MICHAEL BODER was the General Music Director at the Gran Teatro del Liceu in Barcelona from 2008 to 2012. Since September 2012, he is the chief conductor and Artistic Consultant at the Royal Danish Theatre and the Royal Danish Orchestra. After his education at the Music Academy in Hamburg and in Florence, he took over the musical directorship as Chief Conductor of the Opera in Basel. Already at that time, he was a guest conductor in Hamburg, Munich, Berlin and at the Royal Opera House Covent Garden. He is now a regular guest at the State Opera in Berlin, Dresden, Hamburg and Vienna; moreover he conducted, among others, at the Opera House in Frankfurt, San Francisco, at the Bavarian State Opera, Deutsche Oper Berlin, the New National Theatre in Tokyo and Zurich Opera. A series of successful premieres demonstrate his commitment to contemporary music, among others Cerhas Der Riese vom Steinfeld, Pendereckis Ubu Rex Trojahns Was Ihr wollt, Aribert Reimanns Das Schloss and Medea as well as Henzes Phädra. At the Wiener Staatsoper, he gave his debut in 1995 with Wozzeck and continued to conduct Ariadne auf Naxos, Elektra, Frau ohne Schatten, Gianni Schicchi, Jakobsleiter, Lulu, Meistersinger, Oedipe, Der Riese vom Steinfeld and Medea.
KS Waltraud was born in Würzburg. After completing school, she went on to study English and at the same time had singing lessons. In 1976, she decided to focus completely on singing and made her debut at the Würzburger Opera as Lola (Cavalleria Rusticana). She gave her international debut in 1980 at the Teatro Colón in Buenos Aires as Fricka in Walküre. With her triumphant success as Kundry in Wagner’s Parsifal in 1983, her international career started at the Bayreuther Festspiele which has led her on a regular basis to Covent Garden, the Met, the Scala, the Opéra National de Paris and the Bayerische Staatsoper. Today, she is considered one of the most important Wagner singers. She is also equally expressive and vocally dramatic when singing in French and Italian as Eboli, Amneris, Didon, Carmen und Santuzza. She made her debut at the Wiener Staatsoper in 1987 as Kundry. Further performances in the house on the ring include Amneris, Komponist, Carmen, Ortrud, Sieglinde, Leonore, Isolde, Venus, Kundry, Eboli, and Santuzza.
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.
The soprano Lise Lindstrom was born in California. She studied first with her mother, a singer, and later at the San Francisco State University and the San Francisco Conservatory of Music. The most important opera houses in which she has performed include among others, the New York Metropolitan Opera, the San Francisco Opera, the Royal Opera House Covent Garden in London, the Deutsche Oper Berlin, the San Diego Opera and the Arena di Verona. Furthermore, Lise Lindstrom can be heard at the Milan Scala, the Teatro Massimo in Palermo and the Hamburgischen Staatsoper. Among the preferred roles of the singer include among others, the title roles in Puccini's Turandot and in Strauss‘ Salome, the title roles in Puccinis Tosca, Elisabeth und Venus in Wagners Tannhäuser, Senta in Wagners Der fliegende Holländer, Brünnhilde in Wagners Walküre as well as the leading roles in Strauss’ Ariadne auf Naxos. The soprano is also successful as a lied and concert singer. she gave her debut at the Wiener Staatsoper on the 11th May 2012 as Salome.
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.
René Pape is among the leading bass singers of our time. He studied in his hometown Dresden. Between 1974 and 1981 he was a member of the renowned Dresdener Kreuzchor. Already as a student he made his debut at the Berliner Staatsoper in 1988, where he regularly appears to this day. He was exceptionally successful as Ramfis (Aida), Sarastro, Rocco (Fidelio). Fasolt (Das Rheingold), Hunding, Veit Pogner, König Marke (Tristan und Isolde), Figaro (Le nozze di Figaro), Mephistopheles (Faust), Leporello and in the title role in Don Giovanni, Philipp (Don Carlo), Banquo (Macbeth), Konig Heinrich (Lohengrin). Regular invitations lead him to the Bayreuther Festspiele, to the Bayerische Staatsoper, the Salzburger Festspiele and the Salzburger Osterfestspiele, La Scala, the New York Metropolitan Opera, the Dresdner Semperoper, the ROH Covent Garden, to the Paris Opera, San Francisco, Orange, Glyndebourne, Tokyo, Madrid, Florence, Barcelona, St. Petersburg, Rome, Frankfurt, Tel Aviv. Debut at the Wiener Staatsoper as Sprecher in 1991, further performances as Philipp II., Leporello, Don Fernando, Heinrich, Hunding, Sarastro.
Zoryana Kushpler was born in Lviv (Ukraine). At the age of five she took piano lessons with her mother, later she changed to the violin. From 1993 on she studied vocal arts in her father´s class at the University of Music in Lviv. In 1998 she changed to the University of Music in Hamburg. Performances have led her for example to Zurich, Geneva, Venice, Milan, Florence, Hamburg, Berlin, London and to Bern, where she was member of the ensemble of the Stadttheater Bern from 2004 to 2006. There, she interpreted roles like Sesto (Giulio Cesare) or Preziosilla (Forza del destino). She sang Adelaide (Arabella) at the Oper Graz and Carmen, Giulietta (Contes d’Hoffmann), Maddalena (Rigoletto) and Prinz Orlofsky at the Volksoper.
She made her debut at the Wiener Staatsoper in 2007 as Adelaide. Here, she also performed (selection) Polina and Daphnis (Pique Dame), Olga (Eugen Onegin), Giulietta (Les Contes d'Hoffmann), Fenena (Nabucco), Suzuki (Madama Butterfly), Ulrica (Un ballo in maschera), Prinz Orlofsky (Die Fledermaus) and Preziosilla (La forza del destino).
Roles at the Wiener Staatsoper 2013/ 2014: e.g. Smeton, Orlofsky, Lola, Marthe, Fenena.
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).
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 Lydia Rathkolb studied vocal arts in Vienna and Milan. She studied media communiations and musicology at the Universität Wien. She for example performed at the opera house Rousse as Lucia di Lammermoor and Rosina in Rossini´s Barbiere di Siviglia, in Savonlinna as Königin der Nacht (Zauberflöte), at the opera house in Brno as Violetta, in Lisbon as Rosalinde, furthermore in Linz, Basel, Bregenz, Hagen and Heidelberg.
Also, Lydia Rathkolb sang roles such as Konstanze (Entführung aus dem Serail), Pamina, Olympia and Antonia (Les Contes d’Hoffmann), Gilda (Rigoletto) as well as numerous roles from the operetta fach. In addition, she is an internationally successful concert singer. She made her debut at the Wiener Staatsoper in 1997 as 1. Dame in the Zauberflöte and has since then for example sung Ida, Königin (Traumfresserchen), Blumenmädchen (Parsifal), Berta (Il barbiere di Siviglia) and in the Nibelungenring für Kinder, Najade (Ariadne auf Naxos), Poussette (Manon), Contessa di Ceprano (Rigoletto), Schäferin (Jenufa), Modistin (Rosenkavalier).
Roles at the Wiener Staatsoper 2013/2014: e.g. Hullewulle, Giannetta, Marzellina, Ida.
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.
KS WOLFGANG BANKL comes from Vienna, received training in Violin and studied singing, Lied and Oratorium as well as opera at the Conservatoire of Vienna. He received initial engagements at the Vienna Kammeroper, the Opera House Kiel and the Tiroler Landestheater. Guest performances led him, among others, to Zurich, Hamburg, Cologne, Barcelona, Salzburg, Strasbourg, the Milan Scala, to the Vienna Festwochen, Bregenz, Tokyo, Tel Aviv, Rome and Paris. He recently gave his debut as Baron Ochs auf Lerchenau in Dresden under the direction of Christian Thielemann. Together with Norbert Pfafflmeyer, Harald Kollegger and Schmerzhel v. Solchgemut, he established the travelling Kleinfestival Giro d’Arte. Since 1993, he is an ensemble member of the Wiener Staatsoper and has since then sung here among others: Papageno, Alberich (Rheingold), Doktor (Wozzeck), Klingsor, Figaro (Le nozze di Figaro), Harašta (Schlaues Füchslein), Frank, Graf Waldner, Bartolo (Il barbiere di Siviglia), Hauptmann (Boris Godunow), Ochs, Geisterbote (Die Frau ohne Schatten), Tierbändiger/Athlet (Lulu), Ringender (Die Jakobsleiter), Zirkusdirektor (Der Riese vom Steinfeld), La Roche, Leporello, Dreieinigkeitsmoses (Mahagonny), Swallow (Peter Grimes). He has been awarded the title "Österreichischer Kammersänger".
Simina Ivan was born in Temesvar, Romania and completed a vocal degree at the University of Bukarest. She was supervised among others, by Magda Ianculescu, KS Ileana Cotrubas, and in the last 18 years by KS Margarita Lilowa. Already during her studies, she sang numerous roles at the Bukarest Operetten Theatre and won several prizes at international competitions in Paris, Toulouse, Coburg, Nantes and Bukarest. From 1990 to 1994, she sang at the Romanian National Opera in Bukarest. In September 1994, she gave her debut at the Vienna Volksoper as Lauretta in Gianni Schicchi, where she also sang roles like Pamina, Marguerite, Ophélie, Leila, Norina and Gretel. In addition to her concert performances, she has also made guest appearances in opera houses in Hamburg, Dresden, Zurich, Berlin and London. In 2003, the Romanian president appointed her an officer of the Order of Meritul Cultural. In December 1994, she gave her debut at the house on the Ring as Olga in Fedora. Since then, roles like Oscar (Un ballo in maschera), Najade (Ariadne auf Naxos), Rosina, Musetta, Konstanze, Aminta, Adele and Rosalinde, Adina, Eudoxie, Antonia, Despina, Pamina and Lisa (La sonnambula) have followed.
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).
KS Ildiko Raimondi was born in Arad, Rumania, where she began her music education and completed her vocal studies in Italy with Flaviano Labo and Carlo Bergonzi. She has performed in Dresden, Munich, Berlin, Valencia, Zurich, Helsinki as well as at Festivals in Salzburg, Edinburgh, Ludwigsburg, Bregenz and the Wiener Festwochen. Since 1991 she is member of the ensemble of the Wiener Staatsoper. She made her debut here in November 1991 as Sophie (Rosenkavalier). After that she performed as Marzelline (Fidelio), Zdenka (Arabella), Pamina (Zauberflöte), Antonia (Contes d’Hoffmann), Micaela (Carmen), Susanna (Nozze di Figaro), Adele and Rosalinde (Fledermaus), Hanna Glawari (Lustige Witwe), Nedda (Pagliacci), Lauretta (Gianni Schicchi), Mimi and Musetta (Bohème), Alice (Falstaff), Dame (Cardillac), Donna Elvira (Don Giovanni). She performed in the gala concert celebrating the 50th anniversary of the reopening of the Wiener Staatsoper, as well as at guest appearances in Asia (2007), Japan (2008), Garmisch-Partenkirchen (2009). In 2004 she became Österreichische Kammersängerin.
Roles at Wiener Staatsoper 2014/2015: for example Rosalinde, 3. Norn, Gerhilde.
Background Agamemnon, King of Mycenae, and his wife Clytemnestra have four children: Iphigenia, Electra, Chrysothemis and Orestes. When the Greek fleet is ready to set sail for Troy, a calm keeps the ships in port. Agamemnon must sacrifice his daughter Iphigenia to appease the goddess Artemis so that she will create favourable winds for his journey. Clytemnestra will never forgive her husband for this. During Agamemnon's absence fighting for Troy, Clytemnestra enters into a relationship with Aegisthus. When Agamemnon returns home, Clytemnestra and Aegisthus feign a joyous welcome. They then murder the defenceless man with an axe as he sits in his bath. After her father is murdered, Electra succeeds in bringing her young brother to safety. She herself nurses one thought: to avenge the murder. Plot Electra has dissociated herself from society and above all from Aegisthus and Clytemnestra; she lives in isolation, bound in her thoughts to Agamemnon. She unrelentingly nurtures her hate, counting on Orestes' return to avenge the murder. The five maid servants, supervised by the overseer, comment on Electra's behaviour: spiteful, pretentious, fearful. Only the youngest maid servant stands up for Electra and is chastened for doing so. Electra invokes Agamemnon and goes into raptures over her bloody vision. Chrysothemis interrupts Electra's monologue and warns her sister: Aegisthus and Clytemnestra are planning to incarcerate her in a tower. When Chrysothemis implies that she will come to terms with them in order to realize her desire to be a mother, Electra scornfully puts her in her place. Plagued by memories and anxiety dreams, the restless Clytemnestra tries to talk to Electra, hoping to find out from her what blood sacrifice or rites would bring her relief. Electra responds tantalizingly, enigmatically, cryptically, and frightens her mother with questions about Orestes. However, when Clytemnestra is brought news by her confidante, her dread gives way to an obvious sense of triumph. Electra is annoyed, until she learns the news from Chrysothemis – their brother Orestes is dead. Electra refuses to believe it, but must then give credence to the messenger's report. She decides to wreak vengeance herself, and determines that Chrysothemis should help her. With tenderness and outward affection, Electra tries to win her sister's support for her plan to murder Clytemnestra and Aegisthus. However, Chrysothemis evades her sister, who curses her. Now Electra is resolved to perform the deed herself. A stranger arrives, passing himself off as a messenger who has come to tell Clytemnestra of the death of Orestes. Electra's despair moves him to ask her name. Only then does he reveal that he is her brother – Orestes! Electra urges him to murder the couple to avenge his father, a deed Orestes pledges to carry out swiftly. Left alone, Elektra awaits further events ... Clytemnestra's death screams and the confusion of the maid servants assure her that revenge has in part been exacted. Aegisthus, fetched by the servants, wants to hear the news of Orestes' death himself. With flattering words, Electra guides him to the place where she knows the avenger to be, who kills him shortly thereafter. Consumed with joy that revenge has been exacted, Electra begins a last ecstatic dance ...