Tiroler Festspiele Erl – Giacomo Puccini: LA BOHÈME

Orchestra and Chorus of the Tiroler Festspiele Erl

Tiroler Festspiele Erl Orchestra

The music springs from the enthusiasm of a motivated and exceptionally well-prepared ensemble that has grown together over the years. The Tyrolean Festival Erl Orchestra was first formed in the summer of 1999—and today, musicians from 20 nations play together. Already in its first year, the ensemble achieved unprecedented success, which would go on to bring international recognition to the Tyrolean Festival Erl. Top young talents, musicians from major international orchestras, chamber music specialists, and lecturers come together annually in summer and winter—and since 2017, also in fall and spring—as part of the Tyrolean Festival Erl. Under the direction of festival founder Gustav Kuhn, the orchestra garnered rave reviews from international critics and cemented its reputation as one of the world’s finest Wagner orchestras. With the start of Jonas Kaufmann’s tenure as artistic director in September 2024, Asher Fisch—a conductor in high demand internationally in both opera and concert settings—has taken over the helm of the orchestra.

In addition to Richard Wagner’s ten major music dramas and operas by Strauss, Mozart, Beethoven, Verdi, and Rossini, the orchestra’s repertoire includes Beethoven’s symphonies and many other key works from the concert repertoire spanning the Baroque and Romantic periods, as well as contemporary works and world premieres.

Tiroler Festspiele Erl Choir

Founded in 2007, the choir serves as an equal musical partner to the festival orchestra. The focus is on meticulous attention to individual parts. As part of the festival, the singers work on a wide range of projects, from a cappella programs to concert and opera productions. Since the opening of the Festspielhaus Erl in 2012, the repertoire has placed additional emphasis on bel canto works and Verdi’s operas.

The development of a Baroque choral sound in the works of Bach and his contemporaries is also a key focus of the ensemble’s work; since 2009, it has maintained close ties with Capella Minsk, the State Academic Choir of the Republic of Belarus. Founded in 1940, this choral ensemble has made it its mission to preserve Belarusian folk music and to premiere works by modern and contemporary composers.

The choir is distinguished by its precise intonation, harmony, versatility, and dynamic sound—qualities that have formed the basis for numerous tours throughout Europe in recent years. Its repertoire includes requiems, masses, cantatas, and sacred works, as well as operas. After Lyudmila Yefimova spent many years developing and shaping the choir’s quality, Olga Yanum took over as the ensemble’s director following her death in 2018.

Asher Fisch Musikalische Leitung

Asher Fisch is Chief Conductor of the West Australian Symphony Orchestra and has been Music Director of the Tiroler Festspiele in Erl since the beginning of the 2024/25 season. He is internationally recognized as one of the leading conductors and has an extensive repertoire that covers both opera and concert areas. He began his career as an assistant to Daniel Barenboim and as a conductor at the Berlin State Opera. Since then, he has conducted at major European opera houses, including Vienna, Milan, Munich, Paris and Madrid. As an acknowledged Wagner specialist, Fisch has recorded two complete "Ring" cycles as well as "Tristan und Isolde". In addition, he has intensively studied the Italian repertoire and recently released a Puccini album together with tenor Jonas Kaufmann, the new Artistic Director of the Tiroler Festspiele Erl.

As a concert conductor, Asher Fisch has led renowned US American and European orchestras such as the New York Philharmonic, the Chicago Symphony, the San Francisco Symphony, the Cleveland Orchestra and the Philadelphia Orchestra, the Berlin Philharmonic, the Munich Philharmonic, the Orchestre National de France and the London Symphony Orchestra. Asher Fisch is also active as a pianist and can be experienced in piano concerts, with chamber music and as a song accompanist.

Bárbara Lluch Regie

Born in Barcelona in the middle of a famous theatrical family, she studied classical acting and worked as an actress with directors including Robert Lepage and Maurizio Scaparro, her work ranging from roles such as Doña Inés in Zorrilla's Don Juan Tenorio (Compañia Nacional de Teatro Clásico) to parts in film and television.

Since 2005 she has worked as an opera director and assistant director for companies including The Royal Opera House, London; La Monnaie de Munt, Brussels; Teatro Real, Madrid; Opera Australia, Sydney; Copenhagen Opera House, Denmark; Gran Teatre del Liceu, Barcelona; El Teatro Maestranza, Sevilla; Teatro Colón, Buenos Aires and Teatro Solis de Montevideo, Uruguay.

She has assisted directors including Jonathan Miller, Romeo Castellucci, Klaus Michael Grüber, Robert Carsen, Sir David McVicar, Laurent Pelly, Kristof Warlikovsky, Christof Marthaler, Sir Richard Eyre, La Fura dels Baus, Robert Wilson, and Robert Lepage.

As a revival director she was in charge of Francesca Zambello's Don Giovanni, Richard Eyre's La traviata, Sir David McVicar's Le nozze di Figaro, Salome and The Magic Flute at the Royal Opera House; Robert Lepage's The Rakes's progress at La Monnaie, Kasper Holten's Eugene Onegin and Das Liebesverböt at Sydney Opera House and Teatro Colon Buenos Aires, among others.

Her own work as a director include Le cinesi, The House of Bernarda Alba (Ópera XXI Award for Best Production) and El rey que rabió at Teatro de La Zarzuela, Madrid; Shakespeare's play A Midsummer's Night Dream at Teatro Clásico in Madrid; Un avvertimento ai gelosi at Palau de les Arts, Valencia; La del manojo de rosas at Teatro Solis in Montevideo, Uruguay; La sonnambula at Teatro Real in Madrid, Winterreise at Gran Teatre del Liceu in Barcelona.

Most recently, she directed La regenta in Madrid, for Teatro Real in co-production with Teatro Español, Don Juan no existe at Festival de Peralada, a coproduction between Gran Teatre del Liceu, Teatro Real, Teatro de la Maestranza de Sevilla and Teatros del Canal, and Marina at Teatro de La Zarzuela.

Alfons Flores Bühnenbild

Alfons Flores (1957) began to work as a set designer in 1978 at the group GAT, from L'Hospitalet de Llobregat (Barcelona), which he was one of the founders. His works include sets for theater, opera, urban set design and big events, working with such directors as Calixto Bieito, Joan Lluís Bozzo, Carlos Wagner, Guy Joosten and Àlex Ollé and Carlus Padrissa (La Fura dels Baus).

His work for opera let him work at such opera theaters Gran Teatre del Liceu, Teatro Real, English National Opera, Teatro alla Scala, Covent Garden, La Monnaie, Sydney Opera House, Opéra de Lyon, Oper Frankfurt, StaatsOper Stuttgart, Paris Opera, among others. Among his most representative opera sets it is worth to remarking: Carmen (1999 and 2011), Un Ballo in Maschera (2000, 2010 and 2013), Don Giovanni and Die Fledermaus (2002), Die Entführung aus dem Serrail (2004), Wozzeck (2005 and 2009), La Fanciulla del West (2007), Le Grand Macabre (2009), Mahagonny and Adriana Lecouvreur (2010), Quartett, Tristan & Isolde and Oedipe (2011), Le Duc d'Albe (2012), Erwartung / Il prigioniero (2013), Madama Butterfly, Daphne and El Holandés errante (2014), L'Elisir d'Amore, Pelléas et Mélisande and Il trovatore (2015), Don Carlo, Norma and La Bohème (2016), Alceste and Jeanne d'Arc (2017), Frankenstein, Turandot and Manon Lescaut (2019), Ariane et Barbe-Bleue and Carmen (2021), The Nose (2022), Rusalka (2023) and Lady Macbeth (2024).

His work has been recognized with the Barcelonian Critics Theater Award in 1996, 1998 and 2009. In 2000 he received the Irish Times Theater Award for the best Set Design for Barbaric Comedies and he was nominated for Best Stage Designer at The International Opera Awards in 2017.

Clara Peluffo Valentini Kostüme

Born in Buenos Aires, Argentina, she moved to Milan to complete her studies in Fashion Design and specialized in costume design. Then she moved to Barcelona where she still lives and started working as a designer (and assistant) of both fashion and costumes for film, musicals, theater, opera and advertising. Her latest works in opera as Costume Designer include La Cenerentola for Opera National de Lorraine (Director Fabrice Murgia), Marina for Teatro de la Zarzuela (Director Bárbara Lluch), Don Juan no Existe for the Festival Peralada, Brodeck for Vlaamse Opera (Director Fabrice Murgia), La Traviata for Korea National Opera (Director Vincent Boussard), Tosca for the Opera Hong Kong (Director Vincent Boussard), La Sonnambula for Teatro Real de Madrid (Director Barbara Lluch), Il Barbiere di Siviglia for the Teatro Principal de Zaragoza (Director Leo Castaldi), Mignon for the Opera Royal de Wallonie (Director Vincent Boussard), El Rey que Rabió for the Teatro de la Zarzuela (Director Barbara Lluch), Le Palais enchanté for the Opera National de Lorraine (Directed by Fabrice Murgia), Un Avvertimento ai Gelosi for El Palau de les Arts of Valencia (Director Barbara Lluch), Les Contes D'Hoffmann for Korea National Opera (Conductor Vincent Boussard), Dialogues des Carmélites for Latvian National Opera (Director Vincent Boussard), Manon for Korea National Opera (Director Vincent Boussard) and as wardrobe assistant for the opera I Capuleti and I Montecchi (Designers Christian Lacroix and Vincent Boussard) for Lithuanian National Opera and Ballet among others. In theater, her latest works include Sueño de una Noche de Verano at Teatro Clásico in Madrid (Director Barbara Lluch), Angels in America at Teatre Lliure in Barcelona (Director David Selvas) and as Assistant Don Juan Tenorio at the National Theater of Catalonia (Director David Selvas), The curious incident of the dog at midnight at Teatre Lliure de Barcelona (Director Julio Manrique), Roberto Zucco in El Matadero de Madrid (Director Julio Manrique), Oleanna at Teatre Romea (David Selvas), Hedda Gabler at Teatre Lliure de Barcelona (Director David Selvas) among many others.

Urs Schönebaum Licht

Freelance lighting designer for theater, opera, dance, exhibitions, performances and installations. His work encompasses more than 200 productions at stages such as the Opera Bastille, Garnier, Le Chatelet, Paris; Metropolitan Opera, New York; Festivals d'Avignon and Aix en Provence; Salzburg Festival and Bayreuth Festival; Schaubühne Berlin; Teatro Real, Madrid; Sydney Opera House; La Scala, Milan, Claus Guth, Bavarian State Theater and at the Bavarian State Opera.

He works with directors such as Thomas Ostermeier, Michael Haneke, La Fura dels Baus, Pierre Audi, Sidi Larbi Cherkaoui, Damien Jalet, Laurent Pelly, Sasha Waltz and William Kentridge. He has a long-standing collaboration with Robert Wilson. Additionally, he developed the lighting design for art projects by Vanessa Beecroft, Anselm Kiefer, Dan Graham, Soundwalk Collective, Taryn Simon and Marina Abramović.

Since 2012, he has also been working as a set designer and director. In 2012 and 2014, he directed and designed the operas "Jetzt"/"What Next?" and "Happy Happy" by Mathis Nitschke at the Opera National de Montpellier, in 2022 at the Stuttgart State Opera for the Walküre Project Act 2. He designed sets and lighting for the operas "Bomarzo" at the Teatro Real in Madrid, the opera cycle "Aus Licht" for the Holland Festival, "Apocalypse Arabe" at the Festival d'Aix en Provence, the "Klangwolke 22" in Linz, "Bastarda" for Opera La Monnaie in Brussels and "La Regenta" at the Matadero in Madrid.

Mar Flores Flo Video

Mar Flores Flo is a multidisciplinary artist based in Barcelona. She holds a master’s degree from l’École Nationale d’Architecture de Versailles and she is currently studying an MFA in Production and Artistic Research in the University of Barcelona. After working for the architects Junya Ishigami and Sou Fujimoto in Tokyo, since 2017 she collaborates with the set designer Alfons Flores in productions such as Idoménée (Opéra de Lille), Nos (Det Kongelige Teater/La Monnaie), Rusalka (Bergen Nasjonale Opera), L’Amore dei Tre Re (Teatro alla Scala) and Norma (Seoul Arts Center).

Her artwork has been presented in le Palais d’Iéna in Paris by la Fondazione Prada, the AA Gallery in London (2014), la Biennale di Architettura in Venezia (2016), Sala Claret Pomel (2022), CC El Coll-La Bruguera, Festival Internacional de Fotografia SCAN Tarragona (2023) and Centre d’Art Tecla Sala (2024) in Barcelona.

Mercè Grané Choreografie

Mercè’s latest credit is “Marina”, the opera directed by Barbara Lluch and premiered at Teatro de la Zarzuela (Madrid) for which she developed the scenic movement.

Mercè trained in Dance, Dramatic Art and Music in Barcelona and later extended her training in Amsterdam and New York. Her professional career began in Barcelona when she joined Maria Rovira's dance company Tránsit Dansa, while she formed her own company eN movimeNt and made her directing debut with the play “Gabies” (Atrium Teatre). As a teacher, she created the Theatre School La Saca where she was Assistant Director and later joined Aules, Escuela de Teatro Musical, as Head of the Dance Department under the direction of Daniel Anglès; in both schools she taught dance and acting.

Currently living in Madrid, Mercè continues to combine teaching in various schools with directing and choreographing shows such as “La Poeta Invisible”, “Razon(es) de Piel”, “Vendadas”, “Arco de Mujer”, “Las Sicalípticas”, the Broadway World Spain Awards Galas, “Lechuga”, “La Marcha Radetzky”, “Pocoyó y sus amigos”,Hansel y Gretel” and “Laura y el Enigma”. Internationally it is worth mentioning that “Nadando entre Nudos”, a piece she directed and choreographed, was created and has its premiered in Lima (Peru) and was later exhibited in Madrid and Barcelona.
She also directed and choreographed “Miraculouse, the Ladybug musical”, which premiered in Madrid and toured internationally in Latin America, Italy and France and won the Broadway World Award.

Alongside director Alberto Frías, she choreographed several shows such as “Milenial, the Show”, “The Clown”, “Ubuntu” or “La del Manojo de Rosas” (Teatro Pérez Galdós, Las Palmas de Gran Canaria).

She developed the choreography for the Spanish production of the musical “Los Puentes de Madison”, which premiered in Madrid, starring Nina and Geronimo Rauch.

Mercè regularly works with Jesus Torres’ company El Aedo, creating the scenic movement for productions such as “Puños de Harina”, “Contamination” and “Un poeta (perdido) en Nueva York”, recently premiered at the Cervantes Festival in London.

Sara Cortolezzis Mimì

The Italian soprano Sara Cortolezzis won the 1st prize "Carlo Bergonzi" and the special prize "Renata Tebaldi" for the best female voice at the 58th International Voci Verdiane singing competition in Busseto in 2022. She has also won numerous other competitions, such as the Concorso Cittá di Vigevano in 2019 or the 75th singing competition at the Teatro Lirico Sperimentale in Spoleto in 2021. Her recent projects include important debuts as Leonora/IL TROVATORE at the Teatro Coccia Novara, Elena/I VESPRI SICILIANI at the Teatro Comunale in Bologna, Desdemona/OTELLO at the Teatro Petruzzelli in Bari. In the 2023/24 season, she will debut in the title role of ANNA BOLENA at the Teatro Verdi in Trieste, as Lucieta/IL CAMPIELLO at the Teatro Filarmonico Verona and as Musetta/LA BOHEME at the Puccini Festival Torre del Lago. Sara made her stage debut in 2018 as Violetta in Verdi's LA TRAVIATA at the Teatro Barbarigo in Padua. This was followed by her debut as Cio-Cio-San in Puccini's MADAMA BUTTERFLY at the Teatro Nuovo G. Menotti in Spoleto and at the Teatro Morlacchi in Perugia. In 2022, she debuted as Lesbina in LA FRANCHEZZA DELLE DONNE by Selitti. This was followed by her debut as Donna Anna in DON GIOVANNI at the Teatro Lirico Sperimentale in Spoleto in a production by Henning Brockhaus. Born in Mestre near Venice, Sara began her vocal studies with Francesco Signor and Rosetta Pizzo and later continued them with Lucia Mazzaria, Alessandro Pierfederici and Stefano Gibellato. Since 2019, she has been working with Elisabetta Tandura on both her technique and interpretation. In addition, Sara has participated in numerous master classes, including those with Mariella Devia, Marina Comparato, Roberto De Candia, Carmela Remigio and Renato Bruson.

Long Long Rodolfo

Der chinesische Tenor Long Long studierte an der Musikhochschule in Shanghai sowie am University Opera Research Institute in Peking. Als Gewinner des Grand Prix de l’Opéra in Bukarest wurde er 2016 an die Accademia del Maggio Musicale Fiorentino eingeladen. Es folgten Preise bei zahlreichen internationalen Wettbewerben, darunter Operalia in Lissabon 2018 und der Internationale Gesangswettbewerb Neue Stimmen 2019.

Von 2017 bis 2019 war Long Long Mitglied des Opernstudios der Bayerischen Staatsoper München, wo er u.a. als Albazar („Il turco in Italia“), Thibaut („Les vêpres siciliennes“) und Godefroy de Vaudémont („Iolanta“) zu erleben war. Zu seinem Repertoire zählen auch Partien wie Don José („Carmen“), Nemorino („L’elisir d’amore“) und Ernesto („Don Pasquale“). 2019 debütierte er bei den Salzburger Festspielen in „Simon Boccanegra“ und bei den Münchner Opernfestspielen in „La traviata“. Von 2019 bis 2021 war er Ensemblemitglied der Staatsoper Hannover und sang dort u.a. Rodolfo („La Bohème), Don Ottavio („Don Giovanni“) und den Herzog von Mantua („Rigoletto“), eine Partie, die er auch bei den Bregenzer Festspielen 2021 verkörperte. An der Semperoper Dresden gastierte er kürzlich als Rodolfo und an der Deutschen Oper Berlin als Edgardo („Lucia di Lammermoor“).

Victoria Randem Musetta

Norwegian-Nicaraguan soprano Victoria Randem, described as possessing “meltingly lovely top notes” (Financial Times), has distinguished herself as a versatile operatic young talent, compelling in a variety of repertoire from Mozart to contemporary works. Among her future appearances are Musetta La Boheme at Tiroler Festspiele Erl, Pamina Die Zauberflöte at Semperoper Dresden, Maria West Side story at Volksoper Wien, Musetta La bohème at the Tiroler Festspiele Erl, The Cunning Little Vixen with the Norwegian National Opera. Recent engagements include Petite messe solennelle with Berlin Rundfunkchor, Alida Sleepless, Pamina Die Zauberflöte, Musetta La bohème, Susanna Le nozze di Figaro at Staatsoper Berlin, Zerlina Don Giovanni at the Glyndebourne Festival, Belinda Dido and Aeneas at Bayerische Staatsoper, Rachel La piccola Cubana, Pamina Die Zauberflöte, Waldvogel Siegfried, Damigella/Fortuna L’incoronazione di Poppea, Alida Sleepless, Ilia Idomeneo, Blumenmädchen Parsifal at Staatsoper Berlin, Alida Sleepless at the Grand Théâtre de Genève and Müpa Budapest, Barbarina Le nozze di Figaro with the Norwegian National Opera and appearances with the Norwegian Radio Orchestra. In concert, Victoria Randem appeared with the Stuttgart Philharmonic under Dan Ettinger as part of the Opera for Peace alongside Thomas Hampson, she returned to Oslo Oratoriekor for the Brahms Requiem and will appear in a solo Lied recital at the Staatsoper Berlin with Mathias Samuil. Randem’s professional career began in her native Oslo, where she debuted at the Norwegian National Opera as Barbarina in Le nozze di Figaro and returned as Gretel Hänsel und Gretel, next to appearances with the Norwegian Radio Orchestra (KORK), and a Gala Concert “Ønskekonserten” broadcasted by the Norwegian Public Radio NRK. After finishing the Opernstudio of Staatsoper Berlin - with appearances as Ilia in Idomeneo*, Papagena Die Zauberflöte, Ännchen Der Freischütz with Alexander Soddy, Blumenmädchen Parsifal with Daniel Barenboim, Jano, Jenufa with Sir Simon Rattle, Victoria Randem joined the Staatsoper’s soloist ensemble, where her roles include Rachel in Hans Werner Henze’s La piccola Cubana, Pamina Die Zauberflöte, der Waldvogel in Dmitry Tchernyakov’s new Siegfried under Chr. Thielemann, Damigella/Fortuna L’incoronazione di Poppea, Marzelline Fidelio, Anna Reich Die Lustigen Weiber von Windsor. Victoria is a scholarship recipient of the Liz Mohn Kultur – und Musikstiftung and a recent graduate of the Barratt Due institute of Music and the National Academy of the Arts Oslo. [*- rescheduled]

Tommaso Barea Marcello

The Venetian bass-baritone Tommaso Barea received his Bachelor's degree in Treviso/Italy from Pr. Sherman Lowe. In 2014, he debuted as the youngest winner of the "European Union Competition" in Spoleto/Italy in the role of Schaunard in La Bohème, while attending the Festival of Two World Academy in Spoleto. In 2016, he was admitted to the ensemble of the Accademia del Maggio Musicale Fiorentino, where he perfected his studies under the direction of Gianni Tangucci. Additionally, he participated in international master classes and opera workshops, including with Chris Merrit, Alfonso Antoniozzi, Enza Ferrari, Michele Errico, Marco Berti and Katia Ricciarelli, and worked with renowned conductors such as Z. Mehta, G. Bisanti, J. Valcuha, R. Estrada, G. Tourniaire, G. La Malfa, M. Beltrami, S. Rolli, N. Paszkowski, M. Angius, P. Walsh and with directors such as H. De Ana, G. Del Monaco, D. Michieletto, A. Bernard and J. Furness. In recent years, Tommaso Barea has won numerous prestigious national and international competitions, including: Winner of the As.Li.Co. competition for the role of Guglielmo in Così fan tutte, 3rd prize of the "Magda Oliviero Opera Competition", International O.M.E.G. A Competition, Concorso Internazionale di Canto Lirico "Mauro Pagano" 1st prize, "Franco Federici" 1st prize, "International Opera Competition Rinaldo Pelizzoni" 2nd prize and audience prize, XVI international competition "Giovanni Battista Velluti" 1st prize, the 1st prize of the International Competition "Young Musicians" and the 1st prize of the "CountyAward". After receiving a prize for "Young Male Talents" in 2016, he participated in the art project "Ising Beijing". In January 2018, he won the Mercedes Viñas Prize at the 'Francesco Viñas' Competition in Barcelona. His current and future engagements include: Acquagranda at La Fenice, Il barbiere di Siviglia, Don Carlo and La Traviata at the Maggio Musicale Fiorentino, Rigoletto in Verona and in Bari, La Bohème on a Japanese tour, La fanciulla del West at the Teatro San Carlo, Edipo re (Leoncavallo) at the Teatro Verdi di Pisa, Il barbiere di Siviglia in Palermo and Paris, Pietro il Grande in Bergamo, La Bohème in Turin, at the Puccini Festival in Torre del Lago, in Palermo and Macerata Opera Festival, Le Songe d'une nuit d'été at the Wexford Festival, Pagliacci in Macerata, Werther and Ariadne auf Naxos in Bologna, Pagliacci and La Cenerentola in Salerno, Il matrimonio Segreto in Ancona, Rinaldo in Venice, Così fan tutte on tour with the Basel Chamber Orchestra in Paris, Hamburg, Luxembourg, Carmen in Valladolid and Macerata, Agrippina in Amsterdam, Don Giovanni at the Deutsche Oper Berlin and in Macerata, Le nozze di Figaro in Sydney, Komische Oper Berlin and in Verbier, Werther at the Teatro Comunale in Bologna.

Liam James Karai Schaunard

Liam James Karai ist ein Bassbariton schottischer, irischer und indischer Abstammung, der derzeit Mitglied des Internationalen Opernstudios an der Staatsoper Hamburg ist und zuvor junger Künstler bei den Salzburger Festspielen war. In der Spielzeit 2023/24 ist er an der Staatsoper Hamburg u.a. als Angelotti Tosca, Verwalter & Wächter Lady Macbeth von Mzensk, Il Conte di Ceprano Rigoletto, Alcindoro La boheme, Hobson Peter Grimes, Zweiter Soldat Salome, Zaretsky Eugen Onegin, der Bürgermeister Jenůfa sowie als Guglielmo Così fan tutte, als Alidoro La Cenerentola und als Colline La bohème zu erleben. Außerhalb Hamburgs gibt er in dieser Saison sein Debüt als Escamillo Carmen in der Oper Frankfurt und in einer Neuproduktion am Staatstheater Main. Zu den nächsten Engagements gehören Rollen am Teatro di San Carlo Napoli und an der Oper Leipzig. Neben seiner Opernkarriere ist Liam auch ein begeisterter Konzertsolist und tritt regelmäßig in Operngalas, Liederabenden und Konzerten auf der ganzen Welt auf. Zu den nächsten Konzerten gehört sein Debüt in der Elbphilharmonie Großer Saal als Bass-Solist in Beethovens Chorfantasie mit den Hamburger Philharmonikern unter der Leitung von Kent Negano. In der vergangenen Saison trat Liam als Bass-Solist in mehreren anderen Werken auf, darunter Mozarts Requiem und Bachs Weihnachtsoratorium. Sein Debüt in der Elbphilharmonie Kleiner Saal gab er an der Seite seiner Kollegen aus dem Opernstudio mit Auszügen aus Don Giovanni Don Giovanni und Ralph La jolie fille de Perth. Sein internationales Debüt gab Liam im Juli 2022 im Rahmen des Young Artist Programme bei den Salzburger Festspielen als Guccio in Gianni Schicchi in Il Trittico. Er trat auch in einigen Konzerten in Salzburg mit dem Mozarteum Orchester auf und sang Auszüge aus Le nozze di Figaro als Figaro, Cosi Fan Tutte als Don Alfonso und Cenerentola als Alidoro. Liam absolvierte ein Postgraduierten-Diplom mit einem Vollstipendium sowie einen Master of Music in Performance am Royal Northern College of Music (Manchester, England) unter der Leitung von Quentin Hayes. Während seiner Zeit am RNCM wurde Liam mit dem Sir John Tomlinson Scholarship und dem Andrew Lloyd Webber Scholarship ausgezeichnet. 2021 erhielt er den Frederic Cox Award und die RNCM Silver Medal. Außerdem vertrat er das RNCM beim Joaninha Trust Award Wettbewerb und beim Clonter Opera Prize, wo er den ersten Preis gewann und den zweiten Platz belegte.

Jasurbek Khaydarov Colline

Jasurbek Khaydarov wurde in Namangan, Republik Usbekistan, geboren und absolvierte die Republikanische Uspenski-Spezialmusikschule. Im Jahr 2023 erhielt er seinen Bachelor-Abschluss an der Gnessin-Musikakademie. Außerdem ist er Absolvent des Programms für junge Künstler der Moskauer Helikon-Oper. Im Jahr 2022 wurde er in das Programm für junge Opernkünstler des Bolschoi-Theaters in Moskau aufgenommen, wo er kürzlich als "flämischer Stellvertreter" in der Produktion von Don Carlo debütierte . Außerdem wird er in der Spielzeit 2023-24 in der Produktion von Krieg und Frieden zu sehen sein. Jasurbek hat an Meisterkursen von Ildar Abdrazakov, Sergei Leiferkus, Dmitry Vdovin, Lorenzo Bavaia, Ekaterina Semenchuk, Ramón Vargas, Barbara Frittoli, Plácido Domingo, Marina Meshcheryakova, Khibla Gerzmava, Dmitry Bertman und Georgy Isaakyan teilgenommen. In jüngster Zeit wurde er beim 22. Concorso Lirico Internazionale Ottavio Ziino mit dem Preis für eine aufstrebende Stimme ausgezeichnet und gab sein Debüt im Vereinigten Königreich in der Wigmore Hall in einem vom Pianisten Iain Burnside kuratierten russischen Liederabend.

Piotr Micinski Benoit / Alcindoro

Der polnische Bass Piotr Micinski, der für sein einprägsames komödiantisches Timing und seinen meisterhaften Gesang gelobt wird, verdiente sich mit seinen jüngsten Engagements als Bartolo in Le nozze di Figaro, Der Förster in Irrelohe, Mamyrov in Die Zauberin viel Beifall von Publikum und Kritik, Don Profondo in Il Viaggio a Reims, Masetto in Don Giovanni an der Opéra national de Lyon, Pater Ambrose in Die Teufel von Loudun an der Bayerischen Staatsoper, Frank in Die Fledermaus im New National Theatre Tokyo, Impresario in Viva la Mamma am Teatro Real Madrid. Als erfahrener Interpret moderner Musik war Micinski in D. Schostakowitschs Die Nase an der Bayerischen Staatsoper, in Ph. Glass' Akhnaten und M. Nymans The Man Who Mistook His Wife for a Hat im Grand Theatre Lodz, in A. Raskatovs A Dog's Heart an der Niederländischen Nationaloper und seine "GerMANIA" an der Opéra National de Lyon, wo er auch Bartolomeo Delacqua in Eine Nacht in Venedig und Der Tod in V. Ullmanns Der Kaiser von Atlantis sang. Micinski begann am Operntheater Lodz zu singen und war seither in großen Orchestern, Opernhäusern und Konzertsälen weltweit zu hören, darunter in Deutschland, Österreich, der Schweiz, Frankreich, Dänemark, Belgien und den Niederlanden.

Peter Kirk Parpignol

Zu den aktuellen Engagements von Peter Kirk gehören seine Debüts am Teatro Carlo Felice di Genove und am Royal Opera House Muscat als Lysander Midsummer Night's Dream und am Theater an der Wien als Bart- & Ziegenkerl Wo die wilden Kerle wohnen. Kürzlich kehrte er an die Opera du Rhin in Straßburg als Monostatus in Die Zauberflote, an die Opera de Lyon als Funkchen Irrelohe und zum Grange Festival als Lysander Sommernachtstraum und als Leonard Meryll The Yeomen of the Guard zurück. Peter Kir trat an der Wiener Volksoper als Charlie Cameron Brigadoon und als Tobias Ragg Sweeney Todd an der Nationaloper Bergen auf. Außerdem sang er beim Grafenegg Festival unter Maestro Yutaka Sado, in der Jubilee Hall Aldeburgh, an der Opera de Tours und der Nevill Holt Opera, als Matrose Dido und Aeneas beim Festival d'Aix-en-Provence, mit dem Wiener Tonkünstler Orchester, den Münchner Symphonikern und als Pasek Das schlaue Füchslein an der Opéra national du Rhin. Kirk debütierte an der Nederlandse Reisopera als Herr Erlanson in Eine kleine Nachtmusik, an der Opéra National de Lyon als Nereo in Mefistofele und an der Opera de Tours und der Nevill Holt Opera als Lysander in Brittens Ein Sommernachtstraum. Er sang Tamino in Die Zauberflöte mit dem Wiener Tonkünstler-Orchester und den Münchner Symphonikern unter der musikalischen Leitung von David Reilandfor und mit der Opera Up Close unter Yutaka Sado. Kirk übernahm die Rolle des Almaviva in Il Barbiere di Siviglia an der Opéra Nomade und den Matrosen in Dido and Aeneas beim Festival d'Aix-en-Provence. Sein von der Kritik gefeiertes Debüt an der Royal Opera Covent Garden gab er 2015 als Chulak in Bruce's The Firework-Maker's Daughter. Zu seinen weiteren Engagements zählen Judas Maccabeus mit der Schlesischen Philharmonie in Kattowitz, Dichterliebe am Wiltshire Music Centre, Antonio in Das Liebesverbot an der Opera National du Rhin und Lysander in A Midsummer Night's Dream am Hyogo Arts Centre, Japan. Kirk hat Lucano in L'incoronazione di Poppea für die English Touring Opera, Charlie in Mahagonny Songspiel mit dem London Philharmonic Orchestra und Congressional Page Two Boys für die English National Opera, Lysander in Brittens A Midsummer Night's Dream in der Jubilee Hall Aldeburgh, Pasek in The Cunning Little Vixen mit der l'Opéra national du Rhin gespielt.

Schule für Chorkunst München

From the beginning, particular emphasis was placed on comprehensive musical training: voice training lessons, two choir rehearsals per week, ear training and music theory – all of this is standard curriculum at the Schule für Chorkunst München. Great importance has also always been attached to the following aspects: promoting musical memory, a great variety of musical works, developing vocal flexibility as well as expanding vocal range and continuous development of polyphonic and polyphonic singing. Since the founding of the Schule für Chorkunst, young singers have regularly participated in public concerts, festivals, choir tours and other projects. In 2018, the concert choir of the choir school participated with great success in the international "World Peace Choral Festival" in Vienna and performed together with the world-famous choir of the Vienna Boys' Choir. In 2021, children from the Schule für Chorkunst München participated in the Tiroler Festspiele – in Humperdinck's opera "Königskinder". Another larger project, already for the second time with the Bavarian State Opera, was the children's opera "Spring doch!", which premiered on December 9, 2022; seven performances followed after the successful premiere. In November 2022, the singers of the Schule für Chorkunst München participated in the Bavarian Choir Competition – with great success – and qualified for the Germany-wide Choir Competition.

Giacomo Puccini: LA BOHÈME

Team