Pianist Manuel Lange

Manuel Lange

The Berlin-born pianist studied piano with Oleg Maisenberg in Stuttgart and with Hans Leygraf in Salzburg and Berlin. He also regularly took part in the song master classes of Dietrich Fischer-Dieskau, Aribert Reimann and Wolfram Rieger. He won first prize for piano accompaniment at the international Paula Lindberg Salomon competition “Das Lied” in 1997 and the special award for the best piano accompaniment at the 1998 Hilde Zadek singing competition in Passau, as well as the Bayreuth scholarship from the Richard Wagner Association in Berlin and the Hanns Eisler Prize at the Hanns Eisler Music Academy.

After six years as a solo coach at the Komische Oper Berlin, he was appointed vocal repertoire professor at the Berlin University of the Arts at the beginning of the 2005/06 winter semester. In July 2010, Manuel Lange was appointed professor for song accompaniment and song design at the Detmold University of Music.

In 2006 he founded the Berlin concert series MEISTERLIED, which is primarily dedicated to the German romantic art song, together with the baritone Sebastian Noack, with whom he has had a longstanding artistic collaboration. Together with the soprano Anne Schwanewilms, Manuel Lange gave recitals at the Concertgebouw Amsterdam, the Dresden Semperoper, the Théatre de la Monnaie in Brussels, the Teatro del Liceo in Barcelona, ​​the Opéra du Rhin in Strasbourg and the Frankfurt Opera. He also performed as a song accompanist for Mojca Erdmann, Maria Bengtsson, Lothar Odinius, Stella Doufexis, Anna Korondi, Hermine May and Dagmar Schellenberger. His own master classes for song composition and accompaniment in vocal master classes (Brigitte Fassbaender, Mirella Freni, Francisco Araiza, Roman Trekel) complement his work.

In addition to his song work, Manuel Lange has recently returned to the solo repertoire, for example he was heard last season with the Neue Philharmonie Frankfurt under the direction of Wolfgang Wengenroth with Beethoven’s 4th piano concerto and played with the Junge Ensemble Berlin as well as Grieg’s piano concerto with the Junge Philharmonie Erlangen.

Sopranistin Anne Schwanewilms fotografiert von Studioline

Anne Schwanewilms

Anne Schwanewilms is recognised as one of the leading interpreters of the works of Richard Strauss. Her extensive repertoire covers roles such as Arabella, Ariadne („Ariadne auf Naxos“), Chrysothemis („Elektra“), Feldmarschallin („Der Rosenkavalier“), Empress („Die Frau ohne Schatten, Danae („Die Liebe der Danae“), Elsa („Lohengrin“), Elisabeth („Tannhäuser“), Desdemona („Otello“), Marie („Wozzeck“) and Madame Lidoine („Dialogues des Carmélites“). She has appeared at many of the major opera houses of the world including Munich, Dresden, Hamburg, Frankfurt, Amsterdam, Vienna, Madrid, Barcelona, Milan, New York and Tokyo. At the Semperoper Dresden, Anne Schwanewilms enjoyed a great success as Arabella and Chrysothemis under the musical direction of Christian Thielemann, roles which she reprised at the Vienna National Opera under the baton of Ulf Schirmer and Franz Welser-Möst. Anne Schwanewilms is a regular at the Bayreuth and the Salzburg Festivals, where her performances as Carlotta in „Die Gezeichneten“ by Franz Schreker and as the Empress in Richard Strauss’ „Die Frau ohne Schatten“ were particularly significant. Engagements in 2017 included Marschallin („Der Rosenkavalier“) in Munich, Elisabeth („Tannhäuser“) at the Staatsoper Unter den Linden in Berlin and Eva in the new production of „Die Meistersinger von Nürnberg“ at the Bayreuth Festival in 2017.

Anne Schwanewilms appears regularly with conductors such as Christian Thielemann, Zubin Metha, Sir Simon Rattle, Daniel Barenboim, Franz Welser-Möst, Kent Nagano, Stefan Soltesz, Vladimir Jurowski, Christoph von Dohnanyi, Simone Young, Christoph Eschenbach and Riccardo Chailly. Her prolific concert career takes her to the foremost halls of Europe and she appears regularly with the Berliner Philharmoniker, the Gewandhausorchester Leipzig, the Concertgebouw Amsterdam, the London Symphony Orchestra, the London Philharmonic Orchestra and the Orchestre National de France.

One of the leading exponents of Lied, Anne Schwanewilms has appeared in recital at the Wigmore Hall London, at the Concertgebouw Amsterdam, at the Lincoln Center New York and at the Edinburgh Festival. She is a member of the jury of the international Louis Spohr-Competition and leads masterclasses. A British music critic described her as a ‘veritable sound painter’. Accompanied by Malcolm Martineau, Charles Spencer and Roger Vignoles, Anne Schwanewilms has set artistic standards with her interpretations of songs by Schumann, Wolff, Wagner, Liszt, Mahler, Strauss and Schönberg. Music critics praise her unfailing sense of the subtlest details of phrasing, lustre and suppleness of voice and great technical expertise. „Recitals are my staging“, Anne Schwanewilms said once in an interview. „Here I can create something from the beginning with very simple means – the voice and the piano.“

Anne Schwanewilms has a comprehensive discography. Her opera recordings include DVDs of „Die Gezeichneten“ (Salzburg Festival, Kent Nagano, DSO, 2005), „Die Frau ohne Schatten“ (Salzburg Festival, Christian Thielemenn, Vienna Philharmonic), „Der Rosenkavalier“ (Fabio Luisi, Sächsische Staatskapelle Dresden, 2007) and „Dialogues des Carmélites“ (Simone Young, Hamburg State Opera, 2008). In addition, she has presented a Richard Strauss CD („Vier letzte Lieder“ and excerpts from „Der Rosenkavalier“, „Capriccio“ and „Arabella“, Markus Stenz, Cologne Gürzenich Orchestra), a Richard Wagner CD with „Tristan and Isolde“, „Tannhäuser“ and the „Wesendonck-Lieder“ (Cornelius Meister, RSO Vienna) as well as several recital discs including works by Liszt, Mahler, Schumann, Wolff, and Schönberg. In May 2016 her CD „Schöne Welt…“ with Lieder by Schubert, Schreker and Korngold has been released.

A recipient of many awards, in 2015 she received a GRAMMY Award nomination for her CD recording of Richard Strauss’ „Elektra“ with Christian Thielemann. Her recording of „Wozzeck“ with Hans Graf and Houston Symphony Orchestra received the ECHO Klassik Award 2017 and a GRAMMY Award nomination.

Schauspielerin Nicole Averkamp

Nicole Averkamp

Nicole Averkamp studied acting at the renowned Otto Falckenberg School in Munich. During her training, she already played at the Münchner Kammerspiele. This was followed by engagements at the theaters in Dortmund, Mannheim, Basel, Darmstadt and Osnabrück. She has been a permanent member of the Theater Heidelberg ensemble since the 2011/12 season. Here she was seen in the roles of Klytaimnestra, Maria Stuart, Lola Blau, Arkadina and Fräulein Schneider in the musical “Cabaret”. She is currently in Bunbury, Michael Kohlhaas, and as Véronique in “Carnage” at the stage of the Heidelberg Theatre. Nicole Averkamp is also a sought-after speaker for audio books and readings.

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).

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.


Julian Prégardien

Born in Frankfurt in 1984, Julian Prégardien received his first musical training as a member of the choirs of Limburg Cathedral. After having studied voice in Freiburg and at the Aix-en-Provence Opera Festival Academy, he was a member of the soloist ensemble of Frankfurt Opera from 2009 to 2013. In parallel, he pursued an international solo career, particularly in collaboration with conductors specializing in historical performance practice.


Prégardien is now one of the most outstanding young vocalists on the international scene. In recent years he gave his début at Aix-en-Provence Festival, at Hamburg State Opera, at Munich State Opera, and at Paris Opéra Comique. Salzburg Festival has been regularly inviting him for concert appearances since 2015; now he will give his first stage performance in Salzburg in 2018 as Narraboth in Richard Strauss’s Salome, staged by Romeo Castellucci, with the Vienna Philharmonic conducted by Franz Welser-Möst.

Kent Nagano regularly invites Prégardien to perform with the two orchestras of which he is Music Director: Montreal Symphony Orchestra and Hamburg State Opera. Sharing the stage with his father Christoph Prégardien, Julian also sang the title role in a concert performance of Mozart’s Idomeneo with the ensemble Concerto Köln, likewise with Nagano conducting.

Prégardien is one of the most renowned and sought-after Evangelists in the Passions of J. S. Bach; in early 2019, he will make his second CD recording of the St Matthew Passion (with Bach Collegium Japan and Masaaki Suzuki). In November 2018 he will teach a master class on the subject of the St John Passion in collaboration with McGill University, the Montreal Bach Festival, the Université de Montréal, and the Conservatoire de Musique.

In his career, Julian Prgardien lays particular emphasis on Lied recitals along with chamber music projects. In the course of the 2018/2019 season, Prégardien will perform Lied recitals with pianists such as Kristian Bezuidenhout, Martin Helmchen, Eric le Sage, and Lars Vogt.

Prégardien has launched the media platform P.RHÉI, a multimedia editorial project that throws new light on the performance history and practice of Schubert’s Winterreise. The project includes a recording of Hans Zender’s orchestral version of Winterreise, to be released on the Alpha Classics label in 2018.

In November 2017, Julian Prégardien was appointed Professor of Voice at the Hochschule für Musik und Theater in Munich. He is a member of the Schumann Network and a patron of Canto elementar, a programme that actively supports children’s singing activities in Kindergärten.

Venetian Lieder: Nuria Rial, Avi Avital & Venice Baroque Orchestra

Encore« Jörg Tröger talks to Nuria Rial and Avi Avital (Ballsaal, Stadthalle)

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