opera in the quarry
The mysterious Princess Turandot requires any man who wishes to propose to her and thus sit on the throne next to her, to solve three riddles. Those who fail to solve the riddles lose their lives under the inexorable sword of the executioner. The shed blood of hundreds of suitors soaks the streets of Beijing, the Chinese people groan under the tyrannical rule of the ice-cold princess. All hopes rest on a nameless prince, who one day, with his old blind father and his unconditional follower Liù, comes from the distant realm of the Tartars to the palace of the dreaded virgin ruler. Miraculously, he solves Turandot‘s diabolical riddles. When she refuses to extend her hand for the Tartar prince, he asks the restive princess a riddle himself: she shall call him his name, which nobody knows. Turandot pulls out all the stops of her power and imposes a ban on her people not to sleep until the stranger’s name is found ...
„Nobody shall sleep - Nessun dorma!“, with this, the famous aria of the prince begins. He sings about the dreaded Turandot and his ever growing flame of love for this merciless and fascinating woman. Giacomo Puccini succeeded in producing one of the best-known and most popular arias in opera literature, a masterpiece for every dramatic tenor. With a dazzling and dramatically blazing music full of stirring melodies, the Maestro from Lucca takes us into the distant and exotic fairytale worlds of the moon-cold princess. Puccini‘s glistening and mysteriously jagged sounds find their ideal echo in the rugged rocky landscape of the St. Margarethen Quarry. The enigmatic Turandot is one of the most demanding operatic roles of all, and hardly any music is as close to our hearts as the moving pleas and complaints of the sacrificing Liù. Giacomo Puccini ignites a true whirlwind of emotions, in which even the cold heart of the icy princess is melted by the fire of love.
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Giuseppe Finzi holds degrees in Piano (Conservatorio N. Piccinni in Bari), in Orchestra Conducting and Chamber Vocal Music (Conservatorio G. Verdi in Milan) and a Master in Conducting (Accademia Chigiana in Siena). After a long experience in the music staff of the Teatro alla Scala, where he worked alongside Riccardo Muti and the most important names of the international scene, Giuseppe Finzi started his career of conductor making his debut in 2003 with Tosca, which was followed by productions of La Traviata, LElisir damore, Madama Butterfly, Rigoletto, Carmen and Così fan tutte (the latter at the Piccolo Teatro-Milano with the soloists and the orchestra of the Accademia del Teatro alla Scala).
In 2008 he made his debut at the San Francisco Opera, conducting La Bohème, and began an important collaboration with this opera house, becoming Resident Conductor from 2011 to 2015. During the seasons at the San Francisco Opera he conducted, amongst the other: Aida, Turandot, Entführung aus dem Serail, Faust, La Fanciulla del West, Carmen, Tosca, Rigoletto, La Traviata, Madama Butterfly as well as series of symphonic concerts; in the latter seasons he conducted new productions of Il Barbiere di Siviglia, La Bohéme and Don Pasquale with great success both of critics and public.
In 2012 Carmen at the Deutsche Oper Berlin marked his German debut and the beginning of an international career followed by The Nutcracker and L’Elisir d’Amore at the Teatro San Carlo-Naples; new productions of Idomeneo at the Theater Lübeck; Rigoletto at the Teatro Massimo-Palermo; Madama Butterfly at the Teatro Petruzzelli in Bari; the return to the Deutsche Oper Berlin with Carmen, that he also conducted in Menorca; Il Barbiere di Siviglia and La Fille du Régiment at the Liceu of Barcelona; Il barbiere di Siviglia at the La Maestranza in Sevilla; Turandot at the Bregenz Festival; Nabucco at the Opéra in Monte Carlo; Les Pêcheurs de perles, Pagliacci e Il Tabarro at the Korean National Opera.
Recently he conducted the European Première of La Ciociara, contemporary opera by Marco Tutino, at the Teatro Lirico in Cagliari Madama Buttrfly at the Aalto-Musiktheater in Essen and a new production of Rossinis La Cenerentola in Ancona Les pêcheurs de perles at the Nice Opéra.
Future plans: Cavalleria Rusticana and Pagliacci in Genoa; La Bohème (in Oman) and La Traviata with the Monte Carlo Opéra; Madama Butterfly in Madrid and San Sebastian; La Bohème in Essen; Turandot in Darmstadt; series of concerts in Sevilla.
Paul Tate dePoo
Paul Tate dePoo III is an international scenic and production designer and the founder of Tate Design Group, establishing himself as “one to watch” in production and design. dePoo’s exquisitely bold and aesthetically balanced design aesthetic combined with his commitment to excellence and attention to detail helps bring the stage to life in each of his works. In 2015, the New York Times described dePoo’s design for R.B. Schlather’s production of the Handel opera Alcina as “ingenius.” Live Design Magazine also named him the ‘2015s Designer to Watch.’
dePoo founded his Tate Design Group studio in 2012, with a mission to create worlds that help to tell a complete story while also pushing the standard with an impeccable balance of beautiful design and performance. Tate Design Group caters to serve beyond the industry standard of theatre, to music, events, film, restaurants, and hospitality.
dePoo began his career assisting under the wing of Tony Award-winning designer David Zinn as well as Michael Cotton on the design of Michael Jackson’s This Is It at the O2 Arena in London. From there, dePoo went on to work on a number of award-winning productions including the Emmy Award-winning Lincoln Center production of Sweeney Todd [Noone], starring Emma Thompson; the 2014 Broadway production of Lady Day at Emerson’s Bar and Grill [Noone], which famously won Audra McDonald her record-breaking sixth Tony Award; and Anything Goes [McLane] which was nominated for Best Scenic Design at the 2011 Tony Awards.
Just prior to forming Tate Design Group, DePoo was an associate designer for Tony and Emmy-award winning scenic designer Derek McLane for over three years, adding Broadway productions including How To Succeed In Business, Nice Work If You Can Get It, Bengal Tiger and the Baghdad Zoo, Follies, and Tony Award-winning Anything Goes to his resume.
Under Tate Design Group, dePoo has also worked with a number of Broadway directors and choreographers including Tony Award winners Savion Glover, and Joey McKneely, as well as Gabriel Barre, Marc Bruni, Marcia Milgrom Dodge, Gordon Greenberg, Richard Hinds, JoAnn Hunter, Dennis Jones, Dan Knechtges, Lorin Latarro, Matt Lenz, Joshua Price, Josh Rhodes, Eric Schaefer, R.B. Schlather, and Don Stephenson.
Most recently, dePoo designed the sets for the Broadway-bound productions of TITANIC , Josephine and War of the Roses, as well the design for the world’s largest TED Talk event at the Boston Opera House. This summer, he will be designing the opening ceremonies for the MUNYs centennial celebration in St. Louis, the nation’s oldest and largest outdoor musical theatre where he previously designed Jesus Christ Superstar, Unsinkable Molly Brown, Young Frankenstein and this years Singin In the Rain and Jersey Boys. dePoo is currently designing his first restaurant, Swim Two Birds, in Jackson Heights, Queens, which is owned by internationally renowned chef Stewart Wadden, former chef for the British Royal Family.
dePoo has taught and lectured at Yale University, Boston University, Penn State, and Rutgers University. He is a member of Lincoln Center’s Directors Lab and United Scenic Artists. dePoo earned his BFA in Production Design from Boston University.
Giuseppe Palella (Italy) Winner of the prestigious Abbiati award of 2019, ‘Best Costume Designer for Italian Music Critics’, took his first steps in the costume department fifteen years ago at the Teatro dellOpera in Rome where he collaborated with world-renowned directors including Franco Zeffirelli and Luca Ronconi.
Past design engagements include: I Puritani at Maggio Musicale Fiorentino in Florence and Teatro Regio of Turin, Guglielmo Ratcliff and Maria de Rudenz at Wexford Opera Festival , La Traviata, Samson and Dalila, Gianni Schicchi, and The Medium at Giuseppe Verdi Theater in Trieste, Lucia di Lammermoor Teatro de the Maestranza in Seville, Chopin tells Chopin at Costanzi Theater in Roma, The Snow Queen with the Teatro Puccini in Florence, Wihelm Tell, I Pagliacci, Cavalleria Rusticana and Rigoletto, Theater Kiel, Orlanda finto pazzo with the Korea National Opera and The Wizard of Oz with the Teatro Carcano in Milan. This season, he designs the costumes for productions of Dorilla in Tempe and Duke Bluebeard’s Castle for the Teatro della Fenice, Rusalka Staatstheater Kassel, and Un Ballo in Maschera in Oviedo and Valladolid which was first produced at the Hungarian State Opera in Budapest and Giulio Cesare in Egitto in St Gallen. He also supervised the costume department on Aida, Madama Butterfly, Turandot, Un Ballo in Maschera, Carmen, Romeo et Juliette at the Arena di Verona, and Elektra for Patrice Chereau at Teatro alla Scala.
Previously, he studied sculpture at the Accademia di Belle Arti in Bologna, voice as a tenor at Giovan Battista Martini Conservatory in Bologna, and acting and contemporary music at the Conservatory in Florence.
Ran Arthur Braunmore
JAX Messenger (USA) is a lighting designer for opera, theatre, dance and themed environments. He has designed lighting for companies around the world, including: The Danish National Opera, The Canadian Opera Company, The San Francisco Opera, The Los Angeles Opera, The National Center for Performing Arts Beijing, Minnesota Opera, Opera Philadelphia, Austin Lyric Opera, Bard SummerScape , Boston Lyric Opera, The Washington Ballet, Les Ballets Trockadero de Monte Carlo, ASB Waterfront Theatre Auckland, The Wanda Group and The Banff Arts Centre. He is a frequent collaborator with stage directors Thaddeus Strassberger, Joel Ivany, RB Schlather and Christopher Alden. This production marks his debut in Austria.
Previously he worked as an Associate Designer on over one hundred productions in London’s West End, Broadway theatres, The Kennedy Center and other major theatres around the world.
Martina Serafin was born in Vienna to parents who were singers. She studied at the Vienna Conservatory with Zadeka and then with Otto Edelman. Here she debuted very young in the operetta’s repertoire of F. Lehar, J. Strauss and E. Kalman. As far as the operatic repertoire concerned, she debuted in the Mozart’s Trilogy as Fiordiligi/ Donna Elvira/ Countess of Almaviva in Graz, where she was a member of the ensemble and then in Stuttgart. At the Oper Stuttgart she sang also as Mimì in Puccini’s La Bohéme, Marschallin in Strauss’s Der Rosenkavalier, Sieglinde in Wagner’s Die Walküre (under the baton of L. Zagrosek) and Elsa in Lohengrin (S. Soltesz conducting).
Nowadays her repertoire ranges from G. Puccini to R. Strauss, from G. Verdi to R. Wagner. She is particularly renowned for her interpretation of the role of Tosca, which she has sung for companies including: Teatro dell’Opera in Rome (G. Gelmetti/ F. Zeffirelli), Maggio Musicale in Florence (Z. Mehta), Covent Garden London (A. Pappano), Arena di Verona (M. Armiliato/ H. De Ana), La Scala in Milan (N. Luisotti), Caracalla (R. Palumbo/P. Pizzi), Paris Opéra (D. Oren/P. Audi), Vienna State Opera (P. Carignani/ O. Schenk), Deutsche Oper Berlin, Liceu Barcelona, Melbourne, Beijing (Cina), Montecarlo for the Prince Albert and in a DVD recording with R. Bruson at the Teatro Greco in Taormina.
Her appearances in other Italian repertory include: Puccini’s Manon Lescaut at the La Fenice in Venice (R. Palumbo/ G. Vick), Festival Pucciniano in Torre del Lago (A. Veronesi) and at the Hamburg State Opera; Maddalena in Andrea Chénier at the Zurich Opera (N. Santi), at the Wiener Staatsoper (M. Armiliato), at the Teatro Bellini in Catania and then in Cagliari (G. Del Monaco); Turandot (R. Chailly) with the Orchestra of La Scala in Milan and then at the Festival Pucciniano and again in Rome at the Accademia di Santa Cecilia, at the Arena di Verona (D. Oren/ F. Zeffirelli), in Oman (P. Domingo), for the opening of the Petruzzelli in Bari (R. De Simone), at the Festival Pucciniano (M. Scaparro) and in Genoa (G. Montaldo), in Zurich (G. Del Monaco), in Bilbao (J. Mauceri); Donna Elvira in Don Giovanni at the Wiener Staatsoper (S. Ozawa/ F. Zeffirelli); Countess Almaviva in Le Nozze di Figaro in Los Angeles (P. Domingo) and Fiordiligi in Così Fan Tutte in Stuttgart (L. Zagrosek).
Among Verdi’s repertoire: Verdi’s Requiem in Montecarlo (G. Gelmetti); Abigaille (Nabucco) for the Chorégies d’Orange (P. Steinberg/ J. P. Scarpitta), at the Liceu in Barcelona (D. Oren/ D. Abbado) and at the Arena di Verona; Elizabeth of Valois (Don Carlo) at the La Scala (F. Luisi); recently she has sang in Macbeth at the Liceu in Barcelona and at the Wiener Staatsoper.
In the german repertoire she is one of the most acclaimed soprano, in roles such as: Sieglinde (Die Walküre) at the Metropolitan in New York (F. Luisi), at the Wiener Staatsoper (S. Rattle) and again in Wien under F. Welser- Moest, in Zurich and Paris (P. Jordan) and in Berlin, Amsterdam, Toulouse, Barcelona and Tokyo; Elsa (Lohengrin) in Palermo (H. De Ana), Dresden, Stuttgart and Bologna (D. Gatti); Elisabeth (Tannhäuser) at the Opera in Rome (R. Carsen) and in Amsterdam (N. Lehnoff); Isolde (Tristan und Isolde) in a concert version at the Ravello Festival with the orchestra of the Teatro San Carlo in Naples. Moreover she sang Marschallin (Der Rosenkavalier) at the Metropolitan in New York, Wiener Staatsoper and in San Francisco (D. Runnicles), Toulouse (N. Joel), Barcelona, Stuttgart, München and Amsterdam; Schumann’s Genoveva in Palermo; Marie in Wozzeck in Essen; Lisa in the Tchaikovsky’s Pikovaja Dama at the Wiener Staatsoper (S. Ozawa), in Barcelona (K. Petrenko) and in Bologna (M. Jurowski); Smetana’s Die verkaufte Braut in Zurich and Bologna (under M. Jurowski).
She has appeared in recital at the many leading European venues with Lieder of F. Schubert, R. Schumann, in Wagner’s Wesendonck Lieder, in the Strauss’ Vier Letzte Lieder under Z. Mehta with the Wiener Philharmoniker at Musikverein, Wien.
Among her most recent engagements: Manon Lescaut at the Berlin Deutsche Oper; Lohengrin (Elsa), Rimskij- Korsakov’s The snow Maiden (Kupava) at the Opera National de Paris; Turandot at the San Francisco Opera, at the Metropolitan in New York, at the Festival in Torre del Lago, at the Zürich Opernhaus; Nabucco in Montecarlo and at La Scala in Milan; Tosca at the Royal Opera House in London and at the Wiener Staatsoper; Turandot in Zurich
Plans include: Tristan und Isolde (Isolde) and Tosca in Paris; La Gioconda in Brüxelles; Die Walküre in Amsterdam; Tosca in Wien; Der Ring des Nibelungen (Brünhilde) in Paris.
© Gino Di Paolo
Hailed for her “warm voice” by Germany’s Music Heute, Polish soprano Ewa Płonka’s repertoire encompasses demanding spinto repertoire including the title role of Puccini’s Turandot.
In the 2019-20 season the soprano makes role and house debuts including Tosca with Virginia Opera and Turandot at Oper im Steinbruch in Austria. She returns to Dallas Opera for Verdi’s Don Carlo covering the role of Eboli and singing Tebaldo, under the baton of Music Director Emmanuelle Villaume and joins Canadian Opera Company for Der fliegende Holländer while covering the role of Amneris in Aida. On the concert stage, she debuts with the Chicago Symphony Orchestra at Grant Park Music Festival for Delius’ rarely performed A Mass for Life.
Highlights of the 2018-19 season included a return to the Badisches Staatstheater Karlsruhe for her critically acclaimed portrayal of Giovanna Seymour in Donizetti’s Anna Bolena. On the concert stage, she joined the Oratorio Society of New York at Carnegie Hall for Szymanowskis Stabat Mater in a concert marking the centennial of Polish independence and made further debuts with Finland’s Oulu Symphony in Wagner’s Wesendonck Lieder, and Opéra Orchestre de Montpellier France as the soloist in Mahler’s Symphony No. 3 under the baton of Michael Schønwandt.
Other notable appearances include role debuts with Oper Frankfurt as Azucena in Verdi’s Il Trovatore, in a co-production with the Royal Opera House Covent Garden, Maddalena in a new production of Rigoletto, after her successful house and role debut as Mary in Wagner’s Die fliegende Holländer. Concert highlights include debuts with the San Antonio Symphony for Mendelssohn’s oratorio Elijah under the baton of Music Director Sebastian Lang-Lessing and Dallas Opera for a program featuring excerpts from Verdis Il Trovatore and Massenets Don Quichotte. She has performed concerts at Jazz at Lincoln Center under the baton of Eve Queler, with the Munich Radio Orchestra and Nürnberg Symphony Orchestra and has presented solo recitals in New York City, Austin, Texas, Neumarkt, Germany and Prudnik, Poland.
She was awarded Second Prize in American Protégé Competition, leading to a performance in Carnegie Hall; First Prize in the New Jersey Association of Verismo Opera Competition, the Deborah Voigt Prize in the Marcello Giordani International Vocal Competition, Third Prize in Gerda Lissner Foundation Vocal Competition, and a career grant from the Licia Albanese Puccini Foundation Competition.
Ewa Płonka is a graduate of the Juilliard School, where she obtained an Artist Diploma in Vocal Performance. She holds additional degrees in piano performance from The Academy of Music in Poznań, Poland, where she received her Bachelor’s and her first Master’s Degree with honors. She also earned a second master’s degree from Oklahoma City University and a doctorate from the University of Utah, both in piano performance with secondary majors in vocal performance.
As a concert pianist, Ms. Płonka has received multiple awards in international competitions and has performed in the U.S., Poland, Israel, France, Italy, Germany, and Norway.
One of today’s leading emerging lyric tenors, he is consistently praised for the velvet beauty of his impressive tone, elegant musicality and the physical embodiment of his roles. Winner of numerous international competitions, including the “Voci Verdiane” Competition in Busseto, Leonardo Caimi quickly established himself as one of the most interesting tenors of the international operatic scene.
He graduated in clarinet from the Conservatory F. Torrefranca in Vibo Valentia and in singing from the Conservatory A. Corelli in Messina, Leonardo Caimi has also studied composition and he had obtained a degree in Philosophy at the University of Messina.
Interpreter of the most important Verdi’s and Puccini’s tenor roles, he sang in the most prestigious opera houses and festivals in the world including La Scala in Milan, Salzburg Festival, Deutsche Oper Berlin, Teatro Real de Madrid, Bayerische Staatsoper in Munich, Semperoper Dresden, La Monnaie in Brussels, Detroit Opera House, NCPA Beijing, Teatro Colón de Buenos Aires, Teatro Municipal de Santiago de Chile; Teatro Municipal de Rio de Janeiro, Teatro dellOpera di Roma, Teatro Regio di Torino, Teatro San Carlo di Napoli, Festival Puccini in Torre del Lago, Teatro Petruzzelli di Bari, Maggio Musicale Fiorentino; with such conductors as Riccardo Muti, Lorin Maazel, Daniel Oren, Stefano Ranzani, Miguel Ángel Gómez-Martínez, Jean-Claude Cadadesus, Omar Meir Welber, Alain Lombard; and stage directors as Franco Zeffirelli, Mario Martone, Damiano Michieletto, Lorenzo Mariani, Maurizio Scaparro, Willy Dekker and Ettore Scola.
His current reportoire lies in the liric and lirico spinto tenor roles, including Rodolfo in La bohème (Festival Puccini di Torre del Lago, Opera di Firenze, Teatro Carlo Felice di Genova), Don José in Carmen (Deutsche Oper Berlin, Teatro Real in Madrid, Oper Leipzig), Riccardo in Un ballo in maschera (Rio de Janeiro), Pinkerton in Madama Butterfly (La Monnaie in Brussels, Seoul), Gabriele Adorno in Simon Boccanegra (Teatro San Carlo di Napoli), Maurizio in Adriana Lecouvreur (La Monnaie, Teatro Colon in Buenos Aires), title role in Don Carlo (Opéra National de Bordeaux) , Ruggero in La rondine (Festival Puccini di Torre del Lago), Radames in Aida (Teatro Verdi di Pisa), Mario Cavaradossi in Tosca (Oper Frankfurt, Santiago de Chile), Henry in Verdi’s Les vepres siciliennes (Oper Frankfurt, Bayerische Staatsoper in Munich).
Among his latest performances, Madama Butterfly (Pinkerton) in Jerez de la Frontera; I vespri siciliani (Henri) in Bonn; Tosca (Cavaradossi) in Essen; Carmen (Don José) and Turandot (Calaf) at Opernhaus Leipzig; Carmen at ROH Covent Garden London; Un ballo in maschera (Riccardo) in Darmstadt; Carmen at Opernhaus Leipzig; Le Villi (Roberto) at Maggio Musicale Fiorentino in Florence; Tosca in Santiago de Chile; Carmen in Las Palmas; Turandot in Warsaw; Un ballo in maschera (Riccardo) at Teatro Municipal in Rio de Janeiro; Les vepres siciliennes at Bayerische Staatsoper in Munich; Cavalleria rusticana (Turiddu) at La Monnaie in Brussels.
Donata D'Annunzio Lombardi
A winner of “Albo Oro Puccini” award at Festival Puccini di Torre del Lago, where she was acclaimed interpreter of Musetta and Mimì (La bohème), Magda (La Rondine), Liù (Turandot), Cio-Cio-San (Madama Butterfly), Suor Angelica (Suor Angelica), Donata DAnnunzio Lombardi is one of the most sought after Puccini sopranos on the international scene today.
She performed in such venues as Teatro alla Scala, Teatro Regio di Torino, Teatro Massimo di Palermo, Arena di Verona, Teatro Regio di Parma, Teatro Comunale di Firenze, Teatro San Carlo di Napoli, Teatro dell’Opera Roma, Michigan Opera Theater of Detroit, Opernhaus in Zurch, Théâtre des Champs Elysées, Teatro Royal de Versailles, Théâtre du Chatelet de Paris, Stuttgart Staatstheater, Mann Auditorium in Tel Aviv and Royal Opera House Muscat, working with such conductors as Roberto Abbado, Bruno Bartoletti, Alain Guingal, Evelino Pidò, Daniel Oren, Lorin Maazel, Placido Domingo and Jeffrey Tate.
During the 2015/16 season she performed Turandot (Liù) at Royal Opera House Muscat and at Arena di Verona, Aida (title role) at Teatro Sociale di Rovigo and in Livorno, Madama Butterfly (Cio-Cio-San) at the Theaters of Ascoli, Fano and Fermo, in Prague and at Festival Puccin in Torre de Lago, La bohème (Musetta) at Antibes Festival.
2016/17 season have included her successful perfomances of Turandot (Liù) and I Pagliacci (Nedda) at Teatro Filarmonico di Verona, Manon Lescaut (title role) at the Theaters of Livorno, Pisa and Rovigo, Madama Butterfly (title role) at Sugi Opera of Seoul and La Rondine (Magda) at Festival Puccini di Torre del Lago.
During the 2017/18 season she performed Madama Butterfly (Cio-cio-san) at Opera in Florence, Tosca (title role) at Teatro Verdi di Sassari and Suor Angelica at Puccini Festival di Torre del Lago.
Her engagements for 2018/19 season include: Aida (title role) at Opéra de Liège, Tosca (title role) and I Pagliacci (Nedda) at Teatro Carlo Felice di Genova, Cavalleria Rusticana (Santuzza) at Teatro in Livorno and Turandot (Liù) at Steinbruch Opera.
A winner of several awards, she won “Les Victoires de la Musique Classique” award at Théâtre du Châtelet de Paris and in 2012 the “Best singer of the year” award at Festival Donizetti in Bergamo for her performances as Antonina in Belisario and Maria Stuarda in Maria Stuarda.
Also active on operetta repertory, she perfomed as Hanna Glawari in The Merry Widow by F. Lehár, Hélène in La Belle Hélène by Offenbach, Mary Lloyd in The Duchess of Chicago by Kálmán, Cin-Ci-Là in Cin-Ci-Là by V. Ranzato, Adele in Die Fledermaus by J. Strauss.
Celine Byrne is a lyric soprano from Kildare, Ireland. She received her Masters in Music from the Royal Irish Academy of Music in 2007, where she studied with Dr. Veronica Dunne, also receiving the RIAM award for outstanding achievement. In addition she has an honours Music Degree from the Conservatory of Music and Drama, Dublin, where she was awarded the college Gold Medal for excellence. She has received coaching at the National Opera Studio of London and has studied with Christa Ludwig at the Vienna Staatsoper.
In 2007 Celine was awarded the First Prize and Gold Medal at the Maria Callas Grand Prix, Athens. Other awards include the Margaret Burke-Sheridan Gold Medal in 2009, the William Young Prize at the Veronica Dunne International Singing Competition, Dublin 2007 and the ‘Brabants Dagblad Press Prize’ at the IVC International Singing Competition in s’Hertogenbosch, The Netherlands.
Now Celine is recognised nationally and internationally as one of opera’s great stars, a performer of fine lyrical quality and a touching actor, Celine made her operatic début 2010 singing the role of Mimi in La Bohéme. By 2012 she was to be heard at the Royal Opera House, Covent Garden in the lead role of Dvorak’s Rusalka which she took over at very short notice. Soon afterwards she was invited back to sing 1 Blumenmädchen in Parsifal followed by Micaela in Carmen and, in the seasons that have followed, she has performed extensively throughout Europe as well as in the United States, China, Russia and Mexico. Recent roles include Contessa Almaviva (Le Nozze di Figaro) Staatstheater Kassel; Cio San (Madama Butterfly) Moscow State Opera; Floria Tosca (Tosca) Mikhailovsky Opera, St. Petersburg; Die Marschallin (Der Rosenkavalier) and Marietta/Marie in Korngolds Die Tote Stadt Staatstheater Kassel; Liu (Turandot) Leipzig and Deutsche Oper am Rhein, Düsseldorf followed by Elizabeth in Verdi’s Don Carlo.
A frequent concert performer, Celine is very familiar to both Irish and international audiences and has also performed with world-renowned tenors José Carreras, Roberto Alagna and Joseph Calleja. Future and recent engagements include concerts with Josè Carreras in Europe, China and Russia, having performed her 30th concert with him at The Royal Albert Hall. Celine has also performed in concert with Bryn Terfel and recently sung with him and Borusan Philharmonic Orchestra conducted by Sasha Goetzel. Further projects include Elisabetta/Don Carlo in Leipzig, A Summer Gala with the Prague Philharmonic Orchestra in the Czech Republic under André Lenard; Richard Strauss’ Vier Letzte Lieder in Austria, a concert in Carnegie Hall, NY and a recording of Verdis Requiem with the Prague Radio Symphony Orchestra conducted by André Lenard.
Recent engagements include a concert with Odense Symphony Orchestra, La Rondine by Puccini at Minnesota Opera, Contessa/Le Nozze di Figaro in Bonn, Tosca with Mikhailovsky Opera, St. Petersburg (coming to the Bord Gáis Energy Theatre, Dublin) and Donna Elvira with Israeli Opera in Tel Aviv directed by Kasper Holten.
Future and most recent projects embrace among others Liù/Turandot at ROH Covent Garden London, Mendelssohns Elias at Teatro Regio di Torino, Mimì/La Bohème at Hamburg State Opera, Ortlinde/Walküre at Paris National Opera, Micaela/Carmen at Irish National Opera in Dublin, Madama Butterfly in Staatstheater Kassel, Die Marschallin in Der Rosenkavalier in Santiago as well as Liù/Turandot in St. Margarethen Austria.
Alessandro Guerzoni was born in Italy and gradueted in singing at the Conservatory G. Verdi in Turin with Battaglia and then specialized at the Accademia Pescarese with Gallo and at the Mozarteum in Salzburg. Now he is studying with Giaiotti.
He has sung all over the world, opposite highest reputation conductors and directors, in roles such as: Timur in Puccini’s Turandot in Florence under Zubin Mehta, in Bari and Bologna with the direction of De Simone, at Festival Pucciniano in Torre del Lago, Scaparro director, in Genova Montaldo director and then in Bilbao; Colline in La Bohéme in Bruxelles with A. Pappano/Loy, at San Carloin Naples, in Genoa, in Turin, in Edimburgh, in Luxembourg; Angelotti in Tosca in Florence and Tokyo with Zubin Mehta, in London under the baton of Oren, in Rome with the direction of Zeffirelli, all’Arena di Verona con la regia di De Ana e la direzione di Armiliato; Banco nel Macbeth di Verdi a Barcellona; Sparafucile nel Rigoletto a Torino, in Parma, Edimburgh, Glasgow and Köln; Re in Aida in Roma under Lombard; Pistola in Falstaff Harding conducting and Carsen directing at La Scala in Milan and in Tokyo; Sarastro in Die Zauberflöte in Köln; Commendatore in Don Giovanni with Peter Brook/Claudio Abbado in Aix- en- Provence and with Harding in Milan, Tokyo, Lyon and Stockholm, under the baton of Soudan and the direction of Zeffirelli in Rome, with Ono in Tokyo, under Jacobs in Paris , Innsbruck and Baden-Baden, also recording in CD and DVD for Harmonia Mundi; Leporello in Don Giovanni in Köln; Bartolo in Le Nozze di Figaro Domingo conducting in Los Angeles; Don Basilio in Il barbiere di Siviglia in Cagliari; title role in Mosé in Egitto at Opera di Roma; Raimondo in Lucia di Lammermoor Vick director, Campanella conductor in Turin; Giorgio in Bellini’s I puritani in Barcelona; Conte Rodolfo in La sonnambula in Turin; Drago in Schumann’s Genoveva with Ferro/D. Abbado in Palermo; Frére Laurent in Gounod’s Roméo et Juliette in Turin; Le Roi in Prokofiev’s L’amour des Trois Oranges in Köln.
Among his concert repertoire, he has sung in Puccini’s Messa di Gloria under the baton of Pappano in Bruxelles; Mozart’s Requiem again with Pappano in Bruxelles, with Gelmetti in Siena, with Frans Brüggen in Perugia, with Scimone in Verona and with Myung-Whun Chung at Accademia di Santa Cecilia in Rome.
Recent engagements include: Macbeth (Banco) in Barcellona; La Bohème (Colline) at the Teatro San Carlo in Naples; Rigoletto (Sparafucile) in Vienna (Staatsoper) and Turandot (Timur) at the Torre del Lago Festival.
Plans include: Nabucco in Lille and Djon, Turandot at the Puccini Festival in Torre del Lago, Il Barbiere di Siviglia and Rigoletto in Cagliari.
After his studies at the Yonsei University College of Music, the young Korean bass-baritone Kihwan Sim was accepted into the “Hochschule für Musik und Theater” in Hamburg to study with professor Geert Smits.
Kihwan Sim has won prizes at several acclaimed international singing competitions such as the 1st Prize at the International Mirjam Helin Singing Competition in Finland, the 2nd Prize at the Neue Stimmen competition in Germany (both in 2009), the 2nd Prize at the “Paris International Opera Competition” in 2010 and the 1st Prize at the International Long-Thibaud-Crespin Competition in 2011 in France.
Sim made his first appearances on European opera stages in 2011, singing Figaro in Mozarts Le Nozze di Figaro at Staatstheater Darmstadt and Masetto (Don Giovanni) at the prestigious Savonlinna Opera Festival.
After a successful season in the opera studio of the Frankfurt opera, he was asked to join their soloist ensemble in autumn 2012. His first main roles there included the Duke of Albany in Aribert Reimanns Lear, Colline (La Bohème), Figaro and, more recently, Talbot (Maria Stuarda), Count Rodolfo (La Sonnambula), Procida (Vespri Siciliani), Gottardo (La gazza ladra), Raimondo (Lucia di Lammermoor), Leporello (Don Giovanni) and the title role in Verdi’s Oberto. He recently added Nick Shadow (The Rake’s Progress), Don Ruy Gomez de Silva (Ernani) and Escamillo (Carmen) and Ferrando (Il trovatore) to his repertoire.
In addition to his busy schedule in Frankfurt, Kihwan Sim has also appeared in guest performances as Procida at Opéra de Nice and Colline at Oper Köln, shortly followed by his debut at the Metropolitan Opera in the same role in January 2016. In the following season Sim performed the bass role of Verdi’s Messa di Requiem with the La Verdi Orchestra and the role Lord Gualtiero Valton in I Puritani by Bellini at the Festival of Radio France in Montpellier, both under the baton of Maestro Jader Bignamini. In 2018, Sim made his debut at Londons Covent Garden in Strauss Salome as 1.Nazarener and was invited back to the Metropolitan opera for Masetto in Mozart’s Don Giovanni in 2019.
Kihwan Sim participated in recordings of Wagner’s Das Liebesverbot and Strauss’s Ariadne auf Naxos, both on Oehms Classics label, and was featured in Rolando Villazon’s television series Stars of Tomorrow, broadcast on ARTE.
Born in Seoul, he graduated in singing at the National University of Korea in his city in 2001 and then at the G. Verdi Conservatory of Milan. After moving to Italy he studied singing with Maestro Pier Mi-randa Ferraro. He is the winner of prestigious opera competitions, including the "Francisco Viñas" in Barcelona, the "Belvedere" in Wien and the "Voci Verdiane" in Busseto. He is currently Professor at the "Anyang" University in South Korea.
He is distinguished in Verdis repertoire by interpreting the protagonist role of Rigoletto in Veronas Theaters, Comunale di Firenze, Bellini of Catania, São Carlos of Lisbon, Lirico of Cagliari, Vittoriale of Gardone Riviera, Landestheater in Bregenz, Slowak National Theatre of Bratislava, State Opera in Prague , G. Verdi Auditorium of Milan.
He was Nabucco at the Washington Opera, at the Petruzzelli of Bari and at the Lirico of Cagliari where he was also Gerard in Andrea Chenier, Tonio in Pagliacci, Lescaut in Manon Lescaut, Simone in Si-mon Boccanegra conducted by Maestro Chung, Escamillo in Carmen, Rigoletto, Scarpia in Tosca and Germont in La Traviata. He sang title role of Falstaff and Germont in La Traviata at the National Opera House in Seoul and Germont in Seoul Arts Center and for Slovak National Theatre. He is an applauded Sharpless in Madama Butterflyal at Daegu Opera House (South Korea) and Ping in Turan-dot in the Great Theaters of Brescia, Donizetti of Bergamo, Ponchielli of Cremona, Fraschini of Pavia and Sociale of Como (2016/2017).
He performed Scarpia in Tosca at the Teatro Verdi of Sassari, at the Lirico of Cagliari, at the Verdi of Trieste; Ping in Turandot at the Royal Opera House of Muscat (Oman), at the Puccinis Festival of Tor-re del Lago, at Teatro del Giglio of Lucca, at Teatro Sociale of Mantua and Coccia di Novara; Marcello in La Bohème at the Bassano del Grappa Opera Festival; title role of Torquato Tasso at the Donizetti Theater of Bergamo; Il Conte di Luna in Il Trovatore at the Teatro delle Muse in Ancona, at the Luglio Musicale Trapanese, at the Coccia of Novara and at the Teatro Vanemuine in Tartu (Estonia); Ezio in Attila at the Verona Philharmonic Theater and in St Gallen Theatre; Renato in Un Ballo in Maschera at the Teatro Comunale of Florence; Amonasro in Aida at Luglio Musicale Trapanese; the Marquis de Bois Doré in Lauriane at the São Carlos Theater in Lisbon; Valentine in Faust at the Teatro Coccia of Novara; William in William Tell at the Comunale of Bologna; Tonio in Pagliacci and Alfio in Cavaller-ia Rusticana in the Verdi Theater of Pisa, Giglio di Lucca and Goldoni of Livorno. For the Festival of St Gallen he is Francesco Foscari in I Due Foscari, Alfonso VI in La Favorita and performs in the Mass of Glory by G. Puccini
He recently was Rigoletto at the Daegu Opera, at the Lyric Opera of Kansas City, at Slovak National Theatre, Gerard in Andrea Chenier and Scarpia in Tosca at Petruzzelli Theatre of Bari, Giorgio Ger-mont in Traviata for Gloria Opera at Seoul Arts Center.
Among his future engagements: Scarpia in Tosca at Teatro del Giglio of Lucca and Theatres of Tusca-ny of Livorno and Pisa, Rigoletto at Politeama Greco of Lecce, Gerard at Teatro Sociale of Rovigo.
Vincenzo Taormina has already performed in some among the world’s most important opera houses, including Teatro alla Scala, Salzburg Festival, ROH Covent Garden in London, Deutsche Oper Berlin, Glyndebourne Festival, Savonlinna Festival, Maggio Musicale Fiorentino, Teatro La Fenice di Venezia, Teatro Comunale di Bologna, Arena di Verona, Teatro Filarmonico di Verona, Teatro dell’Opera di Roma, Teatro Regio di Parma, Teatro San Carlo di Napoli, Teatro Massimo di Palermo.
Born in Palermo, he studied singing with Paride Venturi in Bologna, subsequently he attended the Accademy of Teatro alla Scala di Milano and the Accademia Verdiana Carlo Bergonzi in Busseto.
He worked with such conductors as Riccardo Chailly, Myung-Whun Chung, Michele Mariotti, Riccardo Muti, Antonio Pappano, Daniel Oren, Michel Plasson, Hubert Soudant and Marcello Viotti.
During his career he took part in important productions, including Il Matrimonio inaspettato (Marchese Tulipano) by Paisiello at Salzburg Festival, La traviata (Germont) on tour with ROH Covent Garden under the baton of Antonio Pappano, La fille du régiment (Sulpice), Il barbiere di Siviglia (Figaro), Le convenienze e inconvenienze teatrali (Mamma Agata), Gianni Schicchi (Marco), La Scala di seta, Madama Butterfly, Manon by Massenet and La bohème (Marcello) at Teatro alla Scala, Lucia di Lammermoor (Lord Enrico) at Deutsche Oper Berlin, Simon Boccanegra (Paolo Albiani) at NCPA of Beijing with Placido Domingo under the baton of Myung-Whun Chung. Il viaggio a Reims (Don Alvaro), L’italiana d’Algeri (Haly) and L’elisir d’amore (Belcore) at Teatro del Maggio Musicale Fiorentino, Madama Butterfly (Sharpless) and Il barbiere di Siviglia (Figaro) at Teatro dell’Opera di Roma, La Juive (Ruggiero) and Les pêcheurs de perles at Teatro La Fenice di Venezia, La fille du régiment (Sulpice), Manon Lescaut (Lescaut), I Puritani (Riccardo), La bohème (Marcello) and Così fan tutte (Guglielmo) at Teatro Massimo di Palermo, Madama Butterfly (Sharpless) and La bohème (Marcello) at Seoul Arts Center, La fille du régiment (Sulpice) at Royal Opera House of Muscat.
LATEST PERFORMANCES: Il barbiere di Siviglia (Figaro) at Teatro Massimo di Palermo; Turandot (Ping) at Teatro Comunale di Bologna; Il barbiere di Siviglia (Bartolo) at Teatro Regio di Parma; Turandot (Ping) and La bohème (Marcello) at Teatro Massimo di Palermo; La bohème (Marcello)at Seoul Arts Center; Il barbiere di Siviglia (Figaro) at Teatro Lirico di Cagliari and at Teatro La Fenice di Venezia; La cenerentola (Don Magnifico) at the theatres of Opera Lombardia; L’Italiana in Algeri (Taddeo) at Teatro Massimo di Palermo; Turandot (Ping) and La forza del destino (Fra Melitone) at Teatro Carlo Felice di Genova.
FORTHCOMING PROJECTS: Turandot (Ping) at Teatro Verdi di Padova; La cenerentola (Dandini) at Teatro Bellini di Catania; La rondine (Rambaldo) at Teatro Lirico di Cagliari; Turandot (Ping) at Oper im Steinbruch St. Margarethen.
Sunnyboy Dladla was born in the township of Piet Retief in KwaZulu-Natal province, South Africa.
He made his successful BBC Proms debut in the 2018 festival with the London Symphony Orchestra and Sir Simon Rattle, in the roles of Bete/Le petit vieillard/La théière/La rainette in Ravel L’enfant et les sortilèges, after which Richard Morrison wrote in The Times ‘… a fine cast produced a host of terrific cameos, with Jane Archibald and Sunnyboy Dladla particularly catching the ear’. He later reprised these roles with the LSO and Rattle at the Lucerne Festival; and was then invited to return to the 2019 Proms to sing Mozart Requiem with the BBC National Orchestra of Wales under Nathalie Stutzmann.
Since 2018/19 he has been a member of the Ensemble at Theater Dortmund where his roles include Almaviva; Pong Turandot; Alphonse in Auber La Muette de Portici; and Alvaro in Spontini Fernand Cortez. Future plans include Almaviva for Staatsoper Hannover; Xailoun in Offenbach Barkouf for Oper Köln; and Pang Turandot for Oper in Steinbruch, Esterhazy.
For the 2012/13 and 2013/14 seasons he was a member of the International Opera Studio of Zurich Opera and roles for the main house included Arturo in Donizetti Lucia di Lammermoor, Dorvil in Rossini La Scala di Seta, Nick in Puccini La Fanciulla del West, 1.Junger Offizier in Zimmermann Die Soldaten and Kutscher and Vorarbeiter in Shostakovich Lady Macbeth of Mtsensk.
Since leaving the studio in 2014 Sunnyboy has sung Paolino in Cimarosa Il Matrimonio Segreto and Il Conte di Libenskof Il viaggio a Reims for Zurich Opera; Belfiore in Rossini Il viaggio a Reims with Alberto Zedda for the Accademia Rossiniana at the Pesaro Rossini Festival; Count Almaviva for Stuttgart Opera, Deutsche Oper Berlin and Den Norske Opera; and Basilio and Curzio in Mozart Le Nozze di Figaro at Theater an der Wien, conducted by Marc Minkowski. More recently he has sung Don Ramiro in Rossini La Cenerentola for Opera North, Oper Leipzig and Stuttgart Opera; the roles of Osiride (Bregenz Festival) and Aronne (Oper Köln) in Rossini Mosè in Egitto; and the roles of Andrès / Cochenille / Frantz / Pitichinaccio in Tales of Hoffmann in his debut with Dutch National Opera.
He made his US debut singing Handel Messiah with the National Symphony Orchestra, Washington and Rolf Beck, which resulted in an immediate re-invitation to sing Mozart Requiem the following year with Christoph Eschenbach. Recent concerts include Carmina Burana with the Toronto Symphony Orchestra and at the Grand Teton Music Festival in the USA, both with Donald Runnicles Other concert performances include Schumann Missa Sacra in C Min at the Schleswig-Holstein Festival with Christopher Hogwood, a New Year Rossini Gala at Komische Oper, Carmina Burana and Messiah in Bucharest conducted by Cristian Macelaru, and a concert with Cecilia Bartoli in Bozar, Brussels, with repertoire by Mozart, Rossini and Donizetti.
After being an outstanding solo singer in his early boyhood among the Petits Chanteurs à la Croix de Bois, Loïc Félix decided to become an opera singer and joined the CNSM of Paris where he followed the classes of Christiane Eda-Pierre and Christiane Patard. He also attended the prestigious Master Classes of Michel Sénéchal, Régine Crespin and Renata Scotto.
As soon as he left the Conservatory, with his rich voice and his theatrical talents, he was invited by a large number of European theatres, becoming renowned in a varied repertoire. From Mozart with Die Entführung aus dem Serail (Pedrillo), Die Zauberflöte (Monostatos), Le Nozze di Figaro (Don Basilio), to Britten with The Little Sweep and Albert Herring (title role) and also the creation of Nègre des Lumières by Chevalier de Saint-George. He also sang in Benvenuto Cellini, Carmen, Orphée aux Enfers, Roméo et Juliette, Falstaff, Salomé, Les Mamelles de Tirésias, Doktor Faust and Turandot by Busoni.
Tenor with a liking for comedy, he feels particularly at ease in the operetta repertoire. He has also performed in La Vie parisienne, Les Brigands, La grande Duchesse de Geroldstein, La Périchole, Monsieur Choufleuri, La Veuve Joyeuse, Die Fledermaus.
He consistently appears at Théâtre du Châtelet and Opéra Comique in Paris, Capitole in Toulouse, Opéra National du Rhin, Opéras in Lyons, Avignon, Montpellier, Marseilles, Monte-Carlo, Nice, Bordeaux, Lille, Nancy… In Europe he has been acclaimed in Vienna, Valencia, Liège, Geneva, Edimburgh, Baden Baden, Warsaw, Luxembourg, Ancona and Cagliari. He has also been invited to a number of festivals such as Glyndebourne (Carmen) and Aix-en-Provence (Die Zauberflöte) or Wiener Festwochen.
He has sung under the baton of Ludovic Morlot, Marc Minkowski, Paolo Arrivabeni, François-Xavier Roth, David Parry, Philippe Auguin, William Christie, Kazushi Ono… He works with such stage directors as David Mc Vicar, Macha Makeïeff, Jean-François Sivadier, Jean-Louis Grinda, Jean-Paul Scarpitta, Christophe Honoré.
With the London record company Opera Rara , he has recorded Vert-Vert by Offenbach as well as Ermione by Rossini and Maria di Rohan by Donizetti.
He has recently sung Giglio in Les Aventures du Roi Pausole at Grand Théâtre de Genève, La Favorite and Samson et Dalila at Théâtre des Champs-Elysées, L’Amour des trois oranges at the Maggio Musicale Fiorentino, Die Zauberflöte in Nice and Marseille, Valencia and at the Grand Théâtre de Genève, Lakmé in Montpellier and Avignon, Les Noces de Figaro (Basilio) in Montpellier, Eugene Onegin in Montpellier, Limoges and Tours, Hippolyte et Aricie and Carmen at Glyndebourne, Dialogues des Carmélites in Lyon and in Bologna, Orphée aux Enfers in Marseille and the Folies d’O Festival, Barbe-bleue in Nantes, Angers, Rennes and Le Mans, Tosca and La Favorite in Marseille, Fantasio at the Festival Radio-France and in Paris, Barkouf and Werther in Strasbourg, Turandot in Montpellier and Marseille, Roméo et Juliette by Berlioz in Toulouse and in Stuttgart, Carmen à Venice, Lakmé in Marseille, Fantasio and Der Zigeunerbaron in Geneva, Die tote Stadt in Limoges, Die Entführung aus dem Serail in concert version with Orchestre de Chambre de Paris at the Philarmonie de Paris, L’Heure espagnole on tour with Les Siècles, Maitre Peronilla with the Orchestre National de France.
Among his plans, let us point out Falstaff in Lille, Caen and Luxemburg, Les Contes d’Hoffmann in Brussels, Yvonne, princesse de Bourgogne at the Paris National Opera, Tosca and L’Enlèvement au Sérail in Marseille, Madame Butterfly in Strasbourg, Turandot at the Opernfestspiele St. Margarethen. He will be giving some recitals as in Lille.
This biography should not be edited without permission from Intermezzo.
Currently based at Frankfurt Opera and with an active career in both North America and Europe, THEO LEBOW continues to
solidify his reputation as one of the finest young lyric tenors on international stages. His performances reveal exceptional
intelligence and musical understanding along with dramatic skill, to complement his technical finesse and beautiful sound.
These qualities have enabled him to build a remarkably diverse repertoire from Baroque to contemporary.
A Los Angeles native, now entering his third season as a member of the ensemble at Frankfurt Opera, Theo’s experience
there has ranged from Tamino in Mozart’s Die Zauberflöte, and Tom Rakewell in Stravinsky’s The Rake’s Progress, to the
taxing tenor role of Massimo in Gluck’s Ezio (“Theo Lebow is a find as Massimo... his voice has the sound of an heroic
Italianate tenor but on a smaller scale well-suited to Baroque opera...” Stage Door)
After singing Ozia in a recent new production of Mozart’s Betulia liberata, reviews were rapturous: “Theo Lebow sings his
entrance aria, a bravura piece marked by bold coloratura, with astounding verve and confidence” (Frankfurter Rundschau)
“Theo Lebow mastered the challenging tenor part of Ozia with radiant heights and great agility in the runs” (Online Music
Magazine) “The young American singer Theo Lebow conquered this role, one that also requires an actor’s gift, with flying
colors. Immediately, in his very first aria, he moves effortlessly into coloratura heights.” (Feuilleton Frankfurt)
Following his appearance for Boston Mid-Summer Opera as Almaviva in Il barbiere di Siviglia, Lebow returned to Frankfurt
where his 2018-2019 season includes featured roles in Ariadne auf Naxos, Satyricon, The Merry Widow, Dalibor and Die
Zauberflöte. In 2017-18, Frankfurt opera patrons heard him as Ruiz in Il Trovatore, Squeak in Billy Budd, An Old Prisoner in
Janácek’s From the House of the Dead, as well as Carlo in the Frankfurt première of Manfred Trojahn’s Enrico, and Krell in
the world première of Arnulf Herrmann’s Der Mieter (The Tenant). Theo’s repertoire, ranging from Baroque to contemporary,
already embraces some 20 roles in operas, and he has sung in six languages.
Engagements have included Jupiter/Apollo in Handel’s Semele at Seattle Opera; Picasso and F. Scott Fitzgerald in the
première of Ricky Ian Gordon’s opera“27" alongside Stephanie Blythe and Elizabeth Futral for Opera Theatre of St. Louis
(also on CD from Albany Records); Jaquino in Beethoven’s Fidelio at the Shippensburg Festival in Pennsylvania; Mr. Porcupine
in Tobias Picker’s Fantastic Mr. Fox for both Opera San Antonio and Odyssey Opera in Boston; and Fenton in Verdi’s Falstaff
at Opera Hamilton – his Canadian debut – where he was hailed for his “plangent tenor with a sweet timbre” (La Scena
Theo won early recognition from Santa Fe Opera when he received the Richard Tucker Foundation Award after becoming
part of its young artists’ program and he was invited to participate successively in San Francisco Opera’s prestigious Merola
Summer Program, and Seattle Opera’s young artist program.
In recital, Theo’s performances are marked by musical eloquence and powerful communication of text, wedded to vocal
beauty. He has sung in Carnegie Hall’s Weill Recital Hall; given a Schwabacher Debut recital in San Francisco; performed
recital programs with the New York Festival of Song at the Kennedy Center’s Terrace Theater in Washington, as well as in
Caramoor and New York City; and participated in a Schubert and His World recital of vocal chamber music at the Bard Music
Festival in New York.
Theo’s concert engagements have featured multiple appearances on Carnegie Hall’s main stage, often as soloist Handel’s
Messiah. On the same stage, he has sung the tenor solo in Mendelssohn’s Symphony No. 2 (Lobgesang) and excerpts from
Verdi’s Rigoletto alongside soprano Jennifer Zetlan.
Theo also had the rare opportunity to sing with Bryn Terfel, Stephanie Blythe and Angela Meade at the Richard Tucker Gala
in Avery Fisher Hall at Lincoln Center in 2011.
Raffaele Raffio was born in Benevento in 1987. After completing his school studies and private studies in music theory and piano , in February 2011 he graduated in Opera Singing at the Conservatory of Music " Nicola Sala " of Benevento. In April 2014 he obtained the two-year specialization in opera singing with vote 110 cum Laude.
Upcoming engagements include Ping/Turandot and Bartolo/Il Barbiere di Siviglia at Savonlinna Opera Festival as well as Monterone/Rigoletto at Teatro Petruzelli di Bari.
Recent engagements include Marcello/La Bohème and Ping/Turandot at Puccini Festival Torre del Lago, Morales/Carmen and Germont/La Traviata at Teatro Municipale di Salerno.
In August 2016 he performed the role of Sharpless in Puccini’s Madama Butterfly at the Gran Teatro Puccini for the Puccini Festival (Conductor:Eddi De Nadai; Director: Vivien Hewitt). In July and August 2016 he performed the role of Schaunard in Puccini’s La Bohème at the Gran Teatro Puccini for the Puccini Festival (Conductor: Fabio Mastrangelo/Lorenzo Skanderbeg; Director: Marco Scola). In February 2016 he debuted the role of Ping in Puccini’s Turandot at the Theatre Nacional Ruben Darìo in Nicaragua for the first edition of Latin America Puccini’s Festival (Conductor: Alberto Veronesi; Director: Luca Ramacciotti). In May 2016 he debuted the role of Lo zio Bonzo in Puccini’s Madama Butterfly at the Theatre Verdi in Salerno (Conductor: Daniel OREN; Director: Renzo Giacchieri). In April 2016 he debuted the role of Silvio in the opera Pagliacci by Leoncavallo at the Theatre Verdi in Salerno (Conductor: Carmine Pinto; Director: Roberto Canessa). In February 2016 he debuted the role of Schaunard in Puccini’s La Bohème at the Theatre Nacional Ruben Darìo in Nicaragua for the first edition of Latin America Puccini Festival (Conductor: Jacopo Sipari; Director: Tony Cremonese).
In August 2015 he debuted the role of Sharpless in Puccini’s Madama Butterfly at the Gran Teatro Puccini for the Puccini Festival (Conductor: Francesco Ivan Ciampa; Director: Renzo Giacchieri) and the role of Michele in Puccini’s Il Tabarro at the Gran Teatro Puccini for the Puccini Festival (Conductor: Massimo Morelli; Director: Daniele De Plano). In April 2015 he performed the role of Marcello in Puccini’s La Bohème at the Theatre Abbado in Ferrara (Conductor: Aldo Salvagno; Director: Maria Cristina Osti). In February 2015 he performed the role of Marcello in Puccin’s La Bohème at the Theatre De Micheli in Copparo (Conductor: Mauro Perissinotto; Director: Maria Osti).
In November 2014 he performed the role of Malacarne in the La finta parigina by Domenico Cimarosa at the Opera Nacional de Paris – Bastille (Conductor: Basilio Timpanaro; Director: Gigi Dall’Aglio). In August 2014 he performed the role of Gianni Schicchi in Gianni Schicchi by Puccini at the Roman Theatre in Benevento (Conductor: Francesco Ivan Ciampa: Director: E. Di Muro). In August 2014 he debuted the role of don Giampaolo in Le Astuzie Femminili by Cimarosa at the Theatre Brecht in Teramo (Conductor: M. Caporale; Director: Enrico De Feo). In May 2014 he debuted the role of Gianni Schicchi in Gianni Schicchi by Puccini at the Theatre Savoia in Campobasso (Conductor: Lorenzo Skanderbeg; Director: D. Terreri).
In December 2013 he debuted the role of Guglielmo in Mozart s Così Fan Tutte at the Esedra Palace in Naples (Conductor: Susanna Pescetti; Director: Filippo Zigante). In November 2013 he performed the role of Marcello in La Bohème by Puccini at the Theatre Gesualdo in Avellino (Conductor: Francesco Ivan Ciampa: Director: E. Di Muro). In September 2013 he debuted the role of Marcello in La Bohème by Puccini at the Roman Theatre in Benevento (Conductor: Francesco Ivan Ciampa: Director: E. Di Muro). On February 2, 2013, he was Belcore in the work of Gaetano Donizettis LElisir damore on stage at the Theater in May Suita ,Osaka, Japan. On 30 November 2012 and on 22 and 23 February 2013 he debuted role of Malacarne in La Finta Paragina by Domenico Cimarosa, in Naples at the Teatro Trianon (Conductor: P. Acunzo; Director: Gigi Dall’Aglio). On 7 and 9 September 2012, he debuted the role of Belcore in LElisir damore by Donizetti at the Roman Theatre in Benevento. (Conductor: F. Ivan Ciampa; Director: Emanuele Di Muro). Since 2009 he works at the "Laboratorio Lirico - Orchestral " with the conservatory " Nicola Sala " in the staging of the Salieri’s opera " Prima la musica e poi le parole " in the role of the Poet; " L’italiana in Londra" in the role of Milord by D. Cimarosa at the Teatro Comunale in Benevento and at the Teatro Bibiena in Mantova, thanks to which the whole production is conferred the International Award " Domenico Cimarosa " second edition City of Aversa. He Sing again "Il Barbiere di Siviglia" by G. Rossini in the lead role , Figaro, in the Court Theatre of the Royal Palace in Caserta and in Teatro Comunale in Benevento " Vittorio Emmanuele”. He is a Winner and Runner-up of important and prestigious festivals and contests like " Bengio Festival 2007 ", " International Competition Young Opera Singers - Rosa Ponselle , 2011 - ", " VII International Competition Young Opera Singers City of Basciano 2014", “Puccini Award 2015”.
Philharmonia Chor Wienmore
For years, our visitors have been thrilled by the unforgettable stage
sets and the special effects at opera nights in St. Margarethen Quarry.
Come and peer over the set builders’ shoulders and get an idea of the
technology they use, and what goes on behind the scenes. Group
bookings and group price for 20+ people (tour guide can join for free),
max. 30 people.
Dates every performance (except premiere)
Time: July 7.00 pm und 7.30 pm
Tim:e August 6.30 pm und 7.00 pm
Duration: ca. 30 min
Price: € 7 per person
Meeting point: in front of the Festival shop at St. Margarethen Quarry
Language: available in English or Hungarian on request
To Google routeplanner
Adress for your GPS navigation device: 7062 St Margarethen, Römersteinbruch 1
Coordinates: N 47.802029 | E 16.636369