D: € 15.15 - US: $ 16.51 - UK: £ 13.66 *
Peter Schneider was born in Vienna and joined the Wiener Sangerknaben at the age of eight, later he studied at the Vienna Music Academy (composition and conducting). First he was répétiteur, director of studies and Kapellmeister in Salzburg and Heidelberg, later first Kapellmeister at the Deutsche Oper am Rhein, where he worked on nearly the entire opera repertoire. In 1978 he became GMD in Bremen. He has regularly conducted in Bayreuth since 1981. After having worked in Bremen, he became opera and General Music Director in Mannheim for two years. In 1993/1994 he became Chief Conductor of the Bayerische Staatsoper and the Bayerische Staatsorchester. He worked there for five years and remains Permanent Guest Conductor at the Bayerische Staatsoper. In 1995 he made his debut at the Met. He made his debut at the Wiener Staatsoper in 1984 with Der Rosenkavalier and is honorary member of the house on the ring. He has conducted (selection) Capriccio, Salome, Don Giovanni, Nozze di Figaro, Fidelio, Zauberflöte, Fliegender Holländer, Meistersinger von Nürnberg, Ring des Nibelungen, Parsifal, Tristan und Isolde, Frau ohne Schatten, Palestrina. Conducting for the Wiener Staatsoper 2012/2013: Salome, Die Walküre, Fidelio, Le nozze di Figaro (Japan guest appearance).
MARKUS EICHE was born in St. Georgen im Schwarzwald, he studied in Karlsruhe and Stuttgart and is a prizewinner of several national and international competitions. He started his career at the National theater Mannheim, and there played the roles of Marcello (La Bohème), Wolfram (Tannhäuser), Papageno (Zauberflöte), Guglielmo (Così fan tutte) as well as the leading roles in Wozzeck and Don Giovanni. In the season 2007/2008, he became an ensemble member of the Wiener Staatsoper and sang among others, Marcello, Jeletzki, Belcore (L’elisir d’amore), Albert (Werther), Lescaut (Manon), Fritz/Frank, Valentin (Faust), Donner (Das Rheingold), Gunther (Götterdämmerung), Eugen Onegin, Don Juan (Aus einem Totenhaus), and Dr. Falke (Die Fledermaus). In addition, he has appeared as a guest at the Salzburger Festspielen, the Milan Scala, the Nederlandse Opera Amsterdam, the Semperoper Dresden, the Deutschen Staatsoper Berlin, the Finnish National Opera, the Gran Teatre del Liceu Barcelona, the Münchner Staatsoper and at the Bayreuther Festspielen. Since autumn 2012, Markus Eiche teaches at the Zurich Hochschhule der Künste.
Rachel Frenkel studied at the der Buchmann-Mehta School of Music in Tel Aviv. During the 2006/2007 season, she took part in the Young Artists Program of the Israeli Opera. She is a scholar from several institutions, among others at the university of Tel Aviv and the America-Israel Sharet Artists Foundation. From 2009 to 2011, she was a member of the Opera Studios of the Staatsoper Unter den Linden. Here, she was heard among others as Mercédès in Carmen, Flora in La traviata, Siébel in Faust, Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte, Milli in Der Ferne Klang and Zaida in Il turco in Italia. In 2011, she gave her debut at the Salzburger Festspiele with the role of the Stimme des Falken in Die Frau ohne Schatten. At the Staatsoper Berlin, she sang Rosina in Il barbiere di Siviglia and at the Staatsoper Hamburg she sang the role of Komponist in Ariadne auf Naxos. Performances have led her e.g. (as Dryade in Ariadne auf Naxos) to Baden-Baden or as Cherubino in Le nozze di Figaro at the Opéra National de Montpellier. Recent engagements include among others Dorabella at the Semperoper, Idamante in Lille and Nicklausse in Bregenz. In 2011, she became an ensemble member of the Wiener Staatsoper and sang here, among others, Rosina, Zulma, Cherubino, Angelina and Fenena.
Roles for the Wiener Staatsoper 2014/2015: Rosina.
Stephen Gould was born in Virginia and studied at the New England Conservatory of Music. In recent years he has sung in the new productions of Der fliegende Holländer in Madrid, Munich, Vienna and New York, Siegfried and Götterdämmerung in Bayreuth, Tannhäuser in Tokyo, Paris and Geneva, Peter Grimes in Dresden and Geneva, Otello and Die Liebe der Danae in Dresden, Lohengrin in Trieste and Hamburg, Die tote Stadt in Berlin and London, Fidelio in Rome und Tokyo, Les Troyens, Fidelio and Otello in Florence as well as in many further productions and concerts in Dresden, Berlin, Munich, Vienna, Hamburg, Mannheim and Barcelona. In 2012/2011 he sang Gurre-Lieder in Montreux and Luzern, Tristan und Isolde in Tokyo and Dresden, Tannhäuser in Dresden, then Die Frau ohne Schatten in Salzburg, Götterdämmerung in Berlin, and in 2012 Tristan und Isolde in Berlin, Fidelio in Dallas, Götterdämmerung in Munich and Tannhäuse in Turin, to only name a few.
In 2004 he made his debut at the Wiener Staatsoper as Paul (Die tote Stadt) and has since then also sung Erik, Parsifal, Siegfried (Siegfried, Götterdämmerung), Tannhäuser and Bacchus here.
Soprano singer ERIN MORLEY studied at the Juilliard School in New York and at the Eastman School of Music; she graduated at the Juilliard Opera Center in 2007. She has won several competitions and holds numerous awards. Among her performed roles are for example Woglinde in Das Rheingold and Götterdämmerung, Waldvogel in Siegfried, Roxana in Król Roger, Constance in Dialogues des Carmélites, Gilda in Rigoletto, Sandrina in La finta giardiniera, Echo in Ariadne auf Naxos and Sophie in Der Rosenkavalier. She has appeared at opera houses such as the New York Metropolitan Opera, the Palau de les Arts in Valencia, the Bayerische Staatsoper in Munich, the Opéra de Lille, the Opéra de Dijon, the Santa Fe Opera. She is also a successful concert singer and appears internationally, for example she performed in Beethoven´s Neunter Symphonie, Orff´s Carmina Burana or Brahm´s Deutsches Requiem. With the Cleveland Orchestra under the direction of Franz Welser-Möst she also appeared in the Carnegie Hall, with the Chicago Symphony Orchestra under the direction of Bernhard Haitink or the with New York Philharmonic Orchestra.
Role at the Wiener Staatsoper 2014/2015: Sophie, Gilda.
Biography coming soon.
Prologue The servants of the wealthiest man in Vienna are busy preparing the stage for a planned performance in their master's palace. Two troupes have been engaged and are busily making preparations behind the scenes. One them is to play the opera Ariadne on Naxos, the first work by a young composer, whilst the other will perform a dance masquerade in the Italian buffo style. Petty jealousies between the members of both troupes already have emotions running high. The situation is exacerbated by an unexpected and incomprehensible change of programme communicated by the lord of the house through his major-domo: he now wishes the two pieces to be performed for his invited guests not one after the other, but at the same time. Deeply mortified, the composer wishes to withdraw his composition and forgo its first public performance, since the work represents an authentic implementation of his artistic worldview. However, he has a change of heart thanks to the practically minded music teacher, and Zerbinetta: well versed especially in the art of seduction, the latter inveigles the inexperienced young composer in no time at all. With a resounding hymn to the nature of music, the composer accepts reality and the instructions of his patron. The opera Ariadne on Naxos will therefore be performed in the desired manner, with interludes by an troupe of Italian comedians. Opera Outside a cave on the shores of the island of Naxos, Ariadne longs for death after being abandoned by Theseus, her rescuer and lover. Oblivious to everything going on around her, she takes no notice of the three nymphs, nor of the comedians trying to cheer her up, nor even of Zerbinetta. Drawing on her wealth of experience, Zerbinetta sings an audacious aria advising the grieving Ariadne not to shed a single tear for her departed lover, and to remain open for new love. A radiant youth is seen approaching in the distance: it is Bacchus, the god of the eternal regeneration. He comes from the arms of the sorceress Circe, where he was unable to find what he was looking for. Mistaking him for the messenger of death, Ariadne, goes out to meet him: without immediately noticing it, she falls ecstatically in love with him, an emotion which the god reciprocates. Transformed by one another as if reborn, Ariadne and Bacchus bring the opera to a close as a truly mystically united couple.