Gaetano Donizetti | L'Elisir d'Amore
Thu 25. Mar. 2021, 7.30 pm - 10.00 pm
Musikalische Leitung
Matteo Beltrami
Conductor
Birthplace:
Genoa, Italy
Studies:
Musical Conduction at Conservatorio Giuseppe Verdi in Milan, Violin at Conservatorio Niccolò Paganini in Genoa
Repertoire:
From Baroque to contemporary opera, mainly Italian opera repertoire (Rossini, Bellini, Donizetti, Verdi, Puccini, Giordano, Leoncavallo, Mascagni, Nino Rota, Ciro Menotti) and Mozart
Career stages:
Music Director of the Teatro Coccia in Novara since 2016
Stages:
Semperoper Dresden, Staatsoper Stuttgart, Aalto Theater Essen, Staatstheater Darmstadt, Theater Lübeck, Teatro Arriaga de Bilbao, Spoleto Festival in Charleston, Opéra de Montpellier, Paphos Opera Festival, Opera di Firenze, Teatro La Fenice di Venezia, Teatro di San Carlo di Napoli, Teatro Massimo di Palermo, Teatro Carlo Felice di Genova, Teatro Filarmonico di Verona, Teatro Verdi di Trieste, Teatro Regio di Parma, Teatro Municipale di Piacenza, Teatro Municipale Valli di Reggio Emilia, Teatro Massimo Bellini di Catania, Teatro Coccia di Novara, et al.
Cooperation with orchestras:
Sächsische Staatskapelle Dresden, Symphony Orchestra of Goyania, National Philharmonic Orchestra of Latvia, Nordwestdeutsche Philharmonie, State Orchestra of Hermitage, Philharmonic Orchestra of St. Petersburg, Orchestra i Pomeriggi Musicali di Milano, Orchestra Giovanile Luigi Cherubini, et al.
Chor
Christian Günther
Associate Chorus Master
Birthplace:
Freiburg im Breisgau, Germany
Studies:
Conducting at University of Music and Performing Arts Munich, conducting lessons with Neeme Järvi, Jorma Panula and Gianluigi Gelmetti
Relation to the Hamburg State Opera:
Assistant Chorus Master at Hamburg State Opera since the 2019/20 season
Career stages:
Assistant of the Chorus Master at Hamburg State Opera (2008-2019), regular guest appearances at NDR-Chorus (since 2018), Guest Chorus Master at Zürich Opera House (2018), Assistant of Eberhard Friedrich with the Chorus of the Bayreuth Festival (2017), Guest engagements at Music Festival Bremen, at Festival der Projektgruppe Neue Musik Bremen as well as at Oh Ton-Ensemble Oldenburg, Leader of the Ensemble “Atelier Neue Musik”, Lectureship at the Hochschule für Künste Bremen (since 2007), Associate Chorus Master and Leader of the children's chorus at Theater Bremen (2002-2007), 2nd Capellmeister at Theater Bremen (2005-2007), Conductor of the Ensemble “piano possible” Munich (1996-2007), Guest répétiteur at Stuttgart State Theater, Theater am Gärtnerplatz in Munich and at the Biennale in Munich
Cooperation with choruses:
Chorus of Hamburg State Opera, NDR Chorus, Children's chorus of Theater Bremen, et al.
Adina
Danielle De Niese
Danielle de Niese ist die jüngste Sängerin, die in das Lindemann Young Artist Development Program der Metropolitan Opera aufgenommen wurde und debütierte dort mit 19 Jahren als Barbarina in »Le Nozze di Figaro« in einer Neuproduktion von Jonathan Miller. Internationale Aufmerksamkeit wurde der jungen amerikanischen Sopranistin mit ihrem Debüt beim Glyndebourne Festival als Cleopatra in David McVicars Produktion von Händels »Giulio Cesare« zuteil.
Seitdem ist sie auf vielen international bedeutenden Opernbühnen zu Gast, wie der Opéra Bastille Paris, dem Royal Opera House Covent Garden, Der Nederlandse Opera in Amsterdam, dem Teatro Real Madrid, der San Francisco Opera und der Lyric Opera Chicago. Auftritte hatte die Sopranistin unter anderem auch mit den New York Philharmonics, dem Cleveland Orchestra, dem National Symphony Orchestra und der Academy of St. Martin in the Fields.
Außerdem konnte Danielle de Niese im Rahmen ihrer Engagements mit zahlreichen bekannten Dirigenten zusammenarbeiten, beispielsweise Sir Charles Mackerras, Kurt Masur, Seiji Ozawa, Nicola Luisotti, Sir Andrew Davis, William Christie, Christophe Rousset und Marc Minkowski.
In der Saison 2011/12 war sie zu hören als Ariel in der Weltpremiere von »The Enchanted Island« an der Metropolitan Opera New York. Außerdem debütierte Danielle de Niese am Theater an der Wien als Atalanta in Händels »Xerxes« und als Norina in »Don Pasquale« an der San Diego Opera. Danach führte ihr Weg wieder nach Europa, wo sie ihr Debüt in Brüssel als Adele in »Die Fledermaus« gab.
In der Saison 2012 singt Danielle de Niese Titelpartien in »L’incoronazione di Poppea« am Teatro Real in Madrid, in »Semele« am Théâtre des Champs-Elysées und »Rodelinda« am Theater an der Wien. An der Hamburgischen Staatsoper gibt Danielle de Niese 2012 ihr Debüt als Susanna in »Le Nozze di Figaro«.
Foto: Decca / Chris Dunlop
Nemorino
Xabier Anduaga
Tenor
Birthplace:
San Sebastian, Spain
Studies:
Musikene College of Music, Basque Country; study with Elena Barbé
Master class:
with Ernesto Palacio, Alberto Zedda, Ana Luisa Chova and Juan Diego Flórez
Prizes:
Prizes at Francisco Viñas-singing competition
Important parts:
Cavaliere Belfiore (Il Viaggio a Reims), Don Ramiro (La Cenerentola), Adraste (Le siège de
Corinthe), Lord Arturo (Lucia di Lammermoor), Il Conte d'Almaviva (Il Barbiere di
Siviglia), Fenton (Falstaff), Lindoro (L'italiana in Algeri), Ernesto (Ricciardo e Zoraide),
Leicester (Il Castello di Kenilworth), Nemorino (L’ elisir d’ amore)
Stages:
Accademia Rossiniana, ABAO – Asociación Bilbaína de Amigos de la Ópera, Teatro Rossini, Opéra de Limoges, Teatro Filarmonico di Verona, Théâtre des Champs Elysées, Mikhailovsky Theatre, Auditorio Nacional in Madrid, Teatro Colón, Rossini Opera Festival in Pesaro, Donizetti Opera Festival, Teatro Verdi in Padua, National Centre for the Performing Arts in Beijing, Opéra national de Paris, Teatro Regio di Torino, Teatro Principal in Palma de Mallorca, Palau de les Arts in Valencia, Oper Dallas, Opera de Rouen, Müpa Budapest
Cooperation with directors:
Pier Francesco Maestrini, Carlus Padrissa, Matteo Mazzoni, Joan Anton Rechi, Marshall Pynkoski, Maria Pilar Pérez Aspa, Renato Bonajuto, José Martret, Alessandra Panzavolta, Vittorio Borrelli, Jean-Louis Grinda, Joan Anton Rechi, et al.
Cooperation with conductors:
Alberto Zedda, Riccardo Frizza, Giacomo Sagripanti, Roberto Abbado, Ivan Fischer, Antonello Allemandi, Gabriele Bebeselea, José Miguel Pérez Sierra, et al.
Find further information about Xabier Anduaga here.
Belcore
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.
Dulcamara
Tigran Martirossian
Bass
Birthplace:
Yerevan, Armenia
Studies:
Musical studies at the Gnessin State Academy of Music with Prof. Artur Eizen and Prof. Pavel Lisitsian
Prizes:
Prize winner of nine international singing competitions, inter alia, second prize in the “Neue Stimmen” Competition in Gütersloh (1997), second prize in the 2nd International Singing Competition in Shizuoka (2000), first prize in the Ondina Otta Competition in Marburg (1999)
Relation to the Hamburg State Opera:
Ensemble member of the Hamburg State Opera since 2005/06
Important parts:
Ramfis (Aida), König René (Jolanthe), Salieri (Mozart und Salieri), Fiesco (Simon Boccanegra), Dulcamara (L’Elisir d’Amore), Figaro (Le Nozze di Figaro), Sulpice (La Fille du Régiment), Colline (La Bohème), Basilio (Il Barbiere di Siviglia), Selim (Il Turco in Italia), Banco (Macbeth), Pagano (I Lombardi alla prima Crociata), Daland (Der fliegende Holländer), Dossifei (Chowanschtschina), Fasolt (Das Rheingold), Rodolfo (La Sonnambula), Raimondo (Lucia di Lammermoor) Don Magnifico (La Cenerentola), Philippe II (Don Carlos), Méphistophélès (Faust), Fürst Galizky (Fürst Igor), Ein Eremit (Der Freischütz), Doktor (Wozzeck), Oroveso (Norma) , Pimen (Boris Godunov), et al.
Stages:
Novaya Opera Theatre of Moscow, Bolshoi Theatre, Metropolitan Opera, Teatro alla Scala, Opéra National de Paris, Teatro Real in Madrid, Bayerische Staatsoper, Wiener Staatsoper, Maggio Musicale Fiorentino, Salzburg Festival, Theater an der Wien, Bregenz Festival, Staatsoper Unter den Linden Berlin, Royal Opera House Covent Garden, Opéra Bastille, St. Galler Festspiele, et al.
Cooperation with directors:
Achim Freyer, Yona Kim, Jochen Biganzoli, David Alden, Andreas Homoki, Vincent Boussard, Stefan Herheim, Florentine Klepper, Francesca Zambella, et al.
Cooperation with conductors:
Sir Colin Davis, Zubin Mehta, James Levine, Mstislav Rostropovich, Carlo Rizzi, Simone Young, Plácido Domingo, Kent Nagano, Sylvain Cambreling, Valery Gergiev, Michel Plasson, Jukka-Pekka Saraste, Michael Tilson-Thomas, Daniel Oren, Mark Wigglesworth, Philippe Jordan, Daniele Callegari, Riccardo Frizza, et al.
Find further information about Tigran Martirossian here.
Giannetta
Sujin Choi
Soprano
Birthplace:
Daegu, Republic of Korea
Studies:
Bachelor and Master of Music at Kyungpook National
Master class:
with Kwangchul Youn (2020), Heran Hong (2018), Sunyoung Seo (2018), Samuel Yoon (2017)
Prizes:
Young artist by selection of Deagu Operahouse Opern-Studio (2019), 1st prize at competition of Ubong-art of Daegu (2017), 2nd prize at competition of strings in Daegu (2017), 2nd prize at competition of Music association of Daegu (2017), 2nd prize at Italian organization vocal contest in Seoul (2015)
Relation to the Hamburg State Opera:
Member of the International Opera Studio of the Hamburg State Opera since season 2020/21
Important parts:
Susanna (Le Nozze di Figaro), Erste Dame (Die Zauberflöte), Adina (L’Elisir d’Amore), Papagena (Die Zauberflöte), Adele (Die Fledermaus), Musetta (La Bohème)
Stages:
Deagu Operahouse, Keimyeong Art Center, Kyungpook National University concert hall, Su-sung Artpia
Cooperation with directors:
Hendrik Müller, Thilo Reinhardt, et al.
Cooperation with conductors:
Davide Perniceri, Julien Salemkour, et al.
photo: Jörn Kipping
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.
