KS Ferruccio Furlanetto comes from near Treviso, studied agriculture and decided at the age of 22 to take up vocal training. In 1974 he gave his debut in Triest as COlline (La Bohème), in 1979 at the Scala in Macbeth, and a year later as the Großinquisitor (Don Carlo) at the Met. Since then, he has worked together with the most important conductors. Performances have led him to all the important stages, like the Scala, the ROH Covent Garden, the Met, in Rome, Paris, San Diego, Florence, Los Angeles, Buenos Aires, Tokyo, St. Petersburg, Moskow, and to the Salzburger Festspielen. In 1985 he gave his debut at the Wiener Staatsoper as Figaro (Le nozze di Figaro) and has since also sung among others Basilio (Barbiere di Siviglia), Alfonso (Così fan tutte), Giovanni, Sidney (Il viaggio a Reims), Padre Guardiano (Forza del destino), Phanuel (Hérodiade), Mustafà (L’italiana in Algeri), Sparafucile (Rigoletto), Philipp II., Boris Godunow, Colline, Procida (Vespri siciliani), Silva (Ernani), Zaccaria and Fiesco (Simon Boccanegra). In 2001, he became an Austrian chamber singer.. in 2007, he was made an honorary ensemble member of the Wiener Staatsoper. In 2005, he took part in the celebration concert of the 50 years since the re-opening of the Wiener Staatsoper.
Since his debuts in Glyndebourne, at the Opera North and at the English National Opera, CHRISTOPHER VENTRIS is amongst the leading tenors of his fach. In recent years, he focused his career on Wagner roles such as Parsifal, Siegmund, Lohengrin and Erik. He for example debuted very successfully at the Bayreuther Festspiele as Parsifal and enthralled the audience with that same role under the direction of Bernard Haitink at the Zurich Opera, under the direction of Christian Thielemann at the Wiener Staatsoper, with Kent Nagano at the Bayerische Staatsoper, with Lorin Maazel in Valencia, as well as at the Nederlandse Opera, the ROH Covent Garden, in Paris, in San Francisco, Seattle and Barcelona. Other important recent engagements include Erik in San Francisco, Max at the Deutsche Oper Berlin and at La Scala in Milan, Sergei (Lady Mabeth von Mzensk) in Geneva, Brussels, Madrid, Barcelona, Amsterdam and London. He debuted as Števa at the New York Met, as Tannhäuser at the Paris Opera. Furthermore, he sang the title role in Palestrina (Munich) and Dmitri in Boris Godunow (London). Apart from Parsifal, he also sang Siegmund and Jim Mahoney (Mahagonny) at the Wiener Staatsoper.
AIN ANGER was born in Estonia and first studied Physics and Mathematics, and then in 1996 singing. He began his international career as a soloist in the Opera in Leipzig in 2001. Since then, he is a sought after bass in all important opera houses in the world. From 2004 to 2010 he was a member of the ensemble of the Wiener Staatsoper, where he made his debut as Monterone (Rigoletto) and further roles included Phillip II. (franz. and ital. Don Carlos/Don Carlo), Basilio (Il barbiere di Siviglia), Sarastro (Magic Flute), Graf Des Grieux (Manon), Peneios (Daphne), orest (Elektra), Pimen (Boris Godunow), Gremin (Eugene Onegin), Zaccaria (Nabucco), Fiesco (Simon Bocanegra), Dossifei (Chowanschtschina), Pogner (Meistersinger von Nürnberg), Daland (The Flying Dutchman), Hunding (Die Walküre) and Herrmann (Tannhäuser). A lively carrer of concerts has led him amoung others to the orchestras in Tokyo, Stockholm, Amsterdam, New York, Cleveland, San Francisco, Saint Louis, Luzern and Munich. He has been a guest at many opera houses like the Pariser Opera Bastille, the Bayerische Staatsoper, the Deutsche Oper in Berlin, the Washington Opera, the La Monnaie, the Opera in Frankfurt, the Milan Scala, the Sydney Opera House, the Liceu in Barcelona, in Houston and at the Bayreuther Festspiele.
The austrian and former member of the Vienna Boys Choir Herbert Lippert is considered amongst the most important tenors of our times. The first promoters of his voice were Sir Georg Solti and Wolfgang Sawallisch, under whose direction came numerous recordings like Die Schöpfung, Don Giovanni and Die Meistersinger von Nürnberg. In 1997, Herbert Lippert was awardsd a Grammy Award for his interpretation of the role of David in Die Meistersinger von Nürnberg under the direction of Sir Georg Solti. He is connected to the Vienna Philharnomic not only through intensive work in the opera and concert sector, but also through cooperation in the field of operetta, in particular the "degenerate operetta". Some great successes in the Lied field include Lieder evenings with Wolfgang Sawallisch and Maurizio Pollini. He is an ensemble member of the Vienna State Opera where made his debut in 1985 in La Traviata, and has sung roles here like Tamino, Matteo, Flamand, Don Ottavio, Offizier (Cardillac), Belmonte, Alfred, Froh, Walther von der Vogelweide, Skuratov, Aegisth, Jim Mahoney, Peter Grimes, Erik and Eisenstein.
ANDRZEJ DOBBER was born in Poland, studied in Krakow and Nürnberg and began his singing career as a Bass at the Nürnberger Opera. After he changed to bartitone, he was engaged at the Frankfurt Opera, where he began his international career, which leads him today to all important stages like the Milan Scala, the New York Metropolitan Opera, the Dresdner Semperoper, the Bayerische Staatsoper in Munich, the Hamburgische Staatsoper, the Royal Opera House Covent Garden in London, the Nederlandse Opera in Amsterdam, the Mariinski-Theater in St. Petersburg, the Staatsoper Unter den Linden in Berlin, in Glyndebourne, Brussels and Paris. Included among his roles are the leading roles in Simon Boccanegra, Macbeth, Rigoletto, Król Roger and Nabucco, furthermore Renato in Un ballo in maschera, Jago in Otello, Kurwenal in Tristan und Isolde, Carlo Gérard in Andrea Chénier, Amonasro in Aida, Alfio in Cavalleria rusticana, Tonio in Pagliacci, Giorgio Germont in La traviata, Jochanaan in Salome, Tomski in Pique Dame and Amfortas in Parsifal. He gave his debut at the Wiener Staatsoper in 2009 as Simon Boccanegra and also sang Nabucco.
Roles for the Wiener Staatsoper 2014/2015: Bojar Schaklowity
ELENA MAXIMOVA completed her vocal training at the Tschaikowski-Conservatoire in Moscow and became engaged as a soloist to the Moscow Stanislavski Music Theater. There, Elena Maximova was heard, among others, in the following roles: Polina (Pique Dame), Siébel (Faust), Orlofsky (Die Fledermaus), Suzuki (Madama Butterfly), Rosina (Il barbiere di Siviglia), Olga (Eugen Onegin), Carmen and Charlotte (Werther). Elena Maximova gave her debut in 2005 on the stage of the Bavarian State Opera in a new production of Rigoletto (Maddalena). She also sang there Suzuki, Carmen, Olga and Frederica (Luisa Miller). Furthermore, she has sung at the Opéra in Lyon (Eugen Onegin, Pique Dame) and performed as Carmen at houses like the Berlin State Opera, the Teatro Comunale in Florence, the Palau de les Arts in Valencia and in the Scala. Elena Maximova is also active worldwide as a concert singer. Recently she sang Carmen, Preziosilla, Charlotte, Despina, Rosina, Nicklausse and Isabella in Moscow, Carmen in Palermo, Helsinki and Moscow, Olga in the ROH London and the Met. She gave her debut at the Wiener Staatsoper in 2012 as Carmen and also sang Maddalena.
The overture "Dawn on the Moscow River": an era of tumult, everyone in the state is fighting everyone else to gain power At the present time, Prince Ivan Khovansky and the troops he leads seem to be in control. ACT I Moscow, early morning after yet another pogrom. The soldiers (streltsy) are bragging about their bloody revenge on the hated princes. Prince Shaklovity dictates to the scribe a denunciation of his enemy, Prince Ivan Khovansky. The denunciation is addressed to the young Tsar Peter I, who does not yet have real power. Simple people from the region surrounding Moscow enter the scene. They are illiterate and ask the scribe to read the news to them. The people learn of the death of the prince and of other atrocities committed on Khovansky's orders. Triumphant soldiers pay homage to him. In full view of everyone, Khovansky's son Andrei chases the foreign girl Emma and tries to take her by force. Only the intervention of Marfa, Andrei's former lover, saves the girl. Ivan Khovansky orders his soldiers to seize Emma, whom he finds pleasing. A quarrel breaks out between father and son. The appearance of Dosifei, leader of a radical, nationalist and religious sect, puts an end to the quarrel. Father and son retreat before the force of will of their ideological rival. Unrest lies in the air. ACT II Prince Galitsin, another contender for power and in favour of moderate westernization, is plagued by doubts and anxiety about the future. He asks Marfa to predict the future for him. Marfa prophesies disgrace and exile for him. On hearing this, the superstitious prince flies into a rage. He orders that Marfa be drowned. The representatives of all the political powers meet at Galitsin's residence. A quarrel flares up between Khovansky, Galitsin and Dosifei – the ideological rivals cannot be reconciled. Marfa returns unexpectedly, having managed to escape her murderers. She brings shocking news: while the experienced politicians fight for power with each other, a new political force has emerged in the land – the young tsar Peter and his guard. Prince Shaklovity enters. He announces news that is terrible for Khovansky: through the denunciation the young tsar Peter has learned that the Khovanskys are "planning a coup d'état". Peter has classified Khovansky's actions as treason and given the crime the name of the perpetrator: "Khovanshchina" ("Khovansky intrigue"). The tsar has ordered that Khovansky be eliminated. ACT III Unrest is festering in the people. Marfa is finding it hard to bear Prince Andrei's unfaithfulness – when she seduced the son of Prince Khovansky on the instructions of the party, she fell seriously in love with him. Marfa's love sickness incites Susanna, who has been spying on her. Susanna is a no less fanatic disciple of Dosifei. Susanna cannot forgive Marfa for the emotions that she has aroused in her. Dosifei rebukes Susanna and comforts Marfa. Shaklovity prays – he believes he will be Russia's saviour and worthy of power. He sees Khovansky's drunken soldiers. Their wives are trying to calm them down, but their wild activities take their course. The scribe announces that Peter's guard has attacked. The soldiers expect Khovansky to lead them against the enemy, but their commander is deeply depressed. His power is declining, his life is in danger. ACT IV After refusing to march against Peter, Khovansky has taken refuge in his house, where he believes he is safe. He orders his "harem ladies" to entertain him by way of distraction. A confidant of Galitsin warns Khovansky of imminent danger. Prince Shaklovity appears and asks Khovansky to appear before the state council – he has been invited to attend. Khovansky trusts Shaklovity – and dies by the hand of an assassin sent by Shaklovity. Marfa's prophecy has been fulfilled: Galitsin has also been eliminated. Dosifei seems to have no more adversaries when Marfa tells him of Peter's decision to kill him and his disciples. With malicious glee, Marfa reports the death of his father to Andrei. Peter's soldiers lead Khovansky's soldiers to be executed. Andrei begs Marfa to save him. With the news of a pardon from the tsar, Peter's representative Prince Streshnev gives Khovansky's soldiers new hope. ACT V Dosifei, his adherents and all those who fear possible changes in the land prepare to commit self-immolation. The salvation that Marfa promised Andrei is the fire in which she is united with him. A mass ritual suicide takes place in which the past, present and future of the country are transformed to ashes.