Gaetano Donizetti | Don Pasquale
Sun, May 29, 2022, 6.00 pm
Inszenierung
David Bösch
Director
Birthplace:
Lübbecke, Germany
Studies:
Theater and Film Direction at the Zurich University of the Arts
Prizes:
Montblanc Young Directors Award of the Salzburger Festspiele (2007)
Important productions:
“Manon” (Staatsoper Hamburg, 2021), “L´Elisir d´Amore” (Bayerische Staatsoper, 2020), “Die lustigen Weiber von Windsor” (Staatsoper Unter den Linden Berlin, 2019), “Die verkaufte Braut” (Bayerische Staatsoper, 2019), “Nabucco” (Semperoper Dresden, 2019), “Elektra” (Theater Basel, 2018), “Die tote Stadt” (Semperoper Dresden, 2017), “Romeo und Julia” (Schauspielhaus Bochum, 2017), “Così fan tutte” (Grand Théâtre de Genève, 2017), “Le nozze die Figaro” (Dutch National Opera, 2016), “Glaube Liebe Hoffnung” (Münchner Residenztheater, 2016), “Il trovatore” (Royal Opera House Covent Garden in London, 2016), “Die Gezeichneten” (Opéra de Lyon, 2015), “Peer Gynt” (Münchner Residenztheater, 2014), “Simon Boccanegra” (Opéra de Lyon, 2014), “Orlando furioso” (Oper Frankfurt, 2014), “Elektra” (Opera Vlaanderen, 2014), “L´Orfeo” (Bayerische Staatsoper, 2014), “Othello” (Schauspielhaus Bochum, 2014), “Zerbombt” (Schauspiel Stuttgart, 2014), “Orest” (Münchner Residenztheater, 2013), “Idomeneo” (Theater Basel, 2013), “Die Königskinder” (Oper Frankfurt, 2012), “Das schlaue Füchslein” (Bayerische Staatsoper, 2012), “Kleiner Mann – was nun?”, “Draußen vor der Tür” and “Der Diener zweier Herren” (Schauspielhaus Bochum, 2012), “Urfaust” (Myeongdong Nanta Theater in Seoul, 2011), “Mitridate, rè di Ponto” (Bayerische Staatsoper, 2011), “Die Ratten” (Schauspielhaus Bochum, 2011), “Die Ängstlichen und die Brutalen” (Deutsches Theater Berlin, 2011), “Was ihr wollt” und “Liebe ist ein hormonell bedingter Zustand” (Schauspiel Essen, 2010), “Der Sturm” (Schauspielhaus Bochum, 2010), “Das goldene Vließ” (Deutsches Theater Berlin, 2009), “Vor Sonnenaufgang” und “Viel Lärm um nichts” (Thalia Theater Hamburg, 2009), “alter ford escort dunkelblau” (Thalia Theater Hamburg, 2008), “A Clockwork Orange” (Schauspielhaus Zürich, 2008), “Antigone” (Schauspiel Essen, 2008), “Clavigo” (Thalia Theater Hamburg, 2007), “Kabale und Liebe” (Schauspielhaus Zürich, 2007), “Woyzeck” (Schauspiel Essen, 2007), “Der Streit” (Schauspielhaus Zürich, 2005), “Port” (Salzburger Festspiele, 2004)
Career stages:
Hausregisseur am Schauspielhaus Bochum (2010–2012), Hausregisseur am Schauspiel Essen (2005)
photo: Sandra Then
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.
Bühnenbild
Patrick Bannwart
Stage design
Birthplace:
Birmenstorf, Switzerland
Studies:
Akademie der Bildenden Künste Wien with Erich Wonder
Important productions:
„L’Elisir d’Amore“ (Bayerische Staatsoper), "Orfeo" (Bayerische Staatsoper), "Königskinder" (Oper Frankfurt), "Elektra" (Vlaamse Opera Antwerpen), "La Nozze di Figaro" (Nationale Opera Amsterdam), „Die tote Stadt“ (Semperoper Dresden)
Stages:
Thalia Theater Hamburg, Schauspielhaus Essen, Schauspielhaus Zürich, Berliner Ensemble, Burgtheater Wien, Residenztheater München Oper Frankfurt, Opéra de Lyon, Vlaamse Opera in Antwerpen, Royal Opera House Covent Garden, De Nationale Opera Amsterdam, Semperoper Dresden, Münchner Opernfestspiele
Cooperations:
David Bösch
photo: Patrick Bannwart
Kostüme
Falko Herold
Birthplace:
Schleswig-Holstein, Germany
Studies:
Stage design with Erich Wonder at the Academy of Fine Arts in Vienna
Important productions:
“Die lustigen Weiber von Windsor” (Staatsoper Unter den Linden, 2019), “L´Elisir d´Amore” und “Die Meistersinger von Nürnberg” (Bayerische Staatsoper, 2018), “Solaris” (Saarländisches Staatstheater, 2018), “Alcina” und “Cosi fan tutte” (Grand Théâtre de Genève, 2017), “Die tote Stadt” (Semperoper Dresden, 2017), “Die Frau ohne Schatten” (Landestheater Linz, 2017), “Idomeneo” (Opera Vlaanderen of Antwerp, 2016), “Die Gezeichneten” (Opéra de Lyon, 2014), “Urfaust” (Myeongdong Theater Seoul, 2011)
Career stages:
Lecturer at the Institute for Make-up at the Munich Theater Academy August Everding with Prof. Verena Effenberg (since 2016)
Lecturer at the Scenography class at the Academy of Fine Arts in Vienna (2001-2003)
Cooperations:
David Bösch, Axel Ranisch, Hermann Schneider, et.al.
Dramaturgie
Detlef Giese
Dramaturge
Birthplace:
Dessau, Germany
Studies:
Musicology, philosophy and history at the Humboldt University Berlin
Career stages:
Senior Dramaturge Staatsoper Unter den Linden (from 2015), Dramaturge for Music Theatre and Concert Staatsoper Unter den Linden (2008-2015), freelance author and concert editor at the Staatsoper Unter den Linden Berlin, at the Berliner Singakademie, lecturer of Schott Music, research assistant at the Musicology Seminar of the Humboldt-University Berlin (1998-2004)
Cooperations:
Daniel Barenboim, René Jacobs, Jürgen Flimm, Harry Kupfer, Dmitri Tcherniakov, Vera Nemirova, Eva-Maria Höckmayr, David Bösch et al.
Publications:
»Espressivo« versus »(Neue) Sachlichkeit«. Studien zu Ästhetik und Geschichte der Musikalischen Interpretation, Opernführer zu Verdis »Aida«, »Die kostbaren Augenblicke« - 275 Jahre Staatsoper Unter den Linden
photo: Peter Adamik
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.
Don Pasquale
Ambrogio Maestri
Baritone
Birthplace:
Pavia, Italy
Studies:
Singing and piano in Pavia, Italy
Important parts:
Falstaff (Falstaff), Lago (Otello), Renato (Un ballo in maschera), Don Carlo di Vargas (La forza del destino), Giorgio Belmont (La Traviata), Conte di Luna (Il trovatore), Amonasro (Aida), Rolando (La Battaglia di Legnano), Simon Boccanegra (Simon Boccanegra), Rigoletto (Rigoletto), Nabucco (Nabucco), Dulcamara (L'Elisir d'Amore), Baron Scarpia (Tosca), Alfio (Cavalleria rusticana), Tonio (Pagliacci), et al.
Stages:
Teatro alla Scala, Teatro Verdi in Busseto, Metropolitan Opera in New York, Opéra national de Paris, Royal Opera House Covent Garden, Wiener Staatsoper, Deutsche Oper Berlin, Arena di Verona, Puccini Festival Torre del Lago, Maggio Musicale Fiorentino, Opernhaus Zürich, Salzburger Festspiele, Bayerische Staatsoper, Gran Teatre del Liceu, Teatro Regio di Torino, Teatro dell'Opera di Roma, Dutch National Opera, Theatro Municipal de São Paulo, Teatro Colon in Buenos Aires, Lyric Opera of Chicago, Verdi Centennial, et al.
Cooperations with directors:
Giorgio Strehler, Franco Zeffirelli, Robert Carsen, Graham Vick, Peter Stein, Bob Wilson, Larent Pelly, Mario Martone, Hugo De Ana, Bartlett Sher, Ferzan Ozpetek, et al.
Cooperations with conductors:
Riccardo Muti, Zubin Mehta, Daniele Gatti, Daniel Oren, Fabio Luisi, Antonio Pappano, Jeffrey Tate, Nello Santi, Marcello Viotti, Marco Armiliato, Gianandrea Noseda, Renato Palumbo, Daniel Harding, et al.
Dottore Malatesta
Kartal Karagedik
Baritone
Birthplace:
Izmir, Turkey
Studies:
Singing in Izmir at the University of Istanbul, amongst others with Alper Kazancioglu and Prof. Güzin Gürel
Master classes:
with Giorgio Zancanaro, Paolo Ballarin, Barbara Frittoli, Luciana Serra and Alfonso Antoniozzi
Prizes:
First Prize at the Debut Competition (2012), Third Prize and Critics' Prize at the Ottavio Ziino Concorso Lirico Internazionale in Rome (2011), Second Prize at the Leyla Gencer Competition in Istanbul (2010), Second Prize at the Beniamino Gigli Competition in Rome (2009), "Best Male Singer" at the International Duchi d'Acquaviva Competition in Atri (2008), "Special Mention Prize" at the International Opera Competition in Como (2008), Third Prize at the Ferruccio Tagliavini Competition in Graz (2007), First Prize at the Güzin Gürel Foundation Lieder Competition in Istanbul (2007)
Relation to the Hamburg State Opera:
Ensemble member of the Hamburg State Opera since 2015/16
Important parts:
Renato (Un ballo in maschera), Rodrigo (Don Carlo), Germont (La Traviata), Simon Boccanegra (Simon Boccanegra), Onegin (Eugeny Onegin), Lescaut (Manon Lescaut), Marcello (La Bohème), Sharpless (Madama butterfly), Sonora (La Fanciulla del West), (Enrico (Lucia di Lammermoor), Duca D’alba (Duca D’alba), Belcore (L’Elisir d’Amore), Riccardo (I Puritani), Il Conte d‘Almaviva (Le Nozze di Figaro), Guglielmo (Così fan tutte), Don Giovanni (Don Giovanni), Carlo Gérard (Andrea Chénier), Mischonnet (Adriana Lecouvreur), Dandini (La Cenerentola), Poeta ( Il Turco in Italia), Chorébe (Les Troyens), Escamillo (Carmen), Valentin (Faust)
Stages:
Hamburgische Staatsoper, Opera Vlaanderen, Savonlinna-Opernfestspiele, Elbphilharmonie Hamburg, Puccini-Festival am Torre del Lago, Teatro Comunale di Bologna, Komische Oper Berlin, Theater Magdeburg, Theater Erfurt, Oper Leipzig, Staatstheater Braunschweig, Izmir State Opera, et al.
Cooperation with directors:
Georges Delnon, Stefan Herheim, Kirsten Harms, Herbert Fritsch, Michael Thalheimer, Guy Montavon, Carlos Wagner, Stefano Poda, et al.
Cooperation with conductors:
Kent Nagano, Stefano Ranzani, Ottavio Dantone, Eliahu Inbal, Roberto Rizzi-Brignoli, Christoph Prick, Valerio Galli, Andriy Yurkevych, Yves Abel, John Storgårds, Anthony Bramal, Ulf Schirmer, Manlio Benzi, Joana Mallwitz, Peter Feranec, et al.
photo: Maria Chabounia
Ernesto
Levy Sekgapane
Tenor
Geburtsort:
Kroonstad, Südafrika
Studium:
Operngesang am South African College of Music in Kapstadt bei Kamal Khan und Hanna van Niekerk
Meisterklassen:
bei Kobie van Rensburg
Auszeichnungen:
Erster Preis beim Belvedere Musikwettbewerb, erster Preis beim Monserrat Caballé Wettbewerb in Spanien
Wichtige Partien:
Conte d’Almaviva (Il Barbiere di Siviglia), Chevalier de la Force (Dialogues des Carmélites), Graf von Libenskof (Il Viaggio a Reims), Don Ramiro (La Cenerentola), 4. Knappe (Parsifal), Albazar (Il Turco in Italia), Nemorino (L’Elisir d’Amore), u. a.
Bühnen:
Cape Town City Hall, Semperoper Dresden, Scottish Opera, Cape Town Opera, Opernhaus Chemnitz, Theater Krefeld, Rossini Opera Festival, Aalto-Theater Essen, Opernhaus Oslo, Hamburgische Staatsoper, Oper Kopenhagen, Teatro dell’Opera di Roma, Deutsche Oper Berlin, Bayerische Staatsoper, Königliche Oper Kopenhagen, Pariser Oper, Staatstheater Wiesbaden, Opera di Firenze, Elbphilharmonie Hamburg, Donizetti Festival, Gran Teatre del Liceu, u. a.
Zusammenarbeit mit Regisseuren:
Davide Livermore, Damiano Michieletto, Silvia Paoli, Laurent Pelly, Annabel Arden, u. a.
Zusammenarbeit mit Dirigenten:
Kamal Khan, James Conlon, Speranza Scappucci, Thomas Søndergård, Bruno Dal Bon, Alessandro De Marchi, Marc Leroy-Calatayud, Rafael Payare, u. a.
Norina
Rosa Feola
Soprano
Birthplace:
Caserta, Italy
Prizes:
2nd Prize, Audience Prize, and Zarzuela Prize at Plácido Domingo World Opera Competition (2010)
Important parts:
Gilda (Rigoletto), Lauretta (Gianni Schicci), Norina (Don Pasquale), Adina (L’Elisir d’Amore), Zerlina (Don Giovanni), Musetta (La bohème), Lucia (Lucia di Lammermoor), Susanna (Le Nozze di Figaro), Nanetta (Falstaff), Leila (Les Pecheurs de Perles), Corinna (Il viaggio a Reims), Michaela (Carmen), Elvira (I Puritani), Ninetta (La gazza ladra), Amina (La Sonnambula), et al.
Stages:
Teatro alla Scala, Metropolitan Opera, Opernhaus Zürich, Salzburger Festpsiele, NCPA Beijing, Wiener Staatsoper, Glyndebourne Opera Festival, Lincoln Center, Bayerische Staatsoper, Philharmonie Luxembourg, Cité de la Musique in Paris, Lyric Opera Chicago, Teatro di San Carlo, Theater Basel, Teatro dell’Opera di Roma, Chicago Symphony Center, Teatro Regio Torino, Teatro la Fenice, Royal Opera House Muscat, Queen Elizabeth Hall London, et al.
Cooperation with directors:
Lotte de Beer, Oliver Py, Michael Mayer, Fredrick Wake-Walker, Simon Stone, Otto Schenk, Arpad Schilling, et al.
Cooperation with conductors:
Kiril Petrenko, Louis Langrée, Riccardo Muti, Nicola Luisotti, Daniel Oren, Riccardo Chailly, Bertrand de Billy, Adam Fischer, Jonathan Cohen, Thomas Hengelbrock, Giampaolo Bisanti, et al.
Notario
Jóhann Kristinsson
Baritone
Origin:
Iceland
Studies:
Akademie für Gesang und vokale Kunst in Reykjavik bei Bergþór Pálsson (2009-2013); Masters at Hochschule für Musik „Hanns Eisler“ with Prof. Scot Weir (2015); lessons with KS Prof. Thomas Quasthoff, Prof. Wolfram Rieger and Prof. Júlia Várady
Master class:
with Thomas Hampson, Helmut Deutsch, Graham Johnson, Christian Geraher, Giacomo Aragall, et al.
Prizes:
Winner Stella Maris Vocal Competition (2019), Icelandic Music Award in the category “Most Promising Young Artist”, nominated for “Singer of the Year” and “Musical Event of the Year” (2018), 3rd Prize and audience award at the competition ”Das Lied” in Heidelberg (2017), Finalist International Robert-Schumann-Wettbewerb für Klavier und Gesang Zwickau (2016)
Important parts:
Eugen Onegin (Eugen Onegin), Miriways (Miriways), Christiano (Un Ballo in Maschera), Fiorillo (Il Barbiere di Siviglia), Morales (Carmen), Il Barone Douphol (La Traviata), Il Commissario Imperiale (Madama Butterfly), Zweiter Handwerksbursch (Wozzeck), Hiroto (Stilles Meer), Marullo (Rigoletto), Un Sergente degli Arcieri (Manon Lescaut), Rupert/Jäger/Königssohn (Schneewittchen), Happy (La Fanciulla del West), et al.
Stages:
Hamburgische Staatsoper, Pierre Boulez Saal, Heidelberger Frühling, Oxford Lieder Festival, Dresdner Musikfestspiele, Icelandic Opera, et al.
Cooperation with directors:
Vera Nemirova, Birgit Kajtna, Holger Liebig, et al.
Cooperation with conductors:
Herbert Blomstedt, Kent Nagano, Stefano Ranzani, Roberto Rizzi-Brignoli, Christoph Gedschold, Carlo Rizzari, Pier Giorgio Morandi, Josep Caballé-Domenech, et al.
Find further information about Jóhann Kristinsson here.
photo: Álfheiður Erla Guðmundsdóttir
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.
