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Tue. April 16, 2019, 7:30 p.m. - 10 p.m. Vienna

Giacomo Puccini


Conductor: Domingo Hindoyan, Director: Marco Arturo Marelli
With Anna Smirnova, Alfred Kim, Dinara Alieva

  • Giacomo Puccini  |  Musik
  • Domingo Hindoyan  |  Conductor
  • Marco Arturo Marelli  |  Director
  • Marco Arturo Marelli  |  Stage and costume design
  • Dagmar Niefind  |  Costumes
  • Aron Kitzig  |  Video

Domingo Hindoyan | Conductor

DOMINGO HINDOYAN was born in Caracas, Venezuela. He began his music studies as violinist and member of the Venezuelan music education programme El Sistema. He went on to study conducting at Haute Ecole de Musique de Genève. From 2013 to 2016, he was first assistant to Daniel Barenboim at Deutsche Staatsoper Berlin, where he led a vast array of repertoire performances. In the meantime, the young conductor has conducted works at the Metropolitan Opera in New York, Mariinsky Theatre in St. Petersburg, Zurich Opera House, Semperoper in Dresden, Oper Stuttgart, Opéra de Monte-Carlo, Bergen National Opera and Opéra national de Lorraine. His repertoire includes operas such as La traviata, Tosca, Il barbiere di Siviglia, The Rake’s Progress, L’elisir d’amore, La Bohème, Semiramide, Il turco in Italia, I puritani, Aida, Turandot. Meanwhile, Hindoyan has also garnered an international reputation as a symphonic conductor. His current and future operatic projects include La Bohème at Lyric Opera of Chicago, Aida in Stockholm, Tosca at Staatsoper Unter den Linden, and Luisa Miller at Gran Teatre del Liceu, Barcelona.

Paolo Rumetz | Mandarin

Paolo Rumetz began studying vocal arts in his hometown Trieste and perfected his skills in Munich with Josef Metternich and in Rome with Renato Guelfi. Paolo Rumetz made his debut in Cimarosa´s Il Maestro di Cappella in Spoleto. In 1988 his first appearance at the Teatro Verdi in Trieste in Strauss’ Ariadne auf Naxos followed. Since then, Paolo Rumetz has regularly been engaged in London, Pisa, Lucca, Prague, Macerata, Venice, Ravenna, Verona, Turin, Tokyo, at La Scala in Milan, in Barcelona, Zurich, Leipzig, Florence. Paolo Rumetz’s repertoire includes roles such as Enrico in Donizetti´s Lucia di Lammermoor, Sharpless in Puccini´s Madama Butterfly, Alberich in Wagner´s Das Rheingold, Doktor Dulcamara in Donizetti´s L’elisir d’amore, Sulpice in Donizetti´s La Fille du regiment, David in Mascagni´s L’amico Fritz, Don Geronio in Rossini´s Il turco in Italia, the title role in Verdi´s Falstaff, Don Bartolo in Rossini´s Il barbiere di Siviglia, Jago in Verdi´s Otello, Graf Gil in Ermanno Wolf-Ferrari´s Il segreto di Susanna, Fra Melitone in Verdi´s La forza del destino, Taddeo in Rossini´s L’italiana in Algeri.

Dan Paul Dumitrescu | Timur

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).

Anna Smirnova | Turandot

Anna Smirnova was born in Moscow and recieved her musical training at the Tschaikowski-Conservatoire in Moscow, before visiting masterclasses with Elisabeth Schwarzkopf and Thomas Hampson in Zurich. Engagements have led her among others as Amneris (Aida) to the Berlin State Opera, to the Arena von Verona, Salerno, Rome and Tel Aviv, as Azucena (Il trovatore) to Florence and Rovigo, as Eboli (Don Carlos) to Valencia and in the leading role in Cassandra at the Deutsche Oper Berlin. Anna Smirnovas repertoire includes also roles like Giulietta (Les Contes d’Hoffmann), Elisabetta (Maria Stuarda) and Olga (Eugen Onegin). At the Milan Scala, she sang the Old Nun (Sancta Susanna), the Princess of Buillon (Adriana Lecouvreur), Zeyno Kari (Teneke), the Amneris and Eboli. In 2008, Anna Smirnova gave her debut as Giovanna di Seymour (Anna Bolena) in Palermo. Present and future performances are leading the young russian singer among others as Santuzza (Cavalleria Rusticana) to Valencia, as Eboli at the New York Met as well as Amneris at the ROH Covent Garden in London. In 2011, she gave her debut at the Wiener Staatsoper as Amneris.

Alfred Kim | Calaf

ALFRED KIM was born in Seoul and studied singing in his hometown, as well as in Frankfurt and Karlsruhe. He has won many important singing competitions, such as Belvedere in Vienna and Operalia in Paris. He sang as part of ensembles in Kassel, Wiesbaden and Frankfurt and has long pursued an international career. Recently he has appeared at Teatro Municipal de Santiago (Calaf, Jacopo Foscari, Enzo Grimaldo, Radames), Opéra Nice Côte d’Azur (Calaf), Théâtre du Capitole Toulouse (Calaf), Deutsche Oper Berlin (Radames, Enzo Grimaldo), Israeli Opera Tel Aviv (Manrico), Teatro Real de Madrid (Otello), Seoul Arts Center (Cavaradossi), Oper Frankfurt (Ernani, Manrico), ROH Covent Garden (Calaf), Teatro dell’Opera di Roma (Turiddu), Palau de les Arts Reina Sofía in Valencia (Cavaradossi). Current and upcoming engagements include Calaf (Opera Hong Kong) and Andrea Chénier (Teatro de la Maestranza, Seville). At Vienna State Opera, Alfred Kim made his debut in 2009, as Don Carlo, and he has also sung Gabriele Adorno and Cavaradossi here.

Dinara Alieva | Liù

Soprano DINARA ALIVEA was born in Baku, Azerbaijan, and studied singing at the local academy of music. After a period of being a soloist at her hometown’s opera house, she joined Bolshoi Theatre’s ensemble in Moscow. In 2010, her international career truly kicked off: She won many internationally renowned competitions, such as Domingo’s Operalia and Tenor Viñas Contest. Since then, Dinara has regularly appeared on important stages, where she breathed life into roles like Violetta in Verdi’s La Traviata, Nedda in Leoncavallo‘s Pagliacci and Liù in Puccini‘s Turandot. Examples of recent and current engagements include Violetta, Mimì, Magda in Giacomo Puccini‘s La Rondine, Micaëla, Rusalka, Trovatore-Leonora, Elvira (Ernani), Desdemona and Amelia, appearances at Oper Frankfurt, Bolshoi Theatre, Israeli Opera, Deutsche Oper Berlin, in Beijing, at Hamburg State Opera, in Oviedo, Brussels and Riga. In 2013, the record label Naxos released her solo CD of Russian arias. Dinara Alieva made her debut at Vienna State Opera in 2011 as Donna Elvira, and she also sang the roles of Tatjana and Mimì.

Benedikt Kobel | Altoum

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). 

Carlos Osuna | Pang

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).


The mandarin proclaims the law: Turandot will only marry the man who can solve three riddles that she poses. But whoever fails must die – a fate that has befallen many, most recently a Persian prince. The “unknown” Prince Calaf, who has seen the beautiful but cruel Princess Turandot, is spellbound by her – and determines to take the risk. Before he can do so, he encounters his father, the banished Tartar King Timur, who is accompanied by Liù, a slave.  She in turn is in love with Calaf… Ping, Pang and Pong report on life in China and complain: since Turandot has been posing her riddles, their tranquil life has ended and they have been reduced to “ministers of the executioner”. Despite all advice to the contrary, Calaf accepts the challenge of answering Turandot’s questions. And he learns the reason for her inhumanity: once, in the dim and distant past, her ancestor Lou-Ling was robbed and raped – and these deeds must now be avenged and expiated. Calaf is able to solve the riddles; against her will, Turandot must now become his wife. But Calaf wishes win her affections, and so places himself at her mercy. So he now puts a riddle to her; if she can solve it, it will mean his death (and her freedom): What is his name? In spite of all their efforts, no one can find out the name of the prince. Then Liù and Timur, who were seen talking to Calaf, are brought in. In order to protect Timur and out of love for Calaf, pretending to be the only person who knows the prince’s name, Liù kills herself. Love finally wins the day. Although Calaf has revealed his true name to her and placed his fate in her hands, Turandot declares that the name of the unknown prince is “Love”...