Soprano AIDA GARIFULLINA was born in Russia. She studied vocal arts, for example at the Music University in Vienna and made her debut at a studio production as Despina in Wolfgang Amadeus Mozart´s Così fan tutte. In 2012 Aida Garifullina made her debut at the Arena di Verona in Italy. That same year she won Plácido Domingo´s renowned Operalia competition. This first prize initiated the singer´s great career. Aida Garifullina received her first invitations to Beijing and to the Moscow Bolschoi Theatre. She performed as Susanna in Wolfgang Amadeus Mozart´s Le nozze di Figaro, a role she also sang at the St. Petersburg Mariinski Theatre. There she also sang Adina in Gaetano Donizetti´s L´esilir d´amore. In July 2013 Aida Garifullina appeared at a gala in Kazan with the orchestra of the Mariinski Theatre under the direction of Valery Gergiev. Despite her young age, she was already awarded the title Honoured Artist of The Republic of Tatarstan. Recently she performed Nannetta in Giuseppe Verdi´s Falstaff – a role which she also interpreted in Buenos Aires. As of the season 2014/2015 she is member of the ensemble at the Wiener Staatsoper.
Margarita Gritskova was born in 1987 in St. Petersburg. Aside from singing, she also learned piano in her homwtown, and later studied in the St. Petersburg Conservatoire. She is a prizewinner of numerous competitions, among others the Luciano Pavarotti-Competiton in Modena and the Concurso Internacional de Canto Villa de Colmenar in Spain. In 2010, she was a finalist at the Operalia Competition. Margarita Gritskova washeard among others singing under the direction of Mariss Janson in St. Petersburg; as well as at the Festival de Ópera de Tenerife in Salome and Cherubino at the Sommerfestival in St. Moritz, as well as Rosina at the Hungarian Staatsoper and Olga at the Opera de Quebec. In 2009/2010, Margarita Gritskova was a member of the ensemble of the National Theatre Weimar, where she sang parts like Cherubino, Flora, Maddalena, Ottone, Bradamante, Marthe, Carmen and Olga. At the Wiener Staatsoper, where she is an ensemblemember, she made her debut in 2012 as Tebaldo (Don Carlo) and has also sung among others Fjodor, Cherubino (Japan-Guest performance of the Wiener Staatsoper), Dryade, Tisbe, Bersi, Rosina, Dorabella and Angelina.
JINXU XIAHOU was born in Zibo in the Eastern Chinese province Shandong in December 1990. He began studying with Prof. Wang Xianlin in 2008 at the Central Conservatory of Music in Beijing (China) and completed his studies as bachelor. He made his Europe debut in 2010, when he sang at the annual Classic Night in Zurich. In the year 2011 he was finalist of the renowned international singing competition Neue Stimmen of the Bertelsmann Foundation in Gütersloh and won the third prize. He appeared as Ferrando in a concert performance of Cosí fan tutte with Macao Philharmonic Orchestra. In 2017 he gave his recital debut at the Wiener Musikverein. In 2012 he debuted at the Wiener Staatsoper where he has sung among others Nemorino, Don Ramiro, Ernesto (Don Pasquale), Gaston (La traviata), Sänger (Der Rosenkavalier), Stimme des Seemanns (Tristan und Isolde), Cassio (Otello), Abdallo (Nabucco), Fetodik (Drei Schwestern), Macduff (Macbeth). He is a member of the ensemble of the Wiener Staatsoper.
The young mezzosoprano Ilseyar Khayrullova was born in 1987 in Tatarstan in Russia. In 2006, she graduated from the Tatarstan Music College, and went on to study at the Rimski-Korsakow-Conservatoire in St. Petersburg, from which she graduated from in 2012. Ilseyar Khayrullova is a prize winner of the international competition Playing Slominsky 2012 in St. Petersburg. From 2010, Ilseyar Khayrullova was seen in different studio productions from the St. Petersburg Conservatoire, among others as Cherubino in Wolfgang Amadeus Mozarts Le nozze di Figaro, Clarisse in Sergei Prokofiews Die Liebe zu den drei Orangen, Olga in Peter Iljitsch Tschaikowskis Eugen Onegin and Martha in Tschaikowskis Iolanta. Further roles include Azucena in Giuseppe Verdis Il trovatore, Kontschakowna in Alexander Borodins Prinz Igor, Orfeo in Christoph Willibald Glucks Orfeo ed Euridice and Polina in Peter Iljitsch Tschaikowskis Pique Dame. Since the 2013/2014 season, Ilseyar Khayrullo is an ensemble member of the Vienna State Opera, where she made her debut as the third Elf in Rusalka.
DANIEL BOAZ was born in Tel Aviv, studied in the University there, and then continued his vocal studies from 1996 to 1999 in the Conservatoire of Vienna. In 1999, he received the promotional prize in the Eberhard Waechter-Medaille in Vienna. In 1998, he became an ensemble member of the Wiener Staatsoper, where his repertoire includes, among others, works ranging from Conte d’Almaviva (Le nozze di Figaro), Sharpless (Madama Butterfly), Belcore (L’elisir d’amore), Paolo (Simon Boccanegra), Marcello (La Bohème), Enrico (Lucia di Lammermoor), Kurwenal (Tristan und Isolde), Lescaut (Manon Lescaut), Ford (Falstaff), Klingsor (Parsifal), Rangoni (Boris Godunow), Valentin (Faust), Rodrigo (Don Carlo), Jeletzki (Pique Dame), Sonora (La fanciulla del West), Heerrufer (Lohengrin) to Gunther (Götterdämmerung). He received repeated invitations to the ROH Covent Garden, the Deutsche Oper Berlin, the New Israeli Opera, the Dresdner Semperoper, to Chicago, Turin, Salzburg, San Francisco, Frankfurt and Barcelona. Recently, he has celebrated success in the Lyric Opera of Chicago in Ernani, as well as in Don Giovanni in Graz, in Tel Aviv in Un ballo in maschera, and in Tristan und Isolde in Hamburg, Berlin and London.
Born in Madrid, GABRIEL BERMÚDEZ studied first under his mother, Carmen Rodriguez Aragon, and then for one year under Teresa Berganza. Since the beggining of the 2002/2003 season, Gabriel has been with ensemble of the Zurich Opera House, where amoung many other roles, he has played Figaro, Marcello (La Bohème), Harlekin (Ariadne auf Naxos), Nardo (La finta giardiniera), Ping (Turandot), Borilée (Les Boréades), Dr. Falke (Die Fledermaus), Plistene (La grotta di Trofonio), Silvio (Pagliacci) and Belcore (L’elisir d’amore). More recently, he has sung as Papageno am Teatro Real Madrid and Figaro at the Staatsoper Hannover, Papageno in Jerez, Oreste (Iphigénie en Tauride) in Oviedo, Ping, Le Mari (Les mammelles de Tirésias) and Silvio at the Liceu Barcelona, Almaviva (Le nozze di Figaro) in St. Moritz Opera Festiva, Marcello in Valladolid, Harlekin at the Opéra de Paris, Schaunard in Barcelona, Danilo in Dortmund and Mercutio at the Wiener Staatsoper. In 2012, he sang at the Salzburger Festspiele the harlequin in Ariadne auf Naxos and will return in 2014 for further projects. He is also a member since 2013 of the ensemble of the Wiener Staatsoper and has performed among others, Melot, Sharpless, Marcello, Figaro, Belcore and Heger (Ruskala).
CLEMENS UNTERREINER was born in Vienna. In 1998 he began his vocal art studies with Hilde Rössel-Majdan, Gottfried Hornik, Helena Lazarska and Wicus Slabbert. Numerous national and international opera and operetta productions as well as lied evenings, oratories and church concerts. Guest soloist in the Große Saal of the Wiener Musikverein, at the Wiener Konzerthaus, Palau de la Musica and other international concert halls. Member of the ensemble of the Wiener Staatsoper since 2005, where Clemens Unterreiner for example sang Sharpless, Faninal, Donner, Harlekin, Melot, Brétigny, Schtschelkalow, Oberpriester des Apollon(Alceste), Happy (La fanciulla del West), Musiklehrer (Ariadne auf Naxos),Schaunard. Also as guest soloist at the Volksoper Wien he very successfully performed as Papageno or Sharpless. Further engagements led him to the New York Carnegie Hall, the Royal Opera House Copenhagen, to the Strasbourgh Opera, the Salzburger Festspiele, Opera de Nice, Linzer Landestheater, the Oper Chur, the Sommerfestspiele Heidenheim as well as to the Richard Wagner Festival Budapest.
Benedikt Kobel comes from Vienna and studied at the Hochschule for Music and performing Arts there. Guest performances have led him to the Semperoper, to Leipzig, Cologne, Frankfurt, the Gärtnerplatztheater, the Zurich Opera, the Graz Oper, the Festival dei Due Mondi in Spoleto, the Arena di Verona and the Vienna Volksoper. In 1986, Benedikt Kobel gave his debut at the Vienna State Opera as 1st Gondoliere (La Gioconda). This was followed, among other, by Arturo (Lucia di Lammermoor), Kunz Vogelgesang (Die Meistersinger von Nürnberg), Raffaele (Stiffelio), Narraboth (Salome), Steuermann (Fliegender Holländer), Malcolm (Macbeth), Don Curzio (Le nozze di Figaro), Valzacchi (Der Rosenkavalier), Henry (Die schweigsame Frau), Don Gaspar (La Favorite), Oloferno (Lucrezia Borgia), Spoletta (Tosca), Andres (Wozzeck), Dr. Blind (Die Fledermaus), Abdallo (Nabucco), Monostatos und 1st Priest (Zauberflöte), Goro (Madama Butterfly), Rodrigo (Otello), Tschaplitzki (Pique Dame), Jaquino (Fidelio), Edmondo (Manon Lescaut), Missail (Boris Godunow), Cajus (Falstaff) and Schmidt (Werther).
MARCUS PELZ was born in Stuttgart, studied solo vocals, lied and oratorio, classical operetta as well as the fach Old Music at the Conservatory of Vienna and graduated from the opera school of the University of Music and Performing Arts in Vienna. First engagements at the Landestheater St. Pölten, the Wiener Kammeroper (1995-1997) and the Neue Oper Wien were the basis for his engagement at the Wiener Staatsoper (member of the ensemble since 1999). Guest engagements for example led him to the Teatro Avenida in Buenos Aires in the leading role of Wozzeck, and to the Maggio Musicale in Florence with the Rosenkavalier. His repertoire in the House on the Ring includes more than eighty parts, e.g. Hermann, Gregorio, Schaunard, Notar and Polizeikommissar, Kothner and Konrad Nachtigall, Sprecher and 2. Priester, Antonio, Phorbas, Angelotti, Donald, Gualtiero Raleigh, Alessio, Masetto, Haly, Johann, 1. Schäfer, Albert, Altgesell and Saretzki. His appearances in children´s operas on the roof of the Wiener Staatsoper are very popular among the young audience.
Dan Paul Dumitrescu was born in Bucharest (Romania) in 1966. Initially he studied clarinet, then voice at the Music Academy in Bucharest. In 1996 he attended the International Academy for Opera in Verona. Immediately after completing his vocal studies at the Music Academy, he was engaged at the Bucharest Opera. He has won numerous national and international singing competitions.
Dan Paul Dumitrescu appeared as a guest on important stages, for example, the Royal Albert Hall, the Arena di Verona, La Scala in Milan, the New Israeli Opera, the Teatre del Liceu in Barcelona, the Wiener Musikverein, furthermore he performed in Munich, Budapest, Berlin, Paris, Tokyo and at the Salzburg Festival.
In 2000 he made his debut at the Wiener Staatsoper and has been a member of the company since 2001. His repertoire includes more than 50 bass roles, e.g. Sarastro, Pimen, Gremin, Procida, Enrico VIII., Ramfis, Pistola, Sparafucile, Banquo, Raimondo, Oroveso, Graf Des Grieux, Balthazar, Colline, Timur, Pietro, Grenvil, Graf Rodolfo, Mönch and Großinquisitor (Don Carlos in italian and french version).
The three sisters lament the loss of their father, being left behind, and the sufferings involved. For them, everything has become a memory.
SEQUENCE 1: IRINA
Irina despairs of her existence in the province, her life seems to be passing meaninglessly. Once, she hoped to move to Moscow and find the man of her dreams. Her older sister Olga tries to persuade Irina to marry Lieutenant Tuzenbakh, although Irina does not love him. Masha observes the unloved stepmother Natasha, as she goes by with a burning candle. Several officers, who have extinguished a fire in the town, enter the sisters’ parlour, among them Tuzenbach and Solyony, who are rivals for Irina’s love. While Lieutenant-Colonel Vershinin converses animatedly with the married Masha, the Doctor breaks an old glass clock. Tuzenbach admits his love to Irina, but she is hesitant, deliberately avoiding giving him hope or rejecting him. The conversation between the two is finally interrupted by the Doctor and Solyony. Solyony in turn declares his love for Irina, and threatens to kill his rival Tuzenbakh. When Solyony notices that Natasha has joined them, he leaves. Natasha wants Irina to give up her room to Bobik, the small son of Natasha and Andrei. A little later, Natasha leaves the house to meet her lover, Protopopov. The soldiers take their leave of the three sisters – for ever, as the regiment is being transferred from the town to Poland. Irina decides to marry Tuzenbach and leave the town with him, but Solyony kills him in a duel.
SECOND 2: ANDREI
The three sisters complain that Andrei is not living up to his responsibilities and has become a spineless tool in the hands of his wife, Natasha, who is trying to seize control of the household. Irina despairs of her existence in the province, her life seems to be passing meaninglessly. Masha observes the unloved stepmother Natasha, as she goes by with a burning candle. Andrei defends Natasha to his sisters, emphasising her nobility of spirit – although this rosy picture of his wife is contradicted by Natasha’s coarse and relentless treatment of the old nurse Anfissa, whom she wants to hound out of the house. Several officers, who have put out a fire in the town, enter the sisters’ parlour. In the course of the following general conversation, the Doctor resignedly admits his medical incompetence, and breaks an old glass clock belonging to the deceased mother of the three sisters. He philosophises on this, suggesting the possibility that he may not have broken the clock at all, and it just looked like it. The Doctor pursues his thought, and asks if existence is not merely illusion. Andrei goes up to him, and confesses that he has lost his former love for Natasha. Painfully aware of his situation, and hoping for a better future, Andrei leaves the house with the Doctor. Natasha looks forward to meeting her lover, Protopopov.
SEQUENCE 3: MASHA
The three sisters celebrate Irina’s name day and drink tea with several officers. Lieutenant-Colonel Vershinin joins them, introduces himself, and talks about his past in Moscow and his recollections of the Prozorov family. The Doctor praises the dead mother of the three sisters. Masha is tired of her husband Kulygin, a little later the married Vershinin and Masha admit their love for each other, a love that Masha later confesses to her sister Olga. Olga objects vehemently to this love, and Masha is resigned. The fact that Vershinin soon leaves for ever, as his regiment is being transferred from the town, plunges Masha into deep sorrow.