Adam Fischer was born in Budapest in 1949 and studied composition and conducting first in Budapest and then later in a class by Hans Swarowsky in Vienna. His first engagement led him to the Opernhaus Graz as répétiteur. After that he soon became first capellmeister at the opera house in Helsinki, at the Staatstheater Karlsruhe and at the Bayerische Staatsoper. Between 1981 and 1983 he was GMD in Freiburg, 1987 to1992 in Kassel, 2000 to 2005 in Mannheim. Between 2007 and 2010 he was artistic director of the Hungarian State Opera.
He regularly conducts at the great opera houses in Europe and the USA, for example at the New York Met, La Scala, at the Royal Opera House Covent Garden, in Bayreuth. In 1987 he was co-initiator of the Haydn Festival in Eisenstadt. Since 1998 he is also chief conductor of the Danish National Chamber Orchestra. As concert conductor he appears at the world´s most important music centres. He made his debut at the Wiener Staatsoper in 1980 with Otello and has conducted a large number of performances here, for example Rosenkavalier, Fledermaus, Der Ring des Nibelungen, Fidelio, Cavalleria rusticana, Mozart/Da Ponte-
BENJAMIN BRUNS started his vocal career as an Alto soloist in the boys’ choir of his hometown, Hannover. While still studying at the Musikhochschule in Hamburg, he was offered his first engagement by the Bremer Theater. This was followed by ensemble contracts at the Opera in Cologne and the Dresden State Opera. Guest performances have led him, among others to the Staatstheater in Nürnberg, the Staatsoper unter den Linden, the Deutsche Oper Berlin, the Teatro Colón and the Bayreuther Festpielen. Also as an Oratorio and Song singer, Benjamin Bruns enjoys an excellent reputation and is therefore just as much at home in concert halls as he is on the operatic stage. Since the start of the 2010/2011 season, Bruns has been a member of the Wiener Staatsoper ensemble, and has since sung works such as Conte d’Almaviva (Il barbiere di Siviglia), Oronte (Premiere-Alcina), Arturo (Lucia di Lammermoor), Don Basilio (Premiere-Le nozze di Figaro), Brighella (Ariadne auf Naxos), Tamino (Die Zauberflöte), Jaquino (Fidelio), Ferrando (Così fan tutte), Don Ottavio (Don Giovanni) and Évandre (Premiere-Alceste).
OLGA BEZSMERTNA completed her studies at the Kiev Academy of Music in Ukraine in 2010. She was among the finalists of the Hans Gabor Belvedere Singing Competition in Vienna in 2010 and 2011. During her debut singing competition in Germany in 2008, she was awarded the first prize as well as the Public prize and the Puccini Prize. In 2007 she had an engagement at the Oper Oder-Spree Festival. In 2006, she received an award at the International Rimsky-Korsakow Singing Competition in St. Petersburg. Furthermore, the soprano received the first prize at the international singing competition of the Bertelsmann Trust. In 2011, she took part in the Young Singers Projects at the Salzburger Festspiele. Her repertoire includes, among others, Contessa d’Almaviva, Pamina, Donna Elvira, Fiordiligi, Micaëla, Marguerite, Nedda, Marfa (Die Zarenbraut) and Tatjana. She is an emsemble member of the Wiener Staatsoper, where she gave her debut in 2012 and sang among others: Dame (Cardillac), Pamina, 3. Norn, Contessa d’Almaviva and Rosalinde. Current performances include her debut at the Deutschen Oper Berlin and at the Salzburger Festpiele.
Markus Werba was born in Austria and began his vocal studies at the age of 16. He studied at the Konservatorium Klagenfurt as well as at the University for Music and Performing Arts Vienna. He has won severl national and international competitions. He was member of the ensemble of the Wiener Volksoper. Engagements have for example led him to Baden-Baden, La Scala, the London ROH Covent Garden, the Bayerische Staatsoper, to the Salzburger Festspiele, the Teatro La Fenice, the Theatre des Champs-Elysees, to Lyon, Los Angeles, San Francisco and the Met.
His repertoire comprises (selection) Papageno, Don Giovanni, Guglielmo (Cosi fan tutte), Figaro (Il barbiere di Siviglia), Eisenstein (Die Fledermaus), Billy Budd, Pelleas, Belcore (L’elisir d’amore), Enrico (Lucia di Lammermoor), Frank/Fritz (Die tote Stadt), Hans Heiling, Eugen Onegin, Olivier (Capriccio), Posa (Don Carlo).
As a sought-after concert and lied singer he has for example sung at the Wigmore Hall in London, at the Wiener Musikverein and at the Mozarteum in Salzburg. He made his debut at the Wiener Staatsoper in 2010 and has sung Papageno, Eisenstein, Figaro (Il barbiere di Siviglia) and Belcore here.
Role at the Wiener Staatsoper 2014/2015: Papageno.
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).
Act 1 Don Giovanni has furtively slipped into the house of the Commandant to visit the latter’s daughter Donna Anna, leaving his servant Leporello to keep watch outside the house. Suddenly Don Giovanni rushes out. The Commandant, summoned by Donna Anna’s cries for help, challenges Don Giovanni and is killed in the duel. Donna Anna’s fiancé Don Ottavio arrives too late: all he can do is swear vengeance. Don Giovanni is on the lookout for new adventure. As he approaches a lady, he realizes that it is none other than Donna Elvira, the fiancée whom he jilted. Don Giovanni beats a retreat, leaving Leporello to explain to the lady that her name is only one in a long list of conquests. As if by chance, Don Giovanni appears at the wedding of Zerlina and Masetto, playing the part of a grand seigneur. He has absolutely no difficulty in beguiling the young bride. However, Donna Elvira arrives to warn her: this time she is successful in reuniting Zerlina with her bridegroom. Don Giovanni joins Donna Anna and Don Ottavio, even going so far as in offer his assistance in the search for the murderer. Once again Donna Elvira spoils his game. Only when Donna Anna and Don Ottavio are alone again does Donna Anna realize than the man who murdered her father that night is none other than Don Giovanni. Her vengeance will now be directed against him. Don Ottavio vows in do everything he can in restore Donna Anna’s peace of mind. Masetto is furious with Zerlina on account of Don Giovanni. For the time being she manages to placate her enraged bridegroom, but not for long. Don Giovanni has by no means given up his designs on Zerlina, and thus incites Masetto in a renewed fit of temper. In order to obtain the object of his desires, Don Giovanni has invited the couple and the wedding guests in a feast, which three masked figures are also invited in attend. Zerlina has once again entrusted herself in the lecherous Don Giovanni. When she calls for help, the strangers remove their masks: they are Donna Anna, Donna Elvira and Don Ottavio. Once again Don Giovanni manages in escape their vengeance. Act 2 Leporello is determined in leave his master: however a bag of gold soon changes his mind. It is not long before he has another opportunity in serve his master: this time Don Giovanni is after Donna Elvira’s maid. Don Giovanni exchanges clothes with Leporello to enable him to serenade her undisturbed. Leporello will have to imitate his master’s voice and gestures in order to fool Donna Elvira, who still loves Don Giovanni. She hurries away with the man she supposes to be her lover. Don Giovanni seizes the opportunity to play a trick on Masetto. Disguised as Leporello, he tells the peasants that he has left his master’s service, and sends them off in different directions to capture Don Giovanni. Only Masetto remains behind, and receives a good beating from Don Giovanni. Zerlina comforts her bruised Masetto, and the two are reconciled once more. Leporello, disguised as Don Giovanni, tries to find a way out of the difficult situation in which his master has put him. Re reveals his identity only when confronted by Donna Anna and Don Ottavio, Donna Elvira – who has been cheated once again –, Masetto and Zerlina. He manages to effect his escape in the general confusion. Donna Elvira determines in break away from Don Giovanni. Master and servant meet again in a churchyard. Don Giovanni is interrupted by something quite unexpected: the statue on the Commandant’s grave speaks to him. Whereas Leporello trembles like a leaf, Don Giovanni invites the statue to a banquet. The statue nods its head in acceptance. Don Ottavio wishes in bring forward his marriage to Donna Anna. However, she reproves him, assuring him of her love: her father’s death must first be avenged. Don Giovanni is enjoying his evening meal to the full: there is music playing, and Leporello to wait on him. At this moment Donna Elvira enters. Filled with foreboding, she tries once again to persuade Don Giovanni to mend his ways, but he merely laughs at her. As she leaves the room, she emits a scream of horror. Leporello, filled with fear, announces the arrival of the statue. Fearlessly Don Giovanni goes to meet it. The statue calls on Don Giovanni in do penance, but he will not hear of it. His fate is sealed with a handshake. When Don Giovanni’s pursuers arrive on the scene, Leporello is only able to tell them about his master’s downfall. The survivors will now be able to get on with their own lives.