MARCO ARMILIATO studied piano at the Paganini-Conservatoire in his hometown of Genova. In the 90s, he became intensely active in the big opera houses of the world. At the New York Met, he conducted Il trovatore, La Bohème, Stiffelio, Madama Butterfly, Sly, Aida, Turandot, La Fille du Régiment and Rigoletto, and at the San Francisco Opera La Bohème, Madama Butterfly, Turandot, La traviata, Tosca, Aida and Cavalleria rusticana. At the Wiener Staatsoper, where he made his debut in 1996 with Andrea Chénier, he has conducted among others, Il barbiere di Siviglia, La Bohème, Carmen, Cavalleria rusticana, Don Carlo, L’elisir d’amore, Falstaff, La forza del destino, Lucia di Lammermoor, Manon, Manon Lescaut, Pagliacci, Simon Boccanegra, Stiffelio, Tosca, La traviata, Turandot and Werther. He received further engagements at the opera houses of Barcelona, Madrid, Zurich, Toronto, Pittsburgh, Baltimore, Turin, Rome, at the Deutsche Opera Berlin, the Bavarian State Opera, at the ROH Covent Garden, at the Théâtre du Châtelet and Opéra Bastille in Paris, at the Hamburg State Opera and Verona. He is also internationally successful as a concert conductor.
Soprano singer IRINA LUNGU initially studied piano and choral conducting and later vocal arts and completed her studies in Russia in 2003. She is awardee of several important international competitions, for example the Tschakowski competition, the Operalia competition of Plácido Domingo, the Belvedere competition in Vienna and the Voce Verdiane competition. From 2003 to 2005, Irina Lungu was member of the Accademia del Teatro alla Scala in Milan. She has sung at opera houses among others such as La Scala in Milan (Nannetta, Adina, Violetta, Maria Stuarda, Marguerite), the Royal Opera House Covent Garden in London (Musetta), the Metropolitan Opera in New York (Gilda, Musetta), the Munich Opera (Liù), the Zurich Opera (Violetta), at the Arena di Verona (Micaëla, Juliette, Donna Anna), at the Deutsche Oper Berlin (Violetta), at La Fenice in Venice (Violetta), at the Teatro Real in Madrid (Violetta), in Muscat (Liù), in Aix-en-provence (Gilda), at the opera in Rome (Gilda) at the Opéra National de Paris (Gilda, Violetta), at the Staatsoper Hamburg (Violetta), at the Teatro Regio in Turin (Marguerite), and in Amsterdam (Marguerite). At the Wiener Staatsoper, she gave her debut in 2015 as Violetta.
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.
KS PLÁCIDO DOMINGO is one of the most significant artists of the 20th century and has been the international benchmark of interpreting for decades. His vocal repertoire, which he extended to works such as Simon Boccanegra and Rigoletto, includes 134 different roles – a number which has not been reached by any other tenor so far. As a conductor, Plácido Domingo has directed over 450 operas and concert performances. Also as an Opera Director (Los Angeles Opera and Washington National Opera, he has made a name for himself. At the Wiener Staatsoper, where he is an honorary member, he gave his debut in 1967 (Don Carlo) on more than 220 evenings (34 times as the conductor). He has sang here among others Radames, Don José, Don Carlo, Gustaf III., Stiffelio, Otello, Canio,Rigoletto-Herzog, Cavaradossi, Manrico, Siegmund, Idomeneo, Lohengrin, Rodolfo, Dick Johnson, Hoffmann, Turiddu, Faust, Loris, Samson, Enzo Grimaldo, Parsifal, Hermann, and Simon Boccanegra. Aside from this, up until now Plácido Domingo has conducted performances from Aida, Carmen, Die Fledermaus, Macbeth, I puritani, Tosca, La traviata, Il trovatore, Nabucco, to Madama Butterfly in the House on the Ring.
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.
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).
CARLOS OSUNA was born in Mazatlán (Mexico) and studied vocal arts in his home country and at the Cardiff International Academy of Voice. In 2009 he became member of the opera studio of the Basel Theatre and took master classes with Grace Bumbry and Francisco Araiza as well as with Mirella Freni, Kiri Te Kanawa, Ileana Cotrubas, José Carreras and Sherril Milnes. The tenor for example received invitations to the Verbier Festival, the Welsh National Opera, the Opéra National de Lorraine in Nancy, the Festival Internacional de Santander. He celebrated great triumphs as (excerpt) Nemorino, Rodolfo, Pinkerton, in the title role Werther, as Beppe in Pagliacci and in Aus einem Totenhaus. Furthermore, Carlos Osuna is also very successful on the world´s concert stages. At the Wiener Staatsoper he for example sang Abdallo (Nabucco), Hauptmann (Simon Boccanegra), Gaston (La traviata), Aladdin (Aladdin und die Wunderlampe, Kinderoper), Der große Sträfling (Aus einem Totenhaus), Beppe, Tebaldo (I vespri siciliani), Scaramuccio, (Ariadne auf Naxos), Narraboth (Salome), Hirt (Tristan und Isolde), Sir Hervey (Anna Bolena).
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).
Hans Peter Kammerer was born in South Tirol and studied among others, under Walter Berry at the Musikhochschule in Vienna. His first engagements led him to the Vienna Kammeroper and the Bregenz Festivals. Furthermore, he has sung at the Berlin State Opera, La Monnaie in Brussels , the Pfingstfestspielen in Salzburg, the Mozart Festival in Schönbrunn, the Opéra Bastille, the Staatstheater in Stuutgart, Geneva, the opera houses in Barcelona and Lyon as well as the Vienna Volksoper. He gave his debut at the Vienna State Opera in 1995 as Dancaïro (Carmen). This was followed by roles among others like Ascanio (Gesualdo), Marullo (Rigoletto), Barbier (Schweigsame Frau), Achter Stammesfürst (Moses und Aron), Graf Dominik (Arabella), Spalanzani (Les Contes d’Hoffmann), Hauptmann (Eugen Onegin), Haly (L’italiana in Algeri), Masetto (Don Giovanni), Haushofmeister (Ariadne auf Naxos), Papageno, Dr. Falke, Gubetta (Lucrezia Borgia), Kleiner Sträfling (Aus einem Totenhaus), Wagner (Faust) and Mitjuch (Boris Godunow). He has also appeared in children's operas as well as in Zimmermann's White Rose in Parliament.
Scene 1 Violetta Valéry, a radiant and well-to-do Parisian courtesan, who seems to have fully recovered from a serious illness, is giving a festive party attended by many prominent personages in high society. Gastone, one of her host of admirers, introduces Alfredo Germont, who has long worshipped her from afar. Alfredo sings a toast in praise of love, to which Violetta responds by extolling a life given over solely to pleasure. But as she bids her guests join in the dancing she is racked by a sudden spasm of coughing and giddiness. Alfredo avows his love, and though Violetta cannot at first bring herself to believe that he is in earnest she is deeply touched by his declaration. However, she makes it clear to him that she can only offer friendship, not love; and handing him a camellia she tells him that when it begins to droop he may come to her again. Left alone, she is assailed by misgivings about her past life: perhaps she is beginning to fall in love with Alfredo after all? Scene 2 Violetta and Alfredo have been living for the last three months in a country villa and are ecstatically happy. But through Violetta’s maid Annina, who has just returned from Paris, Alfredo learns that Violetta has been spending her savings on paying for their life at the villa. Alfredo thereupon decides to go to Paris to raise some money out of his own resources. Just as Violetta has opened a letter from her friend Flora inviting her to a ball a caller is announced: it is Alfredo’s father Giorgio, who accuses Violetta of living on his son. Violetta explains that on the contrary it is she who has spent all her savings that on Alfredo, and that it is for love of him that she has abandoned her former life. Giorgio Germont, who is a highly respected figure in society, then appeals to Violetta: his daughter’s happiness is at stake as her fiancé is threatening to break off the engagement because of her brother Alfredo’s scandalous association with a courtesan. Giorgio begs Violetta to salve the honour of his family by giving Alfredo up, but not to tell Alfredo of his father’s visit. Deeply distressed, Violetta consents and leaves a note for Alfredo saying that she has been unfaithful to him and is leaving. On his return from Paris Alfredo is stunned by Violetta’s abrupt departure, but refuses to obey his father’s command to return to the family home. Suddenly his eye falls on Flora's invitation, which confirms his suspicions: he resolves to go to the party himself and settle with Violetta. Scene 3 The guests at Flora’s party in costume and masked. Alfredo arrives and joins a group of cardplayers. Presently Violetta enters arm-in-arm with Baron Douphol, an old admirer of hers. Alfredo, who has enjoyed a run of luck with the cards, challenges his supposed rival to a game, but Violetta intervenes, fearing that it will come to a duel between the two men. True to her promise to Giorgio Germont not to reveal her real reason for leaving his son, Violetta tells Alfredo that she was really in love with Douphol all the time. Blind with rage, and in full view of Flora’s guests, Alfredo flings his winnings at Violetta’s feet as payment for her ”services“. Suddenly Giorgio Germont appears: full of remorse for having unfairly forced Violetta to conceal her love for his son, he expresses his disgust at his son’s behaviour. scene 4 Violetta is desperately ill, physically and mentally, and the doctor tells Annina that it can only be a matter of hours. Violetta rallies when a letter arrives from Alfredo’s father with the news that Alfredo has been told the truth about her having spent her savings on his behalf, and that following a duel in which the Baron was slightly wounded. Alfredo had to flee the country, but is now on his way back to implore her forgiveness. Alfredo arrives and embraces her passionately: in her ecstasy Violetta looks forward to a complete recovery. But only for a moment: she now realizes that she is at death’s door, and by the time Alfredo’s father arrives to embrace his son’s betrothed, it is too late.