisseur in Zittau und Frankfurt/Oder 1991 an die Berliner Volksbühne am Rosa-Luxemburg-Platz und war bis 1996 dort fester Regisseur. Seine Inszenierung von Georg Büchners „Woyzeck“ wurde für das Berliner Theatertreffen ausgewählt. Als Hausregisseur folgten die Stationen Niedersächsisches Staatstheater Hannover (1997–1999) und Burgtheater Wien (1999–2001).
Seit 2001 war Andreas Kriegenburg Oberspielleiter am Thalia-Theater in Hamburg. Neben seinen Arbeiten in Hamburg inszenierte er als Gast der Münchner Kammerspiele 2002 die „Orestie“ von Aischylos, 2004 die „Nibelungen“ von Friedrich Hebbel, 2006 „Drei Schwestern“ von Anton Tschechow sowie 2008 „Der Prozess“ nach Franz Kafka und wurde 2003, 2005, 2007 und 2009 mit diesen Inszenierungen zum Berliner Theatertreffen eingeladen. Im Jahr 2006 gab er sein Debüt als Opernregisseur am Theater Magdeburg mit der Aufführung von „Orpheus und Eurydike“ nach Christoph Willibald Gluck. Es folgte 2008 Alban Bergs „Woyzeck“ an der Bayerischen Staatsoper und in der Spielzeit 2011/12 „Der Ring des Nibelungen“.
Im September 2009 ging er zusammen mit Intendant Ulrich Khuon ans Deutsche Theater Berlin und war dort bis 2013/14 Hausregisseur.
Kriegenburg arbeitet seit vielen Jahren mit der Kostümbildnerin Andrea Schraad und – wenn er nicht selbst das Bühnenbild übernimmt – mit dem Bühnenbildner Harald B. Thor zusammen.
Seine Inszenierung „Die Nibelungen“ an den Münchner Kammerspielen wurde mit dem begehrten Nestroy-Theaterpreis als beste deutsche Inszenierung des Jahres 2005 ausgezeichnet. Seine Inszenierung „Das letzte Feuer“ am Hamburger Thalia Theater wurde mit dem Faust-Theaterpreis 2008 ausgezeichnet. Seine 3,5-Stunden-Inszenierung von Dea Lohers Stück „Diebe“ am Deutschen Theater Berlin sorgte für großes Aufsehen bei einem Gastauftritt im Cameri-Theater Tel Aviv und wurde in der Kategorie „Beste deutschsprachige Inszenierung“ für den Nestroy-Theaterpreis 2010 nominiert und zum Theatertreffen 2010 sowie zu den Mülheimer Theatertagen eingeladen, wo es den Publikumspreis erhielt. Für seine Inszenierungen „Prinz Friedrich von Homburg“ und „Diebe“ wurde er 2010 in der Jahresumfrage der Zeitschrift Theater heute von einer Jury aus Theaterkritikern zum Bühnenbildner des Jahres gekürt.
photo: Andreas Kriegenburg
Musikalische Leitung
Kent Nagano
General Music Director of Hamburg
Kent Nagano is considered one of the outstanding conductors for both operatic and orchestral repertoire. He has been Music Director of the Orchestre symphonique de Montréal (OSM) since September 2006 and took up the position of General Music Director of the Hamburg State Opera and Chief Conductor of the Hamburg Philharmonic State Orchestra in September 2015. In 2006 he was appointed Honorary Conductor of the Deutsches Symphonie-Orchester Berlin and in 2019 of Concerto Köln, the Baroque orchestra which he is involved in with the Wagner Readings.
In October 2019, Kent Nagano and the orchestra will go on an extensive tour through Latin America, including Sao Paolo, Rio de Janiero, Buenos Aires, with violinist Veronika Eberle, finishing at the Chicago Symphony Center on 15 October with the following program: Prokofiev, Rachmaninoff (soloist Denis Matsuev) and Bartok. In January 2020 the orchestra and Kent Nagano host the first ever Schubert Festival in Montreal, featuring all of the composer's symphonies. Other highlights of the 2019/20 season in Montreal include a concert with works by Messiaen and Fauré and a re-invitation of the orchestra and its Music Director to Carnegie Hall in New York. In summer 2020, the Virée Classique / Classical Spree festival, founded by Kent Nagano, goes into its 9th year.
In Hamburg, the 2019/20 season starts with the premiere of Shostakovich's The Nose in a production by Karin Beier at the Hamburg State Opera. In April 2020, the premiere of Strauss' Elektra, staged by Dmitri Tcherniakov, follows, as well as Olivier Messiaen's cult opera Saint François d'Assise at the Hamburg International Music Festival in a scenographic version by Georges Delnon which he especially developed for the Elbphilharmonie concert hall. In October 2019, Kent Nagano tours Japan with the Hamburg Philharmonic State Orchestra and in January 2020 he and the orchestra present the world premiere of Pascal Dusapin's Waves for organ and orchestra at the Elbphilharmonie.
Kent Nagano’s guest appearances in the 2019/20 season include the Orchestre Philharmonique de Radio France, the Deutsches Symphonie-Orchester Berlin in Munich and Berlin, the Vienna Symphony Orchestra, the NHK Symphony Orchestra, the Olso Philharmonic Orchestra and the Munich Philharmonic Orchestra, among others. With Concerto Köln he continues the scientific-artistic project Wagner Readings, with theoretically scientistic approaches as well as historically-informed performance practice of Richard Wagner's Ring.
One of the highlights of Kent Nagano's collaboration with the OSM was the inauguration of the orchestra’s new concert hall La Maison Symphonique in September 2011. In October 2016, he conducted the world premiere of José Evangelista’s Accelerando – a commission by the OSM on the occasion of the 50th anniversary of Montréal’s metro. In November of the same year he conducted a semi-staged production of the Matthäus-Passion. In previous years, Nagano and the orchestra performed the complete cycles of Beethoven and Mahler symphonies, Schönberg's Gurrelieder, concert versions of Wagner's Tannhäuser, Tristan and Isolde and Das Rheingold, Honegger's Jeanne d'Arc au Bûcher and Messiaen's Saint François d'Assise. In July 2018, Kent Nagano conducted Krzysztof Penderecki’s St. Luke Passion with the OSM on the occasion of the Salzburg Festival opening concert.
Tours have taken Nagano and the orchestra to Canada, Japan, South Korea, Europe, South America and the USA, with stops in Washington, Boston and New York.
Most recently, he and the orchestra toured Europe in March 2019, including Berlin, Munich, Hamburg, Paris and Vienna.
His recordings with the OSM on Sony Classical/Analekta 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 2016, Decca released recording of the North American premiere of L'Aiglon, a rarely performed opera by Honegger and Ibert, conducted by Nagano in March 2015, on CD. Further releases by Decca are Danse Macabre with works by Dukas, Saint-Saens, Ives and others in autumn 2016 and a recording of Bernstein's A quiet place in June 2018 on the occasion of the composer's 100th birthday. In autumn 2019 John Adams' Common tones in simple time & harmony (Decca) and at the end of 2019 the Lukas Passion by Penderecki (BIS) will be released.
Kent Nagano's past 4 years in Hamburg include the premieres of Berlioz‘ Les Troyens, Hosokawa’s Stilles Meer, Messiaen’s Turangalîla with the Hamburg Ballett and John Neumeier, the premieres of Wagner’s Parsifal and Beethoven’s Fidelio, Berg’s Lulu and Strauss’ Frau ohne Schatten and the „Philharmonische Akademie“ – a project in the tradition of musical academies of the 18th/19th century –, as well as the South America Tour with the Hamburg Philharmonic State Orchestra and the world premiere of Jörg Widmann’s oratorio ARCHE – composed on the occasion of the inauguration of the Elbphilharmonie in January 2017. The live recording of this concert was released on CD by ECM in autumn 2018.
As a much sought-after guest conductor, Kent Nagano has worked with the world's leading international orchestras, including the Bavarian Radio Symphony Orchestra, the Munich Philharmonic, the London Symphony Orchestra, the Tonhalle Orchestra Zurich, the NHK Symphony Orchestra, the Finnish Radio Orchestra, the Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome and the Chicago Symphony Orchestra. In 2014-2016, he led his own festival as part of the AUDI Sommerkonzerte, called Vorsprung-Festival. Other special projects included productions of Mozart's Idomeneo with Concerto Köln and the Bernstein opera A quiet place with the Ensemble Modern in a new version premiered in Berlin in November 2013.
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 included Mussorgsky's Boris Godunov and Khovanshchina, Strauss' Ariadne auf Naxos and The Silent Woman, Poulenc's Dialogues des Carmelites, Messiaen’s Saint François d'Assise, Berg’s Wozzeck, George Benjamin's Written on skin and Wagner's Der Ring des Nibelungen. Tours took Nagano and the Bavarian State Orchestra through Europe and Japan. In addition to Bruckner's Symphonies Nos. 4 and 7 (Sony), Kent Nagano has released several opera performances with the Bavarian State Orchestra on DVD: Unsuk Chin's opera Alice in Wonderland (2008) and Mussorgsky's Chowanschtschina (2009) with unitel classica/medici arts, Dialogue des Carmélites with Bel Air Classiques (2011) and Lohengrin (2010) with Decca.
Another 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’s Mörike-Lieder, Mahler’s Symphony No. 8, 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 at the Staatsoper Unter den Linden Berlin, Rimsky-Korsakoff's The Golden Cockerel at the Châtelet in Paris, Hindemith's Cardillac and Poulenc's Dialogues des Carmélites at the Opéra National de Paris as well as Offenbach’s Les Contes d’Hoffmann and the premiere of Saariaho's L’amour de loin at the Salzburg Festival. Other world premieres he has conducted include Bernstein's A White House Cantata and the operas Three Sisters by Peter Eötvös and The Death of Klinghoffer and El Niño by John Adams.
Nagano has worked with labels such as Decca, Sony Classical, FARAO Classics and Analekta for many years, but he has also recorded CDs with BIS, Berlin Classics, Erato, Teldec, Pentatone, Deutsche Grammophon and Harmonia Mundi. He was awarded Grammys for his recordings of Busoni’s Doktor Faust with Opéra National de Lyon, Prokofjew’s Peter and the Wolf with the Russian National Orchestra and Saariaho’s L’amour de Loin with the Deutsches Symphonieorchester Berlin.
In October 2019, Kent Nagano and Mari Kodama will expand their joint recordings of Beethoven's works for piano and orchestra with Beethoven's Piano Concerto No. 0 E-flat Major WoO 4, a nearly unknown youth work of the composer, and his Rondo for Piano and Orchestra WoO 6 with the Deutsches Symphonie-Orchester Berlin. The 4-CD edition will be released by the label Berlin Classics.
Born in California, Nagano maintains close connections with his home state and was Music Director of the Berkeley Symphony Orchestra from 1978-2009. His first major successes came with the Boston Symphony Orchestra in 1984, when Messiaen appointed him assistant to conductor Seiji Ozawas for the premiere of his opera Saint François d'Assise. 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).
Since 2005 Kent Nagano is honorary doctorate of McGill University in Montréal, since 2006 honorary doctor of the Université de Montréal and since May 2018 of San Francisco State University.
photo: Benjamin Ealovega
Bühnenbild
Harald B. Thor
Stage design
Studies:
Stage and costume design at Mozarteum Salzburg
Prizes:
Austrian theatre prize „Nestroy“ for stage design for „Wassa Schelesnowa“ (2016), German theatre prize „Der Faust“ for best stage design for „Die Soldaten“ (Bayerische Staatsoper, 2015)
Important productions:
„Babylon“ (Staatsoper Berlin, 2019), „Les Huguenots“ (Opéra National de Paris, 2018), „Die Frau ohne Schatten“ (Staatsoper Hamburg, 2017), „Lady Macbeth von Mzensk“ (Salzburger Sommerfestspiele, 2017), „Die Soldaten“ (Bayerische Staatsoper, 2014), „Rigoletto“ (New National Theatre Tokyo, 2013), „Der Ring des Nibelungen“ (Bayerische Staatsoper, 2012), „Othello“ (Deutsche Oper Berlin, 2010), „Wozzeck“ (Bayerische Staatsoper, 2008)
Career stages:
Equipment manager and stage designer at Bayerische Staatsoper, stage designer and lecturer at Bayerische Theaterakademie, Scenic Art Supervisor for Walt Disney Productions, architect of concert halls and exhibitions (new concert hall at Prinzregententheater, Autosalon in Geneva, Theatermuseum in Vienna)
Stages:
Schauspielhäuser in Berlin, Frankfurt, Hamburg, München, Zürich und Wien, Opernhäuser in München, Berlin, Dresden, Frankfurt, Wien, Basel, Paris, Toulouse, Havanna, Seoul und Tokyo, Sommerfestspiele und Osterfestpiele in Salzburg
Cooperations:
Andreas Kriegenburg, David Bösch, Rolando Villazon, Georg Schmiedleitner, Andreas Baesler, Stefan Huber, Kurt Horres, Christine Mielitz, et al.
Find further information about Harald B. Thor here.
Kostüme
Andrea Schraad
Costume designer
Andrea Schraad wurde 1973 in Dinklage geboren. Sie absolvierte ihr Kostümbildstudium bei Prof. Maren Christensen an der Fachhochschule für Design und Medien in Hannover. Ab 2000 wurde sie zunächst als feste Kostümassistentin, dann als Atelierleiterin und feste Kostümbildnerin am Thalia Theater in Hamburg engagiert. In dieser Zeit begann ihre langjährige Zusammenarbeit mit dem Regisseur Andreas Kriegenburg.
In neun Jahren am Thalia Theater Hamburg entstanden zahlreiche gemeinsame Schauspielarbeiten mit Andreas Kriegenburg. In der Spielzeit 2006/2007 arbeitete sie zusammen mit Kriegenburg erstmals an den Münchner Kammerspielen. Für ihre dortige Leistung bei der Inszenierung der „Drei Schwestern“ von Anton Tschechow wurde sie in der Kritikerum frage der Zeitschrift Theater heute als Kostümbildnerin des Jahres ausgezeichnet und bekam den renommierten Theaterpreis „Der Faust“ verliehen.
Weitere Schauspielarbeiten mit Kriegenburg entstanden am Deutschen Theater Berlin, an den Kammerspielen München, am Schauspiel Dresden, am Schauspiel Frankfurt, am Residenztheater München, bei den Salzburger Festspielen und am Burgtheater Wien.
Für Andreas Kriegenburgs Opernproduktionen (u. a. Glucks „Orpheus und Eurydike“, Theater Magdeburg; Verdis „Otello“, Deutsche Oper Berlin; Händels „Orlando“, Mozarts „Cosi fan tutte”, Semperoper Dresden; Piazzollas „Maria de Buenos Aires”, Theater Bremen; Bergs „Wozzeck“, Wagners „Der Ring des Nibelungen“ und Zimmermanns „Die Soldaten“, Bayerische Staatsoper) entwarf Andrea Schraad ebenfalls die Kostüme. 2009 erhielt sie zusammen mit ihm für die Ausstattung der Inszenierung „Der Prozess“ nach Kafka an den Münchner Kammerspielen abermals den Faust-Preis.
Choreografie
Zenta Haerter
Dramaturgie
Janina Zell
Geburtsort:
Ehringshausen, Deutschland
Studium:
Gesang und Musikwissenschaften mit der Studienrichtung Konzert- und Musiktheaterdramaturgie an der Folkwang Universität der Künste Essen
Auszeichnungen:
Folkwang Preis für ihre Masterarbeit über die Inszenierung von Richard Wagners „Der Ring des Nibelungen“ am Aalto-Theater Essen (2014), Stipendiatin der „Akademie Musiktheater heute“ der Deutsche Bank Stiftung (2014-2016)
Bezug zur Staatsoper:
Dramaturgin der Staatsoper Hamburg und des Philharmonischen Staatsorchesters Hamburg seit 2015
Stationen:
Hospitanzen beim Klavier-Festival Ruhr, dem Konzerthaus Dortmund und der Oper Frankfurt, Dramaturgin für Oper, Ballett und Konzert am Aalto-Theater Essen (2013-2015)
Zusammenarbeit:
Calixto Bieito, Philipp Stölzl, Mariame Clément, Vera Nemirova, Andreas Kriegenburg, Toshio Hosokawa, u. a.
Chor
Eberhard Friedrich
Choir Director
Birthplace:
Darmstadt, Germany
Studies:
Studies with Helmuth Rilling in Frankfurt am Main
Prizes:
Under his direction, the Bayreuther Festspielchor was awarded the International Opera Award for Best Choir of the Year in 2014. Under his direction, the choir of the Staatsoper Unter den Linden was named Choir of the Year in 2004 and received the European Cultural Award (2009). Eberhard Friedrich also received a Grammy for his recording of "Tannhäuser" at the Staatsoper Unter den Linden with Daniel Barenboim (2003)
Relation to the Hamburg State Opera:
Choir director of the Hamburg State Opera since 2013/14
Career stages:
Choir director of the Festspielchor / Bayreuther Festspiele (since 2000), choir director of the Staatsoper Unter den Linden (1998 to 2013), assistant at the Bayreuther Festspiele (since 1993), choir director at the Theater der Stadt Koblenz (1986 to 1991) as well as at the Hessisches Staatstheater Wiesbaden (1991 to 1998)
Cooperation with choirs:
MDR-Rundfunkchor, Amsterdam Opera Choir, Internationale Bachakademie Stuttgart, Philharmonischer Chor Prag, Chor des Niederländischen Rundfunks, Rundfunkchor Berlin, Rias Kammerchor, Bayerischer Rundfunkchor, Chöre des Westminster Choir College, et al.
photo: Enrico Nawrath
Ottokar
Bernhard Hansky
baritone
Birthplace:
Eisenhüttenstadt, Germany
Studies:
Hochschule für Musik Hanns Eisler Berlin
Master classes:
with Angelika Kirchschlager, Brigitte Fassbaender, Dietrich Fischer-Dieskau, Deborah Polaski
Prizes:
Förderpreis of the Franz-Grothe-Stiftung at the Bundeswettbewerb Gesang (2008)
Relation to the Hamburg State Opera:
Ensemble member of the Hamburg State Opera since 2020/21
Important parts:
Don Giovanni (Don Giovanni), Dr. Falke (Die Fledermaus), Farfarello (Die Liebe zu den drei Orangen), Landsknecht (Simplicius Simplicissimus), Papageno (Die Zauberflöte), Nick Carraway (The Great Gatsby), Kilian (Der Freischütz), Conte dʼAlmaviva (Le Nozze di Figaro), Moralès (Carmen), Dandini (La Cenerentola), Barone Douphol (La Traviata), Hermann (Les Contes d’Hoffmann), Schlemihl (Les Contes d’Hoffmann)
Stages:
Komische Oper Berlin, Staatsoper Berlin, Ständetheater Prag, Semperoper Dresden, Teatro Massimo Palermo, Osterfestspiele Salzburg
Cooperations with directors:
Barrie Kosky, Keith Warner, David Hermann, Johannes Erath, Axel Köhler, et al.
Cooperations with conductors:
Omer Meir Wellber, Tomás Netopil, Stefano Ranzani, Patrick Lange, Christian Thielemann, et al.
Agathe
Jacquelyn Wagner
Mit ihrer „strahlenden Erscheinung“, „betörendem Timbre“, einer „fabelhaften Technik“ und „untadeliger Diktion“ (Neue Zürcher Zeitung) ist Jacquelyn Wagner in wenigen Jahren zu einer der begehrtesten und erfolgreichsten Sopranistinnen des lyrischen und jugendlich-dramatischen Sopranfachs avanciert.
In der Spielzeit 2019/20 gibt sie als Agathe in Der Freischütz ihr Debüt am Opernhaus Zürich, singt ihre erste Elsa in Lohengrin am Salzburger Landestheater und kehrt als Rosalinde in Die Fledermaus an die Deutsche Oper Berlin zurück. An der Pariser Opéra national ist sie als Fiordiligi in Così fan tutte und Donna Anna in Don Giovanni zu erleben, an der Deutschen Oper am Rhein in Düsseldorf gibt sie in einer Neuproduktion ihr Rollendebüt als Alcina. Konzertverpflichtungen führen die Sängerin mit den Wiener Symphonikern und Philippe Jordan ins Wiener Konzerthaus, an den Wiener Musikverein und die Pariser Philharmonie.
Jacquelyn Wagner begann die Saison 2018/19 mit Konzerten mit den Münchner Philharmonikern, darunter Mahlers Sinfonie Nr. 8 unter Valery Gergiev in München und Paris und Mozarts c-moll Messe (Andrew Manze), gefolgt von ihrer überragenden Interpretation der Euryanthe am Theater an der Wien (Constantin Trinks; Christof Loy), ihrem Debüt bei den Salzburger Osterfestspielen als Eva in Die Meistersinger von Nürnberg (Christian Thielemann), sowie ihrer Rückkehr an die Deutsche Oper am Rhein als Desdemona in Otello. Des Weiteren war die Künstlerin in einer Neuproduktion Don Giovanni als Donna Anna an der Pariser Opéra national (Philippe Jordan) zu hören.
Höhepunkte der Spielzeit 2017/18, waren u.a. ihre sehr erfolgreichen Rollendebüts als Alice in Falstaff (Christoph Waltz; Tomáš Netopil) an der Vlaamse Opera, als Leonore in Fidelio (Jan Schmidt-Garre; Otto Tausk), die sie am Theater St. Gallen, an der Scala di Milano (Myung Whun-Chung) und an der Semperoper Dresden verkörpert hat, sowie als Marschallin in Der Rosenkavalier an der Deutschen Oper am Rhein in Düsseldorf.
Ein Meilenstein ihrer Karriere war ihr großartiger Erfolg als Arabella in einer Neuproduktion an der Nederlandse Opera Amsterdam (Christof Loy/Marc Albrecht), eine Rolle, die sie zuvor sowohl an der Minnesota Opera als auch an der Deutschen Oper am Rhein in Düsseldorf (Axel Kober) interpretiert hat. In kürzester Zeit folgten wesentliche Rollen- und Hausdebüts wie u.a. Pamina Die Zauberflöte (Constantin Trinks) und Fiordiligi Così fan tutte (Philippe Jordan; Anne Teresa de Keersmaeker) an der Opéra national in Paris, Eva in Die Meistersinger von Nürnberg (Daniele Gatti) an der Mailänder Scala, Verdis Giovanna d’Arco (Will Humburg) in Bonn, Vitellia in La clemenza di Tito an der Opéra National du Rhin (Andreas Spering) in Strasbourg, Feuersnot in der Carnegie Hall, Contessa in Le nozze di Figaro an der Staatsoper Hamburg, Mimi in La bohème an der Oper Köln, Donna Anna an der Bayerischen Staatsoper München sowie Contessa und Violetta jeweils an der Deutschen Oper Berlin.
Die Künstlerin begann erst als Stipendiatin und anschließend als Ensemblemitglied der Deutschen Oper Berlin, wo sie viele der wichtigen Rollen ihres Fachs sang, wie Pamina, Contessa und Micaela in Carmen. Gastengagements führten die Künstlerin immer wieder an die Oper Frankfurt (Contessa), als Donna Anna nach Miami, als Fiordiligi an die Semperoper Dresden, das Grand Théâtre de Génève, die Staatstoper Stuttgart, die Vlaamse Opera Antwerpen und die Opéra de Marseille, mit Konzerten und als Contessa nach Tokyo and Nagoya, als Gutrune in Götterdämmerung ans Gran Teatre del Liceu Barcelona.
Jacquelyn Wagner wurde 1981 in der Nähe von Detroit in eine Musikerfamilie geboren (ihr Vater war Hornist im Detroit Symphony Orchestra) und studierte an der Manhattan School of Music und an der Oakland University of Michigan und ist Gewinnerin zahlreicher internationaler Wettbewerbe, u.a. des Internationalen Gesangswettbewerbs ‚Francisco Vinas‘, des Gesangswettbewerbs ‚Renata Tebaldi‘ und des ‚Panasonic Voice‘-Wettbewerbs in New York in der Alice Tully Hall. Sie war Finalistin in Placido Domingos ‚Operalia 2008‘ und erhielt in zwei aufeinanderfolgenden Jahren jeweils eine Auszeichnung beim ‚Palm Beach Opera Jugend-Wettbewerb‘. Zudem erhielt die Künstlerin renommierte Stipendien wie die der ‚Jenny Lind Society‘ und des ‚Fulbright Study Grant‘.
photo: Harald Hoffmann
Ännchen
Narea Son
Soprano
Birthplace:
Seoul, South Korea
Studies:
Bachelor's degree at Seoul National University, master's degree opera and concert exam opera at Hochschule für Musik und Theater in Hamburg
Master class:
with bei Edita Gruberová, Jaume Aragall, Cheryl Studer, Mariella Devia, Thomas Quastoff, Edda Moser, Brigitte Fassbaender und Joyce DiDonato at Carnegie Hall in New York with Live Stream by Arte TV, et al.
Important parts:
Pamina (Erzittre, feiger Bösewicht!, Neufassung der Zauberflöte von J. Harneit), Marzelline (Fidelio), Zerlina (Don Giovanni), Katze Ivanka ( U.A. Katze Ivanka ), Ljusja (Moskau, Tscherjomuschki ), Marthe, Sorge, Seliger Knabe und Sopran Solo ( Szenen aus Goethes Faust), Taumännchen (Hänsel und Gretel), Echo (Ariadne auf Naxos), Oberto (Alcina), et al.
Stages:
Hamburgische Staatsoper, Theater Bremen, Sejong Center (Seoul Metropolitan Opera), Shanghai Grand Theater, Geumho-Konzerthalle, et al.
Cooperation with directors:
Achim Freyer, Philipp Stölzl, Georges Delnon, Vera Nemirova, Philipp Himmelmann, et al.
Cooperation with conductors:
Kent Nagano, Alexander Joel, Johannes Fritzsch, Massimo Zanetti, Gregor Bühl, Christopher Moulds, Renato Palumbo, Axel Kober, Michele Gamba, et al.
Caspar
Andreas Bauer Kanabas
Bass
Birthplace:
Jena, Germany
Studies:
Singing in Weimar
Master class:
with Prof. Eugen Rabine, Paolo Barbacini, Robert Lloyd, Robert Gonnella, Oskar Hillebrandt
Important parts:
König Marke (Tristan und Isolde), König Filippo II. (Don Carlos), De Silva (Ernani), Sarastro (Die Zauberflöte), Mephisto (Faust), Escamillo (Carmen), Herzog Blaubart (Herzog Blaubarts Burg), Vodnik (Rusalka), Gremin (Eugen Onegin), Ibn Hakia (Iolanta), Claggart (Billy Budd), Daland (Der fliegende Holländer), König Heinrich (Lohengrin), Zaccaria (Nabucco), Eremit (Der Freischütz)
Stages:
Royal Opera House Covent Garden, Wiener Staatsoper, Opéra Bastille de Paris, Seattle Opera, New National Theatre in Tokio, Teatro Municipal Santiago de Chile, Opéra de Lyon, Lettische Nationaloper Riga, Semperoper Dresden, Berliner Staatsoper, Oper Frankfurt, Vlaamse Opera Antwerpen, Festival d’Opera de Québec, Festival de Perelada
Cooperations with conductors:
Daniel Oren, Claudio Abbado, Sir Colin Davis, Sir Simon Rattle, Daniel Barenboim, Sebastian Weigle, Ivan Fischer, Ádám Fischer, Andris Nelsons, Philippe Jordan, Pier Giorgio Morandi, Ingo Metzmacher, Gustavo Dudamel, Christian Thielemann, et al.
Find further information about Andreas Bauer Kanabas here.
photo: Kristaps Krikalns
Max
Eric Cutler
Tenor
Birthplace:
Adel (Iowa), USA
Studies:
Luther College, scholarship holder of the Trucker Music Foundation (2000-2001)
Prizes:
Metropolitan Opera National Council Auditions (1998), Houston Grand Opera Studio’s Eleanor McCallum Auditions (1999), Martin E. Segal Awards (2001), ARIA Award (2002), Richard Trucker Award (2005), graduate "Metropolitan Opera Lindemann Young Artist Development Program"
Important parts:
Lohengrin (Lohengrin), Bacchus (Ariadne auf Naxos), Hoffmann (Les Contes d'Hoffmann), Florestan (Fidelio), Apollo (Daphne), Florestan (Leonora), Adolar (Euryanthe), Don José (Carmen), Roméo (Roméo et Juliette), Radamès (Aida), Iopas in (Les Troyens), Georg (Der fliegende Holländer), Le Chevalier des Grieux (Manon), Hirte (Król Roger), Ein Sänger (Der Rosenkavalier), Andres (Wozzeck), Raoul de Nangis (Les Huguenots), Idomeneo (Idomeneo), Alfredo (La Traviata), Nadir (Les Pêcheurs de Perles), et al.
Stages:
Metropolitan Opera New York, Bayerische Staatsoper, Salzburger Festspiele, Royal Opera House Covent Garden, Teatro la Fenice, Lyric Opera of Chicago, La Monnaie, Teatro dell’Opera, Canadian Opera Company, Houston Grand Opera, Vlaamse Opera, Opera Australia, Grand Théâtre de Genève, Glyndebourne Festival, Paris Opera, Santa Fe Opera, Festival d‘Aix-en-Provence, English National Opera, Semperoper Dresden, Oper Stuttgart, Aalto-Musiktheater Essen, Teatro Real, et al.
Cooperations with directors:
Francesca Zambello, Kristoph Warlikowski, Olivier Py, Katie Mitchell, Christof Loy, Christoph Marthaler, Johannes Erath, et al.
Cooperations with conductors:
Ivor Bolton, Valery Gergiev, James Levine, Kazushi Ono, Marc Minkowski, Bernard Haitink, Marc Albrecht, Alain Altinoglu, Michael Boder, Sylvain Cambreling, Roland Kluttig, et al.
Find further information about Eric Cutler here.
Samiel
Max Simonischek
Samiel
N.N.
Violin
Biography will be published shortly.
Ein Eremit
Martin Summer
Basso
Birthplace:
Feldkirch, Austria
Studies:
Double bass as well as choral conducting and church music course at the Vorarlberger Landeskonservatorium, singing at the Kunstuniversität Graz
Master class:
with Luciana d’Intino, Julius Drake, Wolfram Rieger and Rudolf Jansen
Prizes / Scholarships:
Prize at the international Paula-Salomon-Lindberg-Liedwettbewerb (2015), Scholarship of the Armin-Weltner-Stiftung, Promotion Prize of the Chorverband Vorarlberg (2012)
Important parts:
Sarastro (Die Zauberflöte), Il Gran Sacerdote (Nabucco), Osmin (Die Entführung aus dem Serail), Colline (La Bohème), Podesta (Die Gezeichneten), Rocco und Minister (Fidelio), Goffredo (Il Pirata), Frère Laurence (Roméo et Juliette), Bartolo und Antonio (Le nozze di Figaro), Zuniga (Carmen), Il Commendatore (Don Giovanni), et al.
Stages:
Teatro alla Scala, Theater St. Gallen, Bregenzer Festspiele, Stadttheater Ingolstadt, Stadttheater Klagenfurt, Opernhaus Graz, Styriate Festival Graz, Brucknerfest Linz, et al.
Cooperation with directors:
Peter Stein, Jörg Lichtenstein, Dirk Schmeding, Alexander Nerlich, et al.
Cooperation with conductors:
Ádàm Fischer, Myung-Whun-Chung, Hartmut Keil, Karsten Januschke, et al.
photo: Otto Reiter
Kilian
Nicholas Mogg
Baritone
Birthplace:
Manchester, United Kingdom
Studies:
Clare College, University Cambridge (BA Hons Music; 2008–11)
Master class:
National Opera Studio, London – Young Artist (2018–19), Royal Academy of Music, London – Opera Course (2016–18), Royal Academy of Music, London – MA Vocal Studies (2014–16)
Prizes:
Royal Over-Seas League Singers’ Section (2017), Richard Lewis / Jean Shanks Award (2017)
Important parts:
Don Giovanni (Don Giovanni), Aeneas (Dido and Aeneas), Dandini (La Cenerentola), Steward (Flight), Herr Peachum (Die Dreigroschenoper), Melisso (Alcina), Jupiter (Orphée aux Enfers), Hausknecht (Der Rosenkavalier)
Stages:
Royal Academy Opera, English Touring Opera, Glyndebourne Festival Opera, West Green House Opera
Cooperation with directors:
Keith Warner, Tim Albery, Orpha Phelan, Richard Jones
Cooperation with conductors:
Robin Ticciati, Laurent Pillot, Sir John Eliot Gardiner, Ton Koopman, Sir Roger Norrington
photo: Tamara Sophie Grieß
Orchester
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 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.
photo: Foto: Felix Broede
Chor
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.
