Christoph Willibald Gluck | Orphée et Eurydice
Thursday 12. Nov. 2020, 7.30 pm - 10.00 pm
Alessandro De Marchi
Organ and composition at the Conservatorio di Santa Cecilia in Rome as well as harpsichord, chamber music and baroque performance practice at the Schola Cantorum Basiliensis in Basel
Premio Franco Abbiati, Preis der Deutschen Schallplattenkritik, ECHO Klassik, et al.
Specialist for historical performance practice, especially baroque, classical and early romanticism. His opera repertoire ranges from Monteverdi, Cavalli, Vivaldi and Handel to Keiser, Pergolesi and Hasse to Haydn, Mozart, Cimarosa, Rossini, Bellini and Donizetti.
Artistic Director of the Innsbrucker Festwochen der Alten Musik (since 2009)
Conductor of the Baroque Orchestra Academia Montis Regalis (1998 to 2018)
Teatro alla Scala, La Fenice, Théâtre des Champs-Elysées, Théâtre Royal de la Monnaie, Semperoper Dresden, Staatsoper Unter den Linden, Komische Oper Berlin, Staatstheater Stuttgart, Theater an der Wien, Opéra de Lyon, Oper Köln, Teatro San Carlo, Teatro Regio (Turin), Concertgebouw Amsterdam sowie Tourneen durch Kanada, Australien, Südamerika, Japan, et al.
Cooperation with orchestras:
Philharmonisches Staatsorchester Hamburg, Academia Montis Regalis, Zürcher Opernhausorchester, Wiener Symphoniker, Orchestre National de France, Orchestra sinfonica dell’Accademia di Santa Cecilia, Orchestra sinfonica dell’Accademia della Scala, Orchestra della Fenice, Orchestra del Maggio Musicale Fiorentino, NDR Radio Philharmonie, Münchner Rundfunkorchester, Staatskapelle Berlin, Essener Philharmoniker, Orchestre de Chambre de Genève, Radio Kamer Filharmonie Amsterdam, et al.
Find further information about Alessandro De Marchi here.
Studies with Helmuth Rilling in Frankfurt am Main
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
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
singing education at Hochschule für Kunst in Moskau
1st Prize at singing competition Neue Stimmen
Orfeo (Orfeo ed Euridice), Don Ramiro (La Cenerentola), Il Conte d Almaviva (Il Barbiere di Siviglia), Graf von Liebenskof (Il Viaggio a Reims), Lindoro (L’Italiana in Algeri), Don Narciso (Il Turco in Italia), Ernesto (Don Pasquale), Achille (Iphigénie en Aulide), Idreno (Semiramide), et al.
Théâtre des Champs-Elysées, Théâtre Royal de la Monnaie, Teatro Real, Glyndebourne Festival, Vlaamse Opera, Festival d´Aix-en-Provence, Teatro alla Scala, Teatro di San Carlo, Teatro La Fenice, Rossini Opera Festival, Los Angeles Opera, et al.
Zusammenarbeit mit Regisseuren:
Pier Luigi Pizzi, Giancarlo Del Monaco, Daniele Abbado, Sir Peter Hall, et al.
Cooperation with conductors:
Alberto Zedda, Bruno Campanella, Michail Jurowski, Claudio Scimone, Jesús Lopéz-Cobos, Riccardo Frizza, et al.
Find further information about Maxim Mironov here.
photo: Matilde Fassò
Bachelor of Music, Voice Performance (University of Manitoba School of Music); San Francisco Opera Merola Program, Lyric Opera of Chicago Ryan Opera Center
Opera Theater of St. Louis Mabel Dorn Reeder Award (2017), Neue Stimmen Competition (2009), Sullivan Foundation Encouragement Award (2007)
Marie (La Fille du Regiment), Valencienne (The Merry Widow), Euridice (Orphée et Eurydice), Adina (L’elisir d’amore), Gretel (Hänsel und Gretel), Pamina (Die Zauberflöte), Susanna (Le Nozze di Figaro), Zerlina (Don Giovanni), Lauretta (Gianni Schicchi), Pat Nixon (Nixon in China), Olympia (Les Contes d’Hoffmann), Miranda (The Enchanted Island), et al.
Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Canadian Opera Company, Los Angeles Opera, Washington National Opera, Dallas Opera, San Diego Opera, Opera Theater of St. Louis, Atlanta Opera, Glimmerglass Festival, Glyndebourne Festival, Chicago Opera Theater, Ravinia Festival, Lincoln Center White Lights Festival, Spoleto Festival USA, et al.
Cooperation with directors:
John Neumeier, Francesca Zambello, Susan Stroman, Bartlett Sher, Harry Bickett, et al.
Cooperation with conductors:
Sir Andrew Davis, Fabio Luisi, Peter Oundjian, Johannes Debus, et al.
photo: Chia Messina
Diploma with distinction at the Hochschule für Musik und Theater Munich under Prof. Gabriele Fuchs
Roger Vignoles, Helmut Deutsch, Wolfgang Katschner and Cornelia Kallisch
Federal prize winner of the competition "Jugend Musiziert" (2006) and finalist at the International Singing Competition for Baroque Opera "Pietro Antonio Cesti"
Deutschlandstipendium, sponsored by the organization Yehudi Menuhin Live Music Now and scholarship holder of the Christl und Klaus Haack Foundation
L’Amour (Orphée et Eurydice), Despina (Così fan tutte), Tamiri (Il re pastore), Almirena (Rinaldo), Morgana (Alcina), J. S. Bach „Weihnachtsoratorium“, Passionen und Kantaten, J. Haydn „Jahreszeiten“, W. A. Mozart „c-moll Messe“, Brahms „Ein deutsches Requiem“, Mendelssohn „Elias“, F. Martin „Et in terra pax“, et al.
Elbphilharmonie Hamburg, Wiener Musikverein, Wiener Konzerthaus, Tonhalle Zürich, Rudolfinum Prag, Tonhalle Düsseldorf, Konzerthaus Berlin, Auditorio Nacional de Madrid, Théatre du Chatêlet, Potsdamer Musikfestspiele Sanssouci, Innsbrucker Festwochen der Alten Musik, Schubertiade Hohenems, Münchener Biennale, Stuttgarter Musikfest, Trans-Sibirian Art Festival Novosibirsk, et al.
Cooperation with directors:
John Neumeier, Christoph von Bernuth, Olivier Fredj, Isabel Ostermann, et al.
Cooperation with conductors:
Kent Nagano, Thomas Hengelbrock, Jean-Christophe Spinosi, Hans-Christoph Rademann, Václav Luks, Alessandro de Marchi, Alexander Liebreich, et al.
photo: Shirley Suarez
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 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.