Bernhard Lang | Playing Trump
Fri, Aug. 20, 2021, 8.00 pm
Georges Delnon was born in 1958 in Zurich. He studied history and art history at the Universities of Bern and Friborg as well as composition and music theory at the Bern Conservatory. Positions as assistant director, including works with Jean-Pierre Ponnelle, Götz Friedrich and Giorgio Strehler, completed his training.
This was followed by the first opera and theater productions such as "Carmen" and "Fledermaus" at the Frankfurt Opera, "Dido" in Toulouse, "Rape of Lucretia" in Dusseldorf and Basel, "Fräulein Julie" in Essen, "La Griselda" (Vivaldi) in Geneva, "Junge Lord" (Henze), "Maria Stuart" and "Ezio" for the Händel Festival in Karlsruhe, "Schwarze Spinne" (Sutermeister), "Das Lachen der Schafe " (Demierre) and "König für einen Tag" (Grünauer) for the Lucerne Festival in Switzerland. In 1996, he took over his first artistic directon at the Theater of the City of Koblenz and became co-founder of the Koblenz fortress games. From 1999-2006, he became Artistic Director of the Staatstheater Mainz, where numerous works were created. Among other things, the reopening of the Great House was broadcasted live on 3Sat in 2001 with the staging of the opera "Saul" by G. F. Händel.
Other works as director during this period include "Il figlio delle selve" by Ignaz Holzbauer for the Schwetzinger Festspiele and the Féstival Radio France Montpellier. In addition, Georges Delnon appeared as an actor in the movie “HEIMAT 3” by Edgar Reitz.
In 2004, he directed the world premiere of Mark André, "22.13", for the Munich Biennale, the Festival d'Automne à Paris and the Opéra National de Paris. In 2005 and 2006, he staged the world premiere "Zaubern" by Frederik Zeller and the baroque opera "Proserpina" by Joseph Martin Kraus for the Schwetzinger Festspiele.
From 2006 to 2015, Georges Delnon has been director of the Theatre Basel, Switzerland's largest three-party house. Under his leadership, the theatre became Opera House of the Year in the Opernwelt Critics Survey twice, in 2009 and 2010. In 2010, he directed Giuseppe Verdi's TV production "Aida am Rhein", which was broadcasted live on Swiss television and on 3Sat.
In 2012, he directed the world premiere of Alfred Zimmerlin's music theatre "Das Licht" for the Lucerne Festival and in 2013 "Anschlag", also for the Lucerne Festival and märz musik Berlin.
From 2009 to 2016, Georges Delnon was Artistic Director of the Music Theatre of the Schwetzinger SWR Festival. The two world premieres "Proserpina" in 2009 and "Koma" in 2016 were honored in the critics' poll of the opera world as "premiere of the year".
Since 2015, he is the Artistic Director of the Hamburg State Opera and the Hamburg Philharmonic State Orchestra. Under his leadership, Alban Berg's "Lulu" is voted "Performance of the Year" in the critics' survey of the opera world in 2017, and director Christoph Marthaler receives the Faust Prize for this production. In the summer of 2018, Georges Delnon's Hamburg staging of the Zauberflöte for young people "Erzittre, feiger Bösewicht", was screened in Shanghai. In 2019 he staged the chamber opera "THERÈSE", which was premiered at the Salzburg Easter Festival and celebrated its German premiere in the Recital Hall of the Elbphilharmonie at the Hamburg International Music Festival.
photo: Peter Schnetz
Born in Buenos Aires, Italian conductor and composer Emilio Pomarico is today considered one of the leading interpreters of contemporary music. He appears regularly at the most important international music festivals, as well as prominent opera and concert institutions across Europe and beyond.
A fervent advocate of young generations of composers, Emilio Pomarico has so far dedicated large part of his career to premiering the works of the newest names of contemporary music. He has also built deep and lasting bonds with some of the greatest composers of our time, conducting many momentous world premieres of their works. These include, to name a few, Emmanuel Nunes’ Quodlibet in Lisbon (1991), Omnia Mutantur Nihil Interit in Paris (1994) and Musivus in Lisbon (1996); the entire cycle of Luigi Nono’s Caminantes in Paris (1999); Wolfgang Rihm’s Seraphin Symphonie in Donaueschingen (2012); Georg Friedrich Haas’ opera Melancholia at Opera Garnier in Paris (2008), his Concerto for Baritone Saxophone and Orchestra in Cologne (2008), as well as Ich suchte, aber ich fand ihn nicht in Munich (2012). After performing the entire cycle of Brian Ferneyhough Carceri d’Invenzione in Geneva, Basel and Paris (1996), Pomarico also premiered Finis Terrae at Opera Bastille in Paris (2012). Hans Zender entrusted him with the premiere of his Logos Fragmente at the Berlin Philharmonie, recorded and released by WERGO (2013). Invited by the Teatro Colon in his native Buenos Aires, Emilio Pomarico gave a successful first performance for Latin America of Luciano Berio’s Coro (2014).
Over the past decade, Emilio Pomarico has worked closely with Greek composer Georges Aperghis, premiering many of his notable works across Europe. These include Teeter-Totter (2008) and Situations (2013) with Klangforum Wien at the Donaueschingen Musiktage, Etudes Pour Orchestre I-IV at the Cologne Philarmonie (2013), and Etudes Pour Orchestre V-VI and Concerto pour Accordeon with BRSO at the Musica Viva Festival (2015 and 2016 respectively). The Etudes Pour Orchestre and the Concerto pour Accordeon were recorded and published by NEOS in their Musica Viva Vol. 28 (2017). Most recently, Emilio Pomarico led the world premiere of Aperghis’ Migrants with Ensemble Resonanz at MaerzMusik in Berlin (2018).
Appointed conductor in residence by Resonanz Ensemble in Hamburg for 2017 and 2018, Pomarico was invited to inaugurate the Elbphilharmonie Kleiner Saal through its opening concert in January 2017. The program included the premiere of George Friedrich Haas’ Release, followed by Alban Berg’s 7 frühe Lieder and Béla Bartók’s Music for Strings, Percussions and Celesta.
Emilio Pomarico is also greatly involved in opera productions. At Ruhrtriennale, for instance, he led the HR-Sinfonieorchester in Helmut Lachenmann’s Das Mädchen mit den Schwefelhölzern staged by Robert Wilson (2013), as well as Morton Feldmann’s Neither staged by Romeo Castellucci (2014). The following year, he conducted a greatly acclaimed Wozzeck at Opera de Dijon, with the SWR Baden Baden&Freiburg Symphony Orchestra (2015). At Wiener Festwochen, he led Klangforum Wien in a new production of Salvatore Sciarrino’s Luci mie traditrici, staged by Achim Freyer (2016). He premiered Johannes Maria Staud’ Specter of the Gardenia oder Der Tag wird kommen with Ensemble Modern at the Steirischer Herbst Festival in Graz (2016). Opening the Aix en Provence International Music Festival 2017, he conducted a critically praised premiere of Philippe Boesmans’ new opera Pinocchio, staged by Joël Pommerat. Christian Spuck’s new production of Zender’s Winterreise under Emilio Pomarico’s musical direction was also greatly acclaimed at the Zürich Opera (2018). In Autumn 2019, Emilio Pomarico led the Radio France Philharmonic Orchestra in the premiere of Francesco Filidei’s L’inondation, staged by Joël Pommerat at Opera Comique in Paris. In February 2020, he premeired Brice Pauset’s Les Châtiments at the Opera de Dijon.
Find further information about Emilio Pomàrico here.
photo: François VOLPE
„Weine nicht, singe“ (Hamburg State Opera, 2015), „Aspekte der Kreativität“ (Hamburg Ballet, 2015 / 2016), „Erzittre, feiger Bösewicht“ (Hamburg State Opera 2017), „Il Ritorno d‘Ulisse in Patria“ (Hamburg State Opera, 2017), „Sinfonie der Tausend“ (Elbphilharmonie, 2017), „Frankenstein“ (Hamburg State Opera / Kampnagel, 2018), „Nabucco“ (Hamburg State Opera, 2019), „Thérèse“ (Salzburg, 2019), et al.
Lighting Master at the Hamburg State Opera / opera stabile (since 2008) and Deputy Head of Lighting (since 2017)
Jette Steckel, George Delnon, Willy Decker, Philip Stölzl, John Neumeier, u. a.
Klaus-Peter Kehr ist ein deutscher Dramaturg, Theaterwissenschaftler und Intendant.
Nach seinem Studium an der Universität Wien war er zunächst primär als Musiktheater-Dramaturg tätig, ab 1971 an der Kölner Oper, später in Bonn. Von 1991 bis 2002 verantwortete er das Musikprogramm der Wiener Festwochen. 1994 übernahm er darüber hinaus die künstlerische Leitung des Musiktheaters der Schwetzinger SWR Festspiele, die er bis 2008 ausübte.
Eine jahrzehntelange Zusammenarbeit verbindet ihn mit dem Regisseur Achim Freyer. Neben seinen Aktivitäten an deutschen Musiktheatern lehrte er an Musik- und Theaterhochschulen, so unter anderem an der Staatlichen Akademie der bildenden Kunst in Stuttgart, an der Universität Wien, an der Folkwang Hochschule in Essen sowie an der Hochschule der Künste Berlin.
Von 2005 bis 2016 war Klaus-Peter Kehr Operndirektor am Nationaltheater Mannheim.
Violin, Piano Nantes Conservatory
Lyrical singing Paris National Conservatory (CNSMDP)
chamber music and lieder Salzburg Mozarteum
Vocal Jazz at Paris National Conservatory (CNSMDP)
With Lorraine Nubbar, Daniel Ferro, Rachel Yakar, Noelle Barker, Paul von Schilhawski, Gian Franco Brizzio
Vocal Prize Paris National Conservatory (CNSMDP)
Honored as Chevalier des Arts et Lettres
Lifetime achievement award Grand Prix in Honorem from The French Academy Charles Cros (2016)
General Director of National Center for Musical Creation- CNCM/CIRM (Nice, south France, 2021)
Semele (Semele) , Freia (Das Rheingold), Gutrune (Götterdämmerung), la statue (Pygmalion), Asteria (Tamerlano), Despina (Cosi fan tutte), Cherubino (Le Nozze di Figaro), Frasquita (Carmen), Sophie (Werther), Phanie (les Indes Galantes), la folie (Platée), Sophie (Rosenkavalier)
Musikfest Berlin, Festival d’Automne- Paris, Berliner Philharmonie, Konzerthaus-Wien, Salzburg Festival, Theater an der Wien, Teatro Colon- Buenos Aires, Opera Bastille-Paris, Opéra Garnier -Paris, Carnegie Hall-New York
Cooperations with directors:
Ivo van Hove, Wiliam Kentridge, Alfredo Arias, Philippe Beziat, Vincent Huguet, Eric Oberdorff
Cooperations with conductors:
Pierre Boulez, François-Xavier Roth, Sylvain Cambreling, Daniel Barenboim, Emilio Pomarico, Simon Rattle, Bas Wiegers
photo: Astrid Ackerman
Mitglieder des Philharmonischen Staatsorchesters 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