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KSCH Otto Schenk was born in Vienna in 1930 and experienced a childhood strongly influenced by the horrors of the Nazi regime.
After his education at the Max Reinhardt Seminar, he made his acting debut in Vienna. The first places of appearance in his career were the Theater an der Josefstadt and the Wiener Volkstheater. As of 1953 he also worked as theatre director and as of 1957, as opera director. Very soon his career led him to the world´s most important stages, for example the Wiener Burgtheater, the Münchner Kammerspiele, the New York Met, La Scala in Milan, the ROH Covent Garden, the Bayerische and Hamburgische Staatsoper or the Deutsche Oper Berlin. From 1965 to 1990 he was leading stage director at the Wiener Staatsoper, between 1986 and 1988 he was member of the Board of the Salzburger Festspiele, between 1988 and 1997 director of the Theater in der Josefstadt. Furthermore, he appeared in numerous television plays. He has staged about 30 different operas at the Wiener Staatsoper and furthermore performed as Frosch here.
Born in lower austria, soprano Daniela Fally completed her vocal training at the Wiener Musikuniversität after having previously completed theater studies, musical studies and private acting classes. Since the 2009/2010 season, she is an ensemble member of the Wiener Staatsoper, after having been an ensemble member at the Wiener Volksoper for four years. Guest engagements include among others, at the Salzburger Festspielen, the Bregenzer Festspielen, the Opernfestspielen Munich (Zerbinetta 2011 and 2013), at the Bayrische Staatsoper Munich (Adele, Zerbinetta), the Staatsoper Hamburg (Fiakermilli, Marie/Fille du régiment 2012 and 2013, Zerbinetta), the Semperoper Dresden (Blonde, Sophie/Rosenkavalier under Christian Thielemann 2012 and 2013), the Opera houses in Zurich (Adele), Düsseldorf (Adele), Liège (Zerbinetta), and Strassburg (Blonde, Sophie/Rosenkavalier), Cologne (Zerbinetta), at the Seefestspielen Mörbisch (Adele) and at the Lyric Opera in Chicago (Adele). At the Wiener Staatsoper, she has sung among others Sophie (Rosenkavalier and Werther), Rosina, Fiakermilli, Adele, Oscar, Zerbinetta, and italienische Sängerin (Capriccio).
Originally trained as a violinist, Sascha Goetzel began his orchestral career in close contact with great conductors such as Zubin Mehta, Riccardo Muti and Seiji Ozawa. After his debut with several Austrian orchestras, he completed highly successful guest appearances with the City of Birmingham Symphony Orchestra, the Berlin Symphony Orchestra, Luxembourg Philharmonic, the Philharmonic Orchestras of Tokyo, Sapporo and Nagoya and the State Philharmonic of the Rhineland-Pfalz. Until 2013, he was Chief Conductor of the Finnish Kuopio Symphony Orchestra and is Artistic Director and Chief Conductor of the Borusan Istanbul Orchestra. From 2012/2013, he was appointed Primary guest conductor of the Orchestre Symphonique de Bretagne and the Kanagawa Philharmonic Orchestra. Sascha Goetzel is an experienced opera conductor and conducted a Da Ponte cycle and La Bohème at the Tyrolean State Theatre. At the Mariinsky Theatre he directed Don Giovanni and at the Festival Attersee Klassik Così fan tutte, The Nutcracker at the Vienna State Opera as well as numerous opera and operetta performances at the Vienna Volksoper.
After his studies at the Musikhochschule in Vienna, where he studied among others under Walter Berry, Adrian Eröd’s career went from the Wiener Kammeroper over the Landestheater in Linz to the Wiener Volksoper and finally the Wiener Staatsoper, which would play a central role alongside his international engagements to his artistic future. Since his debut in 2001 at the Wiener Staatsoper as Mercutio inRoméo et Juliette, Adrian Eröd has sung works like Guglielmo, Beckmesser, Loge, Conte d’Almaviva, Figaro (Il barbiere di Siviglia), Dr. Falke, Albert, the leading role in Benjamin Brittens Billy Budd, Olivier (Capriccio) and the male leading role- which was written for him – Jason in Aribert Reimanns Medea. He has also sung, among others at the Teatro La Fenice in Venedig (Harlekin), an der Hamburgischen Staatsoper (Pelléas), an der Oper Frankfurt (Prospero in Adès’ The Tempest), bei den Bayreuther Festspielen und an der Oper Zürich (Beckmesser). Finally, he has sung e.g. at the Tokyo National Opera, the Opéra de Paris and at the Bayreuther Festspielen.
Roles for the Wiener Staatsoper 2014/2015: Prospero, Eisenstein.
ELENA MAXIMOVA completed her vocal training at the Tschaikowski-Conservatoire in Moscow and became engaged as a soloist to the Moscow Stanislavski Music Theater. There, Elena Maximova was heard, among others, in the following roles: Polina (Pique Dame), Siébel (Faust), Orlofsky (Die Fledermaus), Suzuki (Madama Butterfly), Rosina (Il barbiere di Siviglia), Olga (Eugen Onegin), Carmen and Charlotte (Werther). Elena Maximova gave her debut in 2005 on the stage of the Bavarian State Opera in a new production of Rigoletto (Maddalena). She also sang there Suzuki, Carmen, Olga and Frederica (Luisa Miller). Furthermore, she has sung at the Opéra in Lyon (Eugen Onegin, Pique Dame) and performed as Carmen at houses like the Berlin State Opera, the Teatro Comunale in Florence, the Palau de les Arts in Valencia and in the Scala. Elena Maximova is also active worldwide as a concert singer. Recently she sang Carmen, Preziosilla, Charlotte, Despina, Rosina, Nicklausse and Isabella in Moscow, Carmen in Palermo, Helsinki and Moscow, Olga in the ROH London and the Met. She gave her debut at the Wiener Staatsoper in 2012 as Carmen and also sang Maddalena.
Peter Simonischek studied at the Academy of Music and Performing Arts in his home town Graz. Already as a student Peter Simonischek appeared at the Schauspielhaus Graz, later engagements at the Stadttheater St. Gallen as well as in Bern, Darmstadt and at the Dusseldorfer Schauspielhaus followed.
As of 1979 he was a member of the ensemble of the Berliner Schaubuhne for 20 years. At the Salzburg Festsival Peter Simonischek played the title role of Torquato Tasso and as Okeanos in Prometheus, gefesselt by Peter Handke adapted from Aischylos in 1982 and in 1988 as Horch in Canetti´s Hochzeit and as Leonid in Tschechow´s Kirschgarten in 1995. From 2002 to 2009 Peter Simonischek played the title role in Jedermann.
Since the season 1999/2000 Peter Simonischek is engaged at the Wiener Burgtheater, where he has played in numerous plays by many different authors like Friedrich Schiller, Heinrich von Kleist or Henrik Ibsen, Odon von Horvath, Jon Fosse and Albert Ostermaier. Since the 1970s Peter Simonischek regularly plays in cinema films.
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.
KS Ramon Vargas was born in Mexico. He has won numerous competitions and made his debut in his home town as Fenton (Falstaff), but also sang Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore) and Conte d’Almaviva (Il barbiere di Siviglia) there. In 1986 Ramon Vargas won the Enrico Caruso competition in Milan and became a member of the opera studio of the Wiener Staatsoper.
Successful performances followed at opera houses in Zurich, Rome, Naples, Catania, at the Rossini Festival in Pesaro, at the Arena di Verona, in Milan, Paris, Munich, Hamburg, New York, Chicago and San Francisco. He made his debut at the Wiener Staatsoper in 1988 as Gelsomino (Il viaggio a Reims). Soon roles like Italienischer Tenor (Capriccio), Conte d’Almaviva, Fenton, Rodolfo (La Bohème), Edgardo (Lucia di Lammermoor), Nemorino, Roberto Devereux, Lenski (Eugen Onegin), Fernand (La Favorite), Chevalier Des Grieux (in Jules Massenet´s Manon), Werther, Gustaf III. (Un ballo in maschera), Romeo (Romeo et Juliette), Don Carlos (French), Gabriele Adorno (Simon Boccanegra) followed. In 2008 Ramon Vargas became Österreichischer Kammersänger.
The plot of Die Fledermaus is woven around a ball given by Prince Orlofsky. During the first act, a whole host of characters are irresistibly drawn to it: The chambermaid Adele is invited (or so she believes) by her sister Ida, and after some difficulty she succeeds in getting the night off by inventing a moving story about a sick aunt. Meanwhile her employer, Eisenstein, a man of independent means, has recently been given a prison sentence for insulting a public official but, rather than reporting to serve the sentence, he is persuaded by his friend Dr. Falke to join him for a night of revelry at Orlofsky’s. Dr. Falke is following his own agenda – Eisenstein once humiliated him in front of the whole town by leaving him to return home from a masked ball through the streets, drunk and dressed as a bat, and Falke now sees his opportunity for revenge; and so he also invites Eisenstein's wife Rosalind to the ball. Due to Eisenstein’s departure ‘for prison’, Rosalind is already in disarray when a former admirer of hers named Alfred shows up and tries to woo her, only to be arrested by prison governor Frank who takes him for Eisenstein. Frank, satisfied by a job well done, then also decides to attend Orlofsky's ball. At the ball, Dr. Falke’s machinations play out splendidly: to Eisenstein’s astonishment he meets his chambermaid Adele, who brazenly denies her identity; he befriends a French ‘chevalier’ – in truth none other than prison governor Frank; and finally he falls in love with his own wife, masked and disguised as a Hungarian countess. In the third act, the knots begin to unravel. The action takes place at the prison, a rather shady affair thanks to Frosch, the permanently drunk gaoler. One by one, the characters reappear: first prison governor Frank, extremely hungover, then Adele, who is hoping to find a patron to foster her dramatic talent, along with her sister Ida, and then Eisenstein, who is astonished to find that he has apparently been locked up all night. When Rosalind also appears and, together with Alfred, demands an interview with a lawyer, Eisenstein dons a disguise and takes the place of the stuttering lawyer Dr. Blind. This trick allows him to get to the bottom of the previous evening’s events. Fortunately he then allows himself to be convinced that everything was a part of Dr Falke’s plot for revenge; and so it all ends happily, and Adele even finds her patron in the form of Prince Orlofsky.