Patrick Lange was born near Nuremberg in 1981 and is among the most promising talents of the young conductor´s generation. As Abado´s assistant he collaborated with the Berliner Philharmoniker, the Orchestra Mozart Bologna and the Lucerne Festival Orchestra. In 2009 he was on an England tour with the Glyndebourne Opera with Cosi fan tutte. In 2011 he conducted the Academy of St. MArtin in the Fields on a Germany tour. His career as concuctor began in Luzern (Falstaff, Don Giovanni). With Le nozze di Figaro he made his debut at the Komische Oper in 2007. Since 2008 he has been first Kapellmeister there, in 2010 he was appointed Chief Conductor of the house (until 2012). In 2010/2011 he opened with Meistersinger, later Rigoletto, Rusalka and Idomeneo followed. In 2011/2012 he for example conducted Freischütz, Der Rosenkavalier and Meistersinger at the Komische Oper Berlin, La traviata at the ROH Covent Garden. Upcoming engagements are Die Entführung aus dem Serail at the Bayerische Staatsoper, Die Entführung aus dem Serail in Zürich, Jenufa and Faust. In 2010 he made his debut at the Wiener Staatsoper with Madama Butterfly, where he has also conducted Don Giovanni, Così fan tutte, Die Zauberflöte für Kinder, Eugen Onegin and Die Fledermaus.
OLGA BEZSMERTNA completed her studies at the Kiev Academy of Music in Ukraine in 2010. She was among the finalists of the Hans Gabor Belvedere Singing Competition in Vienna in 2010 and 2011. During her debut singing competition in Germany in 2008, she was awarded the first prize as well as the Public prize and the Puccini Prize. In 2007 she had an engagement at the Oper Oder-Spree Festival. In 2006, she received an award at the International Rimsky-Korsakow Singing Competition in St. Petersburg. Furthermore, the soprano received the first prize at the international singing competition of the Bertelsmann Trust. In 2011, she took part in the Young Singers Projects at the Salzburger Festspiele. Her repertoire includes, among others, Contessa d’Almaviva, Pamina, Donna Elvira, Fiordiligi, Micaëla, Marguerite, Nedda, Marfa (Die Zarenbraut) and Tatjana. She is an emsemble member of the Wiener Staatsoper, where she gave her debut in 2012 and sang among others: Dame (Cardillac), Pamina, 3. Norn, Contessa d’Almaviva and Rosalinde. Current performances include her debut at the Deutschen Oper Berlin and at the Salzburger Festpiele.
Der britische Bariton CHRISTOPHER MALTMAN studierte Biochemie an der Warwick University und erhielt seine Gesangsausbildung an der Royal Academy of Music in London. Er ist Gewinner des Lieder-Preises beim renommierten Cardiff Singer of the World-Wettbewerb. Seither hat ihn seine Karriere an alle großen internationalen Opern- und Konzerthäuser gefuhrt. Aktuelle Auftritte umfassten bzw. umfassen unter anderem die Titelrolle in Don Giovanni bei den Salzburger Festspielen, in München und Koln; Papageno (Die Zauberflöte), Guglielmo (Così fan tutte) und Marcello (La Bohème) am Royal Opera House Covent Garden in London; Papageno, Figaro (Le nozze di Figaro), Sid (Albert Herring) beim Glyndebourne Festival; Papageno, Harlekin (Ariadne auf Naxos), Silvio (Pagliacci) an der New Yorker Metropolitan Opera; die Titelpartie in Billy Budd etwa an der Welsh National Opera, am Teatro Regio in Turin, in Seattle und Frankfurt. Weitere Auftritte führten bzw. führen ihn nach Paris, Berlin, zum Aldeburgh Festival, nach Zurich, an die Deutsche Staatsoper Berlin, nach Toulouse und an die Nederlandse Opera. Er ist auch ein anerkannter Lied- und Konzertsänger.
The career of tenor Pavol Breslik began in 2005 when critics of the magazine "Opernwelt" elected him the “Newcomer of the Year”. The Slovakian artist, born in 1979, studied in Bratislava. In 2000 he won the first prize at the Antonín Dvorák competition. 2002/2003 he continued his education in the opera studio CNIPAL in Marseille and completed his studies in master classes of Yvonne Minton, Mady Mesplé, Mirella Freni and William Matteuzzi.
Between 2003 and 2006 he was a member of the Staatsoper Unter den Linden Berlin. He sang at the Théâtre de la Monnaie in Brussels, at the Vienna Festival, at the Festival in Aix-en-Provence, at the Théâtre du Châtelet, the Salzburg Festival, the New York Met, the London Royal Opera House Covent Garden, the Bayreuth State Opera. His repertoire includes Ferrando (Così fan tutte), Tamino (Zauberflöte), Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Kudrjáš (Katjá Kabanová), Belmonte (Die Entführung aus dem Serail), Lenski (Eugen Onegin) und Gennaro (Lucrezia Borgia).
He made his debut at the Vienna State Opera in 2010 as Nemorino and also sang Lenski and Don Ottavio.
Act 1 It is harvest season on the country estate of Madame Larina in the Russian countryside. As they bottle berries, the widowed landowner and the old nurse chat about the past, about their disappointments in life, and accepting routine as a substitute for lost happiness. Of the two daughters of the house, the lively, happy-go-lucky Olga is full of joie-de-vivre, while the quiet, withdrawn Tatyana immerses herself in books and drifts off in daydreams. One day visitors arrive: Olga's fiancé, the starry-eyed young poet Lensky, introduces his friend and neighbouring landowner Eugene Onegin, a sanguine city dweller and libertine. Whist Lensky beleaguers the fun-loving Olga with declarations of love, Onegin's elegance and superiority make a deep impression on the shy Tatyana. The hero of her novels, the projection of her dreams and imagination seems to be standing before her. That night in her room, Tatyana can find no rest, and even the nurse cannot distract her. Tatyana therefore decides to write a letter to the man who has so unexpectedly entered her life. Anxiously to begin with, then increasingly recklessly, she bares her soul, revealing her emotions to Onegin. When the two meet in person, Tatyana is disappointed, and even humiliated, by Onegin's condescending reply. Although he admits that he is very fond of her, he mistrusts his feelings in the long term and tells her that marriage is not for him. Deeply hurt, Tatyana withdraws, as the girls picking berries in the garden sing mischievously of love's happiness. Act 2 Months later; it is now winter. A country ball to celebrate Tatyana's name day brings the invited neighbours welcome relief from the monotony of their everyday lives. Onegin has allowed his friend Lensky to persuade him to attend the ball as well. However, he soon becomes so annoyed by the other guests' gossip about his extravagant lifestyle that he resolves to play a trick on his friend. He repeatedly dances with Olga, flirting very ostentatiously with her, and she coquettishly responds to his advances. In a fit of jealousy, Lensky flies in to a rage. Before the assembled company, he indignantly demands that Onegin account for his behaviour, finally challenging his pretended rival to a duel. On a cold morning, Lensky is waiting for his opponent. Filled with premonitions of death, in his thoughts he bids farewell to his life and his beloved Olga. When Onegin arrives, both of them know the futility of their undertaking, and realize how precious their friendship is. However, neither of them manages to call off the duel. It is only when Lensky is mortally wounded that Onegin realizes the terrible thing he has done. Act 3 Several years have passed, and Onegin has moved away from his country estate. However, though he has travelled far and wide, he has not yet come to terms with the death of his friend. Neither has he been able to shake off his feelings of remorse, nor found anything to give his life meaning again. Hardly has the restless Onegin returned home than Prince Gremin invites him to a celebration in St. Petersburg, where he once again feels completely alone. Suddenly he realizes that his hostess is Tatyana, whom he had almost forgotten about. She has since become the wife of the distinguished general and a highly admired princess. When Prince Gremin tells the bewildered Onegin of his happiness with Tatyana, Onegin realizes what a terrible mistake he has made. The contemptuous dandy is overcome by a turmoil of unfamiliar emotions. In an impassioned letter, Onegin begs Tatyana to hear him out. His unexpected appearance at the ball has also disrupted Tatyana's painstakingly won peace of mind. Now they both lament the happiness they allowed to slip away. When Onegin increasingly vehemently urges her to give up her marriage and abscond with him, she admits her unbroken love - but at the same time affirms her commitment to Prince Gremin. Left alone, Onegin despairs at ever finding a meaning to his unfulfilled life.