Irena Weber

The young Serbian-Hungarian mezzo soprano Irena Weber has been singing the role of Dorabella in Wolfgang Amadeus Mozart‘s “Così fan tutte“ in the Munich Kammeroper since September 2018. In July 2018, she sang the same role at the Vienna Schlosstheater Schönbrunn in a production directed by KS Michael Schade. With the orchestra of the Munich Kammeroper, she also performed as a soloist in Rossini aria evenings unter the baton of Nabil Shehata and she sang in a Mozart project at Schloss Nymphenburg and as the alto in Mozart’s Requiem in Munich’s Allerheiligen-Hofkirche.

In spring 2018, she sang the role of Smaragda in Gottfried von Einem‘s opera “Der Tulifant“ in the Viennese MuTh concert hall, home to the Vienna Boys‘ Choir, and at Schloss Esterházy in Eisenstadt.

During a jury concert of the Friends of the Vienna State Opera in January 2018, she won the first prize of the Viennese George London Foundation and the audience award. Moreover, she sang Gustav Mahler‘s “Urlicht“ conducted by Erwin Ortner in the Schlosstheater Schönbrunn and performed the role of “Frau Welt“ in the cantata “Carmina Austriaca“ by Gerald Wirth at the MuTh. In March 2018, she sang Ludwig van Beethoven‘s 9th symphony at the Vienna Musikverein, and also in 2019 with the Philharmonie Südwestfalen.

Forthcoming engagements include being the alto soloist in Beethoven’s 9th symphony at the Vienna Musikverein, conducted by Gerald Wirth. Being the alto soloist in Mahler‘s 2nd symphony with the Orchestre Philharmonique de Strasbourg, conducted by Hannu Lintu and continuing with Mozart‘s “Così fan tutte“ at Munich‘s Kammeroper.  She also has a scholarship for the Lied Academy of the “Heidelberger Frühling“ festival in 2020.

Irena Weber works with KS Univ.-Prof. Marjana Lipovšek and Alfred Burgstaller. She gained her Master’s degree in Lied and Oratorium from the University for Music and Performing Arts Vienna, where she studied with Univ.-Prof. Florian Boesch.

On stage, she has already sung the roles of Cherubino in W. A. Mozarts “Le Nozze di Figaro“ and of Prince Orlofsky in Johann Strauß‘ “Die Fledermaus“ at the Schlosstheater Schönbrunn. She appeared as Die Dritte Dame in Mozart‘s “Die Zauberflöte“ in the Jennersdorf children’s opera

and in Horn. She has performed in numerous concerts in Austria, Germany, Hungary, the Czech Republic, Slovakia, Slovenia, Croatia, Serbia, the Ukraine, Romania etc. She attended masterclasses with KS Marjana Lipovšek, Alfred Burgstaller,

KS Christa Ludwig and Ioan Holender and in 2014/15 received a scholarship from the Thyll-Dürr Foundation. In July 2014, she won second prize at the Ljuba-Welitsch competition in Vienna.

Irena Weber was born in Novi Sad, Serbia and from the age of 10, grew up in Hungary, where she studied the violin for many years , then took up singing lessons and received numerous prizes.

Gary Beecher

Irish pianist Gary Beecher enjoys a varied musical life performing as a vocal accompanist, chamber

musician and solo pianist. He has been awarded a Masters in Performance at the Guildhall School of Music and Drama, where he studied with Julius Drake and Charles Owen. Gary is currently a Junior Fellow and a staff accompanist at GSMD.

Gary completed his Bachelor of Music degree with the ‘Best Overall Student Award’ at the CIT Cork School of Music and studied with Jan Cáp and Dr. Gabriela Mayer. Gary also studied with Dr. John O’Conor in Dublin and Jacques Rouvier at the University of the Arts in Berlin.

Gary is a passionate song pianist and was a winner of the Oxford Lieder Young Artist Platform with Ema Nikolovska, the Guildhall Piano Accompaniment Prize, Graham Johnson’s Song Guild Paul Hamburger Prize, Prince Consort Side-by-Side Recital at Wigmore Hall and the Guildhall Franz Schubert Lieder Prize.

As a solo pianist, Gary was winner of the ‘Irish Freemason’s Young Musician of the Year’ and has performed as a concerto soloist on numerous occasions with both the RTÉ National Symphony Orchestra and the RTÉ Concert Orchestra with conductors such as José Serebrier, John Wilson and Benjamin Pope.

Gary’s performances have been broadcast on BBC Radio 3 and RTÉ Lyric FM, and he is a Samling Artist, a Britten-Pears Young Artist and an Oxford Lieder Young Artist.

Till Fellner

Austrian pianist Till Fellner’s international career was launched in 1993 when he won First Prize at the renowned Clara Haskil Competition in Vevey, Switzerland. Over a period of more than two decades, he has become a sought-after guest with many of the world’s most important orchestras and at the major music centres of Europe, USA and Japan, as well as numerous festivals.

Highlights in Till Fellner’s diary during the 2018-19 season will be debuts with three major European orchestras: Tonhalle Orchester Zürich, London Symphony Orchestra, and Symphonieorchester des Bayerischen Rundfunks. Further he will perform with the Minnesota Orchestra, Montreal Symphony Orchestra and at the Kulangsu Piano Festival in China. Last season Till Fellner amongst others performed with the New York Philharmonic Orchestra, Chicago Symphony Orchestra, Mozarteumorchester Salzburg and Rotterdam Philharmonic Orchestra.

Till Fellner has collaborated with Claudio Abbado, Vladimir Ashkenazy, Herbert Blomstedt, Semyon Bychkov, Christoph von Dohnányi, Christoph Eschenbach, Nikolaus Harnoncourt, Manfred Honeck, Sir Charles Mackerras, Kurt Masur, Kent Nagano, Jonathan Nott, Kirill Petrenko, Claudius Traunfellner, Hans Zender, among many others.

In the field of chamber music Till Fellner regularly collaborates with British tenor Mark Padmore, with whom he premiered a composition by Hans Zender in 2016, toured Japan in 2017 and Europe in 2017-18 (amongst others with Lieder recitals in Vienna and Salzburg). Further he performs with the Belcea Quartet. In spring 2019 Till Fellner will tour the US with cellist Johannes Moser.

Over the past few years he has dedicated himself to two milestones of the piano repertoire: The Well-Tempered Clavier of Johann Sebastian Bach and the 32 piano sonatas of Ludwig van Beethoven. He performed the Beethoven cycle from 2008 to 2010 in New York, Washington, Tokyo, London, Paris, and Vienna. Furthermore, contemporary music is of great importance to him; he has given the world premieres of works by Kit Armstrong, Harrison Birtwistle, Thomas Larcher, Alexander Stankovski and Hans Zender.

The ECM label, for whom Till Fellner is an exclusive recording artist, has released the First Book of the Well-Tempered Clavier and the Two & Three-Part Inventions of J. S. Bach, Beethoven’s Piano Concertos Nos. 4 & 5 with the Montreal Symphony Orchestra and Kent Nagano and, most recently, a CD of chamber music by Harrison Birtwistle. In autumn 2016 Alpha Classics released the recording of the piano quintet by J. Brahms with the Belcea Quartet, this recording received the “Diapason d’Or de l’Annee”.

In his native Vienna, Till Fellner studied with Helene Sedo-Stadler before going on to study privately with Alfred Brendel, Meira Farkas, Oleg Maisenberg, and Claus-Christian Schuster.

Since autumn 2013, Till Fellner teaches at the Zurich Hochschule der Künste.

Ludwig Mittelhammer

German baritone Ludwig Mittelhammer received an early musical training as a boy soprano at the renowned Tölzer Boys Choir. From 2009-2015, he studied at the Musikhochschule in Munich with Frieder Lang and Michelle Breedt. In addition, he participated in masterclasses with Dietrich Fischer-Dieskau, Brigitte Fassbaender and Edith Wiens.

After having won the first prize at the International Hugo Wolf Song Competition in Stuttgart in October 2014, Mr Mittelhammer became a member of Frankfurt Opera in the 2015/16 season and at Nürnberg Opera from 2016-2018. His operatic roles include Nardo (La Finta Giardiniera), Figaro (Il barbiere di Siviglia), Danilo (Die lustige Witwe), Schaunard (La Bohème), Papageno (Magic Flute) and Dr Falke (Die Fledermaus).

Concert engagements in recent seasons include performances with Bamberger Symphoniker, Munich Radio Orchestra, a tour with Concerto Köln (St. Matthew Passion), Mahler songs with the Orchestre de Paris under Jaap van Zweden, and Schumann’s ‘Paradies und die Peri’ with the Swedish Radio Symphony under Daniel Harding.

Highlights of the 2018/19 season included his debut as Harlekin in ‚Ariadne auf Naxos‘ and a concert of Gustav Mahler’s „Songs of a Wayfarer“ with the Cleveland Orchestra under Franz Welser-Möst, Haydn’s Nelson Mass with Orquesta Nacional de España under David Afkham, concerts with Zurich Sing-Akademie, as well as a European tour with Collegium Vocale Gent and Akademie für Alte Musik Berlin.

Devoted to the Art of Lieder, Mr Mittelhammer made his recital debuts at London Wigmore Hall and Cologne Philharmonie in 2017. In the last season, he has given a number of song recitals together with his pianist Jonathan Ware at Essen Philharmonie, Munich Bayerischer Rundfunk, Kissinger Sommer Festival and at the Auditori in Barcelona, among others.

His first solo album with songs by Schubert, Medtner and Wolf has been released with Berlin Classics in June 2019.

Hansjörg Albrecht

Hansjörg Albrecht, conductor, organist and harpsichordist, is Artistic Director of the Munich Bach Choir & Bach Orchestra (founded by the legendary Karl Richter). Besides he regularly conducts the Bach Collegium Munich, the Orchestra del Teatro di San Carlo Naples and the C.P.E.-Bach-Choir Hamburg. With these ensembles as well as in collaboration with guest orchestras he has developed new programmatic profiles and is regular guest at major music centres and European festivals.

As conductor he works with such artists as Dorothee Oberlinger, Arabella Steinbacher, Fazil Say, Vesselina Kasarova, Simone Kermes, Michael Volle und Klaus Florian Vogt and with ensembles like Orchestra Sinfonica Nazionale della RAI Turin, Orchestra delle Toscana Florence, Prague Philharmonia, Orchestra Symphony Prague and Orchestra of the National Theatre Brno, Bavarian State Orchestra, Münchner Rundfunkorchester, Staatskapelle Weimar, Konzerthausorchester Berlin, Hamburger Symphoniker, Deutsche Radio Philharmonie, Szczecin Philharmonic Orchestra, Brussels Chamber Orchestra, Chamber Orchestra Moscow, Elbipolis Baroque Orchestra and the ensembles of the Stuttgart Bach Academy.

Besides his engagements as conductor (in Munich, Hamburg, Berlin, Salzburg, Rome, Naples, Brussels, Warsaw, St. Petersburg, Moscow, Tokyo and other towns) he appears as a soloist and in chamber music (with artists like Albrecht Mayer, Reinhold Friedrich, Yaara Tal & Andreas Groethuysen and Jean Guillou).

Concerts as organist have taken Hansjörg Albrecht to a number of great concert halls and cathedrals in Europe and Russia as well as to Japan and the USA. He also guested with renowned orchestras such as Israel Philharmonic Orchestra, Los Angeles Opera Orchestra, St. Luke’s Chamber Orchestra New York, Orchestre de la Swisse Romande, Orchestra Sinfonica di Santa Cecilia Rome, Camerata Salzburg, Czech Philharmonic Orchestra, Kremerata Baltica and Bavarian Radio Symphony Orchestra.

Hansjörg Albrecht was born in Freiberg/Saxony and received his first musical education as a member of the Dresden Kreuzchor. Afterwards he studied conducting and organ in Hamburg, Lyon and Cologne. While studying he became assistant organist at Hamburg’s main church St. Michaelis and held this position for seven years. Later he worked closely with the singer and conductor Peter Schreier as his assistant, organist and harpsichordist for several years.

Although Hansjörg Albrecht has achieved an excellent reputation especially for his Bach interpretations his concert schedule shows a great variety of programs with a predilection for unusual cross-connections. His interest in new music is documented by a number of first performances of works by Thierry Escaich, Enjott Schneider, Philipp Maintz, Xiaogang Ye, Rodion Schtschedrin and others.

At the label Oehms Classics, Hansjörg Albrecht has published more than 20 CDs as maestro and organist – among others the complete recording of the orchestral songs of the German late Romantic Walter Braunfels, which was much discussed by the international media, and Richard Wagner’s “Ring ohne Worte” in the orchestral version by Lorin Maazel, which was nominated for the “Prize of German Record Critics”. Hansjörg Albrecht was also nominated for the GRAMMY Award in 2013 in the category “Best Classical Instrumental Solo” for his organ recording of Gustav Holst’s “Planets”. His new recording of Franz Liszt’s Faust Symphony in its own organ version from the Munich Philharmonic will be released in summer 2018.

In 2017, Hansjörg Albrecht again toured with the Munich Bach Orchestra through Japan’s most important concert halls. He conducted “Don Giovanni” at the new Dubai Opera House for the complete performance of Mozart’s Da Ponte cycle and a series of Mozart’s “Abduction from the Seraglio” at the Teatro di San Carlo in Naples in the legendary production by Giorgio Strehler, which was performed the same year at the Scala in Milan under the direction of Zubin Mehta. In addition, he has been invited to concerts in Moscow and Zurich, with solo recitals at the Leipzig Gewandhaus, the Berlin Philharmonic Hall, to Rotterdam and the Müpa in Budapest. He also debuted as a maestro with works by Dvorak and Mozart in the great hall of the Berlin Philharmonic. He made his debut in the Elbphilharmonie Hamburg with the performance of Bach’s Christmas Oratorio in December 2017.

His current engagements include the concert halls of Vienna, Berlin and Dortmund, St. Stephen’s Cathedral in Vienna, the Bologna, Cagliari and Brno opera houses (Mahler, 2. Symphony), to the Tchaikovsky Concert Hall Moscow, the Bach Festival Ekaterinburg, the Zurich Festival, the Hamburg Elbphilharmonie and Mozart Week Salzburg 2019. In the course of this, he will be working together with the Bologna Opera Orchestra, the Lautten Compagney Berlin and the Händelfestspiel-Orchester Halle for the first time.

Michael Volle

Michael Volle is one of the most sought-after singers of our time. The baritone is a mainstay at the most renowned opera houses in the world including the Metropolitan Opera New York, the State Operas in Munich and Vienna, the Teatro alla Scala Milan, the Royal Opera House London, Opéra National de Paris and the Deutsche Oper Berlin and the Staatsoper Berlin. Michael Volle maintaines a very special relationship with the Staatsoper Unter den Linden Berlin, where he recently starred in two of his signature roles: the title roles of Wagner’s Der fliegende Holländer and Verdi’s Falstaff, both under the baton of Daniel Barenboim. The hailed Wagner-singer is also a frequent guest at prestigious festivals such as the Salzburg and Bayreuth, as well as Festspielhaus Baden-Baden.

Michael Volle kicks off the 2018/19 season as Barak in Strauss‘ Die Frau ohne Schatten with the Staatsoper Berlin, where he returned making his long-awaited role debut as  Sir John Falstaff. He then performed Mandryka (Arabella) with Deutsche Oper am Rhein and returned to the Teatro alla Scala Milan singing Orest in Strauss’ Elektra. The part of Mandryka is also vehicle for his return to the stage of Munich’s Nationaltheater and the Théâtre des Champs-Élysées Paris. With the Deutsche Oper Berlin, Michael Volle sings Johanaan (Salome), before heading to New York to perform Wotan (Das Rheingold and Die Walküre) and Wanderer (Siegfried) in the Met’s Ring Cycle, under the baton of Philippe Jordan. The baritone closes the operatic season making his role debut as Nabucco in Verdi ‘s homonymous opera with the Zurich Opera and returns as Hans Sachs in the Bayreuth Festival’s performances of Die Meistersinger von Nürnberg.

Michael Volle is one of the leading interpreters of German repertoire. This includes the title roles in Wagner ‘s Der fliegende Holländer, Wotan/Wanderer in the Ring des Nibelungen, Hans Sachs (Die Meistersinger von Nürnberg) and Amfortas (Parsifal) as well as roles by Richard Strauss such as Barak (Die Frau ohne Schatten), Johanaan (Salome), Orest (Elektra) and Mandryka (Arabella), Dr. Schön/Jack the Ripper (Lulu) and Wozzeck, both written by Alban Berg. Also, being an extraordinary interpreter of Italian repertoire, Michael Volle starred as Scarpia (Tosca),  with the Metropolitan Opera, opposite Anna Netrebko in the title role, the Vienna Staatsoper and the Deutsche Oper Berlin, and as Jack Rance (La fanciulla del West).

Apart from his operatic career, the baritone sings concerts in the world’s most renowned concert halls and orchestras. His works regularly with conductors such as Daniel Barenboim, Zubin Mehta, Christian Thielemann, Antonio Pappano, Maris Janssons, Franz Welser-Möst, Valery Gergiev, Thomas Hengelbrock, Simon Rattle and Frieder Bernius. Michael Volle is also a dedicated Lied singer, and gives recitals with Festivals such as the Heidelberger and Schubertiade Schwarzenberg, joined by pianist Helmut Deutsch. Michael Volle has also a close collaboration with the Akademie für Alte Musik Berlin, they recorded a CD with Solo and Dialogue cantatas.

Numerous recordings on CD and DVD, live broadcasts to cinemas worldwide as well the film „The Hunter’s Bride“, based on the opera Der Freischütz, with Michael Volle starring as the evil Kaspar, document the artist’s legislating. Several solo CDs such as „Wagner Arias“ (Orfeo), a Song album with with Helmut Deutsch (Oehms Classics), „Michael Volle sings Brahms“ (Brillant Classics) as well as „Michael Volle: A Portrait“, released with  BR Klassik, top his discography off. Michael Volle was awarded with the German Theatre Price „Faust“and was named “Singer of the Year” by the magazine „Opernwelt“ (2008 and 2014).

Malcolm Martineau

Malcolm Martineau was born in Edinburgh, read Music at St Catharine’s College, Cambridge and studied at the Royal College of Music. Recognised as one of the leading accompanists of his generation, he has worked with many of the world’s greatest singers including Sir Thomas Allen, Dame Janet Baker, Ian Bostridge, Angela Gheorghiu, Susan Graham, Thomas Hampson, Angelika Kirchschlager, Magdalena Kozena, Solveig Kringelborn, Dame Felicity Lott, Lisa Milne, Ann Murray, Anna Netrebko, Anne Sofie von Otter, Joan Rodgers, Amanda Roocroft, Sarah Walker and Bryn Terfel. He has presented his own series at the Wigmore Hall and at the Edinburgh Festival. He has appeared throughout Europe (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal Opera House; La Scala, Milan; the Chatelet, Paris; Berlin’s Philharmonie and Konzerthaus; Amsterdam’s Concertgebouw and the Vienna Konzerthaus and Musikverein), North America (including Alice Tully Hall and Carnegie Hall), Australia (including the Sydney Opera House) and at the Aix en Provence, Vienna, Edinburgh, Schubertiade, Munich and Salzburg Festivals. In May 2011, Helga Machreich founded Machreich Artists Management agency, which she runs independently. He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004, and appointed International Fellow of Accompaniment in 2009. Malcolm was the Artistic Director of the 2011 Leeds Lieder+ Festival. He was made an OBE in the 2016 New Year’s Honours.

Daniel Norman

Daniel Norman was a choral scholar at New College Oxford, where he read Engineering. He went on to study in the US and Canada and at the Royal Academy of Music. In his first year out of college he made his debuts at the Queen Elizabeth Hall with Trevor Pin nock, the Royal Festival Hall with David Atherton, Wigmore Hall with Graham Johnson, Almeida Opera and the Aldeburgh Festival with David Parry and at the Barbican with Richard Hickox.

Concert performances have included Wozzeck with Daniel Harding and the Mahler Chamber Orchestra, Evangelist in Bach St John Passion at the Festival Hall, Tippett A Child of Our Time with the City of Birmingham Symphony Orchestra and the Northern Sinfonia, Britten Les Illuminations and Mozart Requiem with Noseda and the BBC Philharmonic, Britten Nocturne with Edward Gardner, Britten Serenade in Tel Aviv, Britten St Nicolas at the Gulbenkian in Porto and for the BBC Concert Orchestra, Stravinsky Les Noces with Martha Argerich, Bach St Matthew Passion at the Concertgebouw and for the Sønderjyllands Symfonieorkester in Denmark, Beethoven 9th Symphony for Minnesota Orchestra and with Het Gelders Orkest, Holst Savitri with London Sinfonietta, Sam Kaplan in Weill’s Street Scene at the BBC Proms, St John Passion for The King’s Consort (Matthew Halls), Judas in Birtwistle’s The Last Supper for London Sinfonietta in Italy, Argento’s Jonah & the Whale in Boston, Messiah at the Royal Festival Hall, Delius Mass of Life with the BBC Philharmonic, Haydn Stabat Mater with Europa Galante and Fabio Biondi, Stravinsky’s In Memoriam Dylan Thomas with the CBSO, Renard (Helsinki, Paris & South Bank), Britten War Requiem for Southbank Sinfonia and for Philharmonia Taiwan, Kodaly Psalmus Hungaricus with Oslo Domkor, St John Passion in Milan and Yan Tan Tethera with Britten Sinfonia, Dream of Gerontius at Ely Cathedral (Cambridge Philharmonic Society) and recitals at Wigmore Hall, Kings Place and for Oxford Lieder.

Opera credits include Laca Jenufa at the Longborough Festival and Red Whiskers Billy Budd for Opera North and at Aldeburgh Festival, Judas The Last Supper with BBC Scottish Symphony Orchestra (Brabbins), Philip Glass The Trial with Scottish Opera, Gerald Barry’s Alice’s Adventures Under Ground in Dublin, Mime Das Rheingold for Oviedo Opera, Peter Quint The Turn of the Screw and Dr Blind Die Fledermaus for Glyndebourne on Tour, Borsa Rigoletto (Covent Garden debut), Flavio Norma, Goro Madama Butterfly, Tchekalinsky Queen of Spades and title role Joshua with Opera North, Tanzmeister in concert performances of Ariadne auf Naxos with Sir Simon Rattle and the London Symphony Orchestra, Mao in Nixon in China for Opera Boston and at the Teatro Filharmonico for Fondazione di Arena di Verona, Scaramuccio in Ariadne auf Naxos for L’Opéra National de Paris and Elemer in Arabella and Basilio Le Nozze di Figaro at Garsington, and the Electrician in the Channel 4 film of Adès’s Powder Her Face (Almeida/Aldeburgh), as well as in its Vienna and Boston premieres, and at the Mariinsky Theatre in St Petersburg.

Further roles include The Golden Dragon for Music Theatre Wales, Arne’s Alfred at the Covent Garden Festival with Early Opera Company, Fenney/Hugo Mines of Sulphur at the Wexford Festival, Bob Boles Peter Grimes at the Endellion Festival, Basilio Le Nozze di Figaro for Opera Zuid and for Glyndebourne on Tour, Hermes in Tippett’s King Priam with the Nederlandse Reisopera, Eurimaco in Il Ritorno d’Ulisse in Patria and Valetto in L’Incoronazione di Poppea for the Bayerische Staatsoper, Munich and New Israeli Opera and, to critical acclaim, performed the first official staging of all five Britten Canticles in Westminster Abbey. Daniel also appeared in Corte Real’s The Bronze Boy, in Porto and Lisbon and as White Minister Le Grand Macabre and Squeak Billy Budd for English National Opera, Maxwell Davies Taverner with BBC Scottish Symphonym Orchestra, Messiah for the Minnesota Orchestra and Carmina Burana for the Orquesta Sinfonica Nacional de Columbia. Further engagements include Donald Crockett’s The Face for The Firebird Ensemble (USA), Red Whiskers Billy Budd for Glyndebourne in New York, a double bill commission The Commission and Café Kafka in an Opera North/Aldeburgh/ROH Linbury collaboration directed by Annabel Arden, and Orlando Gough’s Imago for Glyndebourne. Further engagements include Liberto/Soldier L’Incoronazione di Poppea, Gastone La Traviata, Gheraldo Gianni Schicchi and Offstage Voice La Vida Breve all for Opera North and Powder Her Face for Opera Odyssey, Boston (USA). Recent highlights include Steva Jenufa and L’Abate/Incroyable Andrea Chenier for Opera North, recitals at the Oxford Lieder Festival, Glagolitic Mass at the Three Choirs Festival, Worcester, Messiah with Oxford Philomusica, St John Passion with the Ulster Orchestra and Dunedin Consort and Moser Die Meistersinger for Glyndebourne Festival.

Recordings include four volumes of the Hyperion Schubert Edition with Graham Johnson, the Grammy nominated Beethoven 9th Symphony (Vänsä/Minnesota Orchestra), Maintop in Billy Budd (Hickox/LSO), Adès Powder Her Face on DVD, Slender in Sir John in Love (Hickox/Northern Sinfonia), Janacek Sedmdesat Tisic with the New London Chamber Choir, Orff’s Carmina Burana (Meridian), Brett Dean’s Winter Songs with the Berlin Philharmonic Wind Quintet (BIS), Hugh Wood’s Comus (BBCSO/A. Davis) and Rimenes in Arne’s Artaxerxes with the Classical Opera Company (Linn). Daniel has also released his debut solo CD: Britten Winter Words and Who Are These Children? with Christopher Gould (BIS). Recent engagements include Elijah at the Barbican Hall, Scaramuccio Ariadne auf Naxos for Scottish Opera and for Opera Holland Park, Laurence Osborn’s The Mother for Mahogany Opera, Guard in the première of Emily Howard’s To See the Invisible at Aldeburgh Festival and Mahler 8th Symphony at Ely Cathedral. Engagements in 2018/2019 include 1st Jew Salome and Monostatos Die Zauberflöte for English National Opera, The Golden Dragon with the Israel Contemporary Players in Tel Aviv and Hungary, appearances at the Oxford Lieder Festival, War Requiem in Nottingham, Messiah in Oxford and his role debut as Captain Vere Billy Budd for Central City Opera, Colorado. Subsequent engagements include Orpheus the Myth in the new production of The Mask of Orpheus for English National Opera.

Nikola Hillebrand

The German soprano Nikola Hillebrand was born in Recklinghausen, Germany and began her singing studies at the age of 17 with Prof. Fenna Kügel-Seifried at the University of Music and Performing Arts Munich. While still a student, Nikola performed at the Bonn Theater as Belinda in Dido & Aeneas, Papagena and Queen of the Night in Mozart’s Magic Flute as well as Marzelline in a new production of Beethoven’s Fidelio.

In the summer of 2015, she made her Glyndebourne debut as Blonde in David McVicar’s new production of Mozart’s The Abduction from the Seraglio. The following season, she was again invited to Glyndebourne to sing the role of Barbarina and to cover the role of Susanna in Le Nozze di Figaro. In her debut season, she was named the winner of the 50th John Christie Awards. Nikola Hillebrand also sang Blonde at the Bremen Music Festival under the musical direction of Jérémie Rhorer and in 2018 in a scenic production at the Mozart Week Salzburg under René Jacobs.

Nikola Hillebrand has been a member of the ensemble of the National Theater Mannheim since the 2016-2017 season and has sung roles such as Adele (Fledermaus), Oscar (Ballo in Maschera), Despina (Così fan tutte), Sophie (Der Rosenkavalier), Poppea (Die Krönung der Poppea), Königin der Nacht (Die Zauberflöte) and Gilda (Rigoletto). Since the 20120-2021 season she is member of the ensemble of Semperoper Dresden.

In 2017 she made her debut at the Bavarian State Opera Munich in the role of Azema in Rossini’s Semiramide. In December 2018 she could be heard as Adele in Johann Strauß’ Die Fledermaus alongside Jonas Kaufmann and under the baton of Franz Welser-Möst – a production that was broadcast worldwide.

In 2019 she was awarded the first prize of the International Song Competition “Das Lied” which takes place every two years within the Heidelberger Frühling.

Jussi Juola

The Finnish bass-baritone Jussi Juola is currently enrolled at the Meisterklasse program at the Hochschule für Musik Dresden, Germany. There he studies with Prof. Christiane Junghanns and participates in the Lied class of KS. Prof. Olaf Bär. He finished his Bachelor of Music in Oulu University of Applied Sciences with a focus on pedagogy as well as voice performance under the care of Markku Liukkonen. At 2019 Heidelberger Frühling he was a singer in the multimedia music theatre production »Castor&&Pollux« and also took part in the Lied Academy as a scholarship holder.

During his studies he has taken part in several masterclasses with artists such as Elly Ameling, Thomas Hampson, Hartmut Höll, Robert Holl, Georg Zeppenfeld, Konrad Richter, Jorma Hynninen, Ilkka Paananen, Graham Johnson and Rudolf Piernay.

Jussi Juola has taken part in several competitions. He placed second at the Lappeenranta Singing Competition with an invitation to do a recording at the Finnish broadcasting company YLE, and at the Ensemble Competition at the Hochschule Dresden he received the Special Prize for Best Interpretation of contemporary music. He is awarded Vocallis Lied Award in Neatherlands and at the International Robert Schumann Competition Zwickau he achieved finals. At the International Franz Schubert und die Musik der Moderne Competition he received together with a pianist Eun Hye Kang the 3rd Prize.