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.
After his studies at the Musikhochschule in Vienna, where he studied among others under Walter Berry, Adrian Eröd’s career went from the Wiener Kammeroper over the Landestheater in Linz to the Wiener Volksoper and finally the Wiener Staatsoper, which would play a central role alongside his international engagements to his artistic future. Since his debut in 2001 at the Wiener Staatsoper as Mercutio inRoméo et Juliette, Adrian Eröd has sung works like Guglielmo, Beckmesser, Loge, Conte d’Almaviva, Figaro (Il barbiere di Siviglia), Dr. Falke, Albert, the leading role in Benjamin Brittens Billy Budd, Olivier (Capriccio) and the male leading role- which was written for him – Jason in Aribert Reimanns Medea. He has also sung, among others at the Teatro La Fenice in Venedig (Harlekin), an der Hamburgischen Staatsoper (Pelléas), an der Oper Frankfurt (Prospero in Adès’ The Tempest), bei den Bayreuther Festspielen und an der Oper Zürich (Beckmesser). Finally, he has sung e.g. at the Tokyo National Opera, the Opéra de Paris and at the Bayreuther Festspielen.
Roles for the Wiener Staatsoper 2014/2015: Prospero, Eisenstein.
DONNA ELLEN comes from Canada and studied singing at the Wilfrid Laurier University of her hometown. For two seasons, she sang at the Canada Opera Piccola under the care of Leopold Simoneau and Pierette Alarie, before she changed to the Opernstudio in Zurich. In1987, she became engaged with the Landestheater Linz, where she sang roles like the Queen of the Night, Blonde, and Zerlina and sang in the premiere of Balduin Sulzers Proteus. Previous performances include among others, in Stuttgart, Geneva, Berlin, Bad Ischl, in the Musikverein and the Konzerthaus in Vienna. In 2004, she gave her debut at the Volksoper. Her debut at the Wiener Staatsoper, where she is an honorary ensemble member, was in 2003 as Helmwige. Since then, she has sang among others, Marzellina (Barbiere di Siviglia), Axinja (Lady Macbeth von Mzensk), Leitmetzerin (Rosenkavalier), Annina (Traviata), Curra (Forza del destino), Brünnhilde (Nibelungenring for children), Königin (Traumfresserchen), Berta (Pünktchen und Anton), Marcellina (Nozze di Figaro), Fekluša (Kátja Kabanová), Kartenaufschlägerin (Arabella), Aufseherin (Elektra), and Dirne (Aus einem Totenhaus), Giovanna (Rigoletto).
The Australian Mezzosoprano MARGARET PLUMMER completed her singing studies at the Sydney Conservatoire of Music. Furthermore, she is trained as a Jazz singer. She is a multiple prize-winner at opera competitions and visited the School of Music and Theater in Hannover in 2005. For a while, she was a member of the choir of the Opera Australia, before wtarting her career as a soloist. In this way, performances followed among others, at the Opera Australia and the Pinchgut Opera. In the 2015/2016 season, she will be the youngest scholar of the Opera Foundation Australia. Margaret Plummer has sang among others, Dorabella in Così fan tutte at the Pacific Opera and Hänsel in Hänsel und Gretel at the Ozopera School‘s Company. At the Opera Australia, Margaret Plummer sang in Dido und Aeneas, in the Rosenkavalier and in Le Nozze di Figaro. She sang Knusperhexe in Hänsel und Gretel with the Sydney Symphony, Charlotte in Werther at the Lyric Opera of Melbourne, Phoebe in Rameaus Castor and Pollux at the Pinchgut Opera. At the Wiener Staatsoper she gave her debut as Tebaldo in Don Carlo.
Soprano Chen Reiss was trained in New York and was ensemble member of the Bayerische Staatsoper, where she sang roles such as Sophie (Der Rosenkavalier), Oscar (Un ballo in maschera), Servilia (La clemenza di Tito) and Gilda (Rigolett). Soon debuts at the Semperoper Dresden, the Deutsche Oper Berlin, the Hamburgische Staatsoper, the Oper Frankfurt and the Philadelphia Opera followed.
In 2010 she interpreted Nannetta (Falstaff) at the Theatre des Champs-Elysees under the direction of Daniele Gatti. At the Maggio Musicale Fiorentino, under the direction of Zubin Mehta, she sang Blonde (Die Entführung aus dem Serail) and debuted in the Philharmonie Köln as Adele (Die Fledermaus). In 2011 she sang Gilda at the Wiener Festwochen. She sang concerts at the Festivals in Salzburg, Ludwigsburg, Luzern or Rheingau. In her new solo album Liaisons, which was recently awarded the Diapason d’Or, Chen Reiss for example sings arias of Mozart and Haydn. A DVD live recording of Faure´s Requiem under the direction of Paavo Järvi has just been released. She made her debut at the Wiener Staatsoper in 2009 as Sophie and has since sung roles such as Pamina, Elvira, Waldvogel, Adina, Servilia, Xenia here.
The mezzo-soprano Monika Bohinec studied at the Mozarteum in Salzburg and at the University for Music and Performing Arts in Vienna. As a student, she was a finalist and award winner of different competitions and a scholarship holder of the Richard Wagner Foundation and the Hilde Zadek Foundation.
In 2006, she made her debut as Clarissa in Die Liebe zu den drei Orangen at the Slovenian State Opera, where she appeared as Jezibaba in Rusalka, Konchakowna (Fürst Igor), Suzuki in Madama Butterfly and in the title role of Carmen.
In 2009 Monika Bohinec became ensemble member of the Mannheim National Theatre, where she sang Carmen, Sara di Nottingham (Roberto Devereux), Laura and Cieca (La Gioconda), Maddalena (Rigoletto), Giulietta (Les Contes d’Hoffmann) and Ulrica (Un ballo in maschera).
In the season 2011/2012 Monika Bohinec became ensemble member of the Vienna State Opera where she sang e.g. Larina, Grimgerde, Marthe, Farzana, Schenkenwirtin, Lola, Mary, Marcellina, Fenena, Ulrica, Suzuki, Margret, Madelon and Erste Norn.
Ouverture London, Christmas circa 1890. A Victorian family gathers happily in the living room around the Christmas tree. The father surprises everyone with a mysterious, new device: a laterna magica, which projects all kinds of unfamiliar and wonderful pictures on the wall and also opens the door to a strange, fairy tale world ... Act 1 Instead of carrying out the chores assigned to them, tormented by hunger the siblings Hansel and Gretel pass the time in the wretched hut that is their home by singing and dancing. They eagerly await the evening and with it the return of their parents, because today there will finally be something to eat before they go to bed: the children hope that their Mother will make a rice pudding using the milk given to them by a neighbour. But when the Mother finally comes home, the mood changes abruptly. Furious that Hansel and Gretel have spent their time playing together rather than making brooms and knitting stockings, she rushes over to the children to give them a beating. In doing so, she accidentally knocks the jug with the milk in it off the table. Hansel’s snickering at her clumsiness, the jug fragments on the floor and the spilled milk cause the Mother to lose her temper, and she sends the children out into the nearby forest to pick strawberries. Left alone, she laments the poverty and hunger her family suffers and drops wearily off to sleep. Awakened by her cheery, somewhat drunken husband, who for once has been able to sell all his brooms and has bought a big supply of various groceries with the proceeds. But their joy is short-lived. Dismayed that his children have been sent out alone, the Father tells his wife about the man-eating Witch who lives in Ilsenstein, a particularly dark and notorious part of the forest. Filled with concern, the parents rush out of the hut to find Hansel and Gretel before nightfall and bring them home. Act 2 While Hansel picks strawberries, filling his basket to the brim, Gretel makes a wreath. Happy that this time they have done as their Mother asked, they become absorbed in all kinds of games and forget to go home on time. To make matters even worse, before they realize what they are doing, the two of them gradually eat all the strawberries they had collected. Horrified, they set out to look for more, but notice full of trepidation that they have got lost in the evening darkness of the forest. The good Sandman then appears and sprinkles sand in their eyes. Huddled together, Hansel and Gretel go to sleep after saying their evening prayers. In a beautiful dream, fourteen angels hover around them, and they have a reassuring sense of death and new life. Act 3 The next morning, Hansel and Gretel are awakened by the Dew Fairy and discover the Witch’s gingerbread house. When Hansel breaks off a piece, the Witch’s voice is heard from within the house. However, since nothing more threatening happens, the children start to nibble at the house, until the Witch emerges. At first she seems to be friendly, but she soon reveals her true colours: she casts a spell on Hansel and Gretel and locks Hansel in a cage, where she plans to fatten him up. In exuberant anticipation of eating the children, the Witch clambers onto her broomstick and for some time flies ecstatically through the air. After her ride, she tries to persuade Gretel to look into the oven. Her plan to push the unsuspecting girl into the oven and bake her into gingerbread does not succeed; warned by her brother, Gretel pretends to be stupid and asks the Witch to show her how to look into the oven. Impatiently, the Witch agrees to Gretel’s request and leans far into the oven. At that moment, Hansel and Gretel push her in, and she perishes miserably. Hardly has the Witch died than the many gingerbread men standing around the house turn into boys and girls. They all fell into the Witch’s trap and were turned into gingerbread in the oven: but now the spell is broken. Hansel and Gretel stroke the children and with the help of the magic wand break the last spell. The grateful children dance joyously around their rescuers. A little later, Hansel and Gretel’s parents find the happy group, having been searching for their children through the night. Grateful and filled with joy they sing together: “When our need is at its greatest, the Lord our God holds out his hand.”