D: € 15.15 - US: $ 15.54 - UK: £ 13.98 *
The conductor, pianist, composer and author Frédéric Chaslin was born in Paris and received his training at the conservatoire of his hometown as well as the Mozarteum in Salzburg. In 1989 he began his career as the assistant of Daniel Barenboim in Paris and at the Bayreuther Festspielen. In 1991, he became the assistant to Pierre Boulez with the Ensemble Intercontemporain. Frédéric Chaslin gave his international debut as a conductor in 1993 at the Bregenz Festival. He was then the musical director at the Opera in Rouen. From 1999 to 2002, he was the chief conductor of the Jerusalem Symphony Orchestra. In 2002 he gave his debut at the New York Metropolitan Opera. His performances have led him, among others to Berlin, Munich, Leipzig, Madrid, Barcelona, Rome, Venice, Paris, London, Los Angeles and Tokyo. He gave his debut at the Wiener Staatsoper in 1997 and directed a large number of performances, like Il barbiere di Siviglia, La Bohème, Les Contes d’Hoffmann, L’elisir d’amore, Guillaume Tell, Lucia di Lammermoor, Macbeth, Tosca, La traviata, I puritani, Roberto Devereux, Stiffelio, Mefistofele, Werther and La Juive.
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.
In the middle of summer, the widowed magistrate is rehearsing Christmas carols with his young children. Werther, who comes to visit, rhapsodizes on the wonders of nature. When he sees the love that the children have for their sister Charlotte, the magistrate’s only adult daughter, he is deeply impressed. Left alone with Charlotte, he declares his love for her. However, Charlotte evades his advances and tells him of a promise she made to her dying mother: to marry Albert, her fiancé. The news arrives that Albert has returned home. In deep despair, Werther is left alone. Several months after Albert and Charlotte’s wedding, the two rivals have occasion to talk. Albert seems to have forgiven Werther for his earlier passion. Charlotte and Werther are hardly left alone when Werther renews his protestation of love. Charlotte once again rejects him and forbids seeing her again until Christmas time. Werther rushes out, leaving Sophie, Charlotte’s fifteen-year-old sister, in tears. She is unhappily in love with him. On Christmas day, Charlotte, who now realizes that she loves Werther, is reading his letters. She is alarmed by the threat contained in one of his letters to commit suicide. When Sophie joins her and talks about Werther, Charlotte collapses in tears. Shortly after Sophie leaves, Werther arrives quite unexpectedly. He demands a kiss, which Charlotte refuses him. Werther then leaves Charlotte and sends Albert a letter, asking him for his pistol. Albert duly has it sent to him. Charlotte remembers Wether’s threats of suicide, and she rushes out to find him. However, by the time Charlotte finds him, he is already dying. Now that it is too late, she admits that she loves him. In the distance, the children are heard singing the Christmas carol that they were practicing in the summer.