Georg Poplutz

As a singer of Lied and Oratorio, Georg Poplutz, Tenor, is well-known for his expressive and emotional interpretations. In 2019/20, he performs at notable festivals, concert halls and cathedrals in Germany and in Austria, Belgium, Spain, Switzerland and Japan and works with musicians including Jörg-Andreas Bötticher, Rudolf Lutz, Hermann Max, Ralf Otto, Christoph Prégardien, Hans-Christoph Rademann, Michael Schneider, Michael A. Willens, and Roland Wilson, and has made a particular name for himself interpreting especially Baroque Music. Poplutz is also in demand as an ensemble singer and sings within the “Johann Rosenmüller Ensemble” with Arno Paduch as well as with Konrad Junghänel´s “Cantus Cölln”.

As a soloist, Poplutz is also a major contributor to Hans-Christoph Rademann´s complete recording of Heinrich Schütz´ vocal works (carus), to Lutz´ complete recording of Johann Sebastian Bach´s Cantatas, and to Otto´s recording of Bach´s Oratorios (naxos), in which he sings the “Evangelist”. Many radio and DVD recordings, as well as more than 80 compact discs complete his musical activities.

Poplutz has also a special interest in Lied, and for several years he has worked closely with his piano partner Hilko Dumno. They published their first album “Lieder an die Entfernte” (Schumann´s “Dichterliebe”, Beethoven´s “An die ferne Geliebte” und several Songs by Schubert) in 2017. It was nominated for the ICMA 2017 and inspiring reviews have appeared. In 2009, Poplutz received Frankfurt Mendelssohn Special Award. Schubert´s “Die schöne Müllerin”, arranged for Tenor and two guitars by the guitar-players Antje Asendorf & Stefan Hladek, has been released on CD in 2014 (spektral). Within Schubert´s “Die Winterreise” he can be heard with Swiss Guitar-Duo Morat-Fergo and in Recitals with his organist Jürgen Banholzer.

Born in Arnsberg, Germany, Georg Poplutz completed degrees in English and Music Education in Münster and Dortmund. Afterwards, he studied voice in Frankfurt/Main and Cologne where his teachers included Berthold Possemeyer, Rainer Hoffmann and Christoph Prégardien. Currently, Poplutz receives vocal advice from Carol Meyer-Bruetting in Frankfurt/Main where he lives.

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.

Daniel Behle & Oliver Schnyder

In cooperation with Universität Heidelberg

If you choose to buy tickets for five different events of our »Neuland.Lied«-series by telephone you will recieve 25% discount. Call us from Mo – Fri from 10 am to 6 pm: 0049 (0)6221 – 584 00 44. This discount is not available online.

Krystian Adam

Krystian Adam graduated with honors in Voice and Music Education in Wroclaw. He then continued his studies at the “G. Verdi” Conservatory in Milan. He made his debut as Conte d’Almaviva in Il Barbiere di Siviglia, followed by La Clemenza di Tito (title role) and Il Matrimonio Segreto (Paolino).

Mr. Adam regularly collaborates with prestigious conductors and ensembles, including: Claudio Abbado/ Orchestra Mozart; Ian Adamus/ Capella Cracoviensis; Giovanni Antonini/ Il Giardino Armonico; Fabio Bonizzoni/ La Risonanza; Theodor Currentzis/ Musica Aeterna; Alan Curtis/ Il Complesso Barocco; Ottavio Dantone/ Accademia Bizantina; L’arte del mondo/ Werner Ehrhardt; Diego Fasolis/ I Barocchisti; Federico Guglielmo/ L’Arte dell’Arco; Vaclav Luks/ Collegium 1704; Federico Maria Sardelli/ Modo Antiquo.

Highlights of his successful career are: Handel’s Rodelinda (Grimoaldo) with the Capella Cracoviensis; the world première of Fabio Vacchi’s Teneke for his stage debut in 2007 at the Teatro alla Scala, conducted by Roberto Abbado; Handel’s Israel in Egypt with Diego Fasolis; Handel’s Il Trionfo del Tempo e del Disinganno (Tempo) with Fabio Bonizzoni; the modern première of Piccinni’s Il Finto Turco with Federico Guglielmo; Ariodante(Lurcanio) in Beaune and in Santiago de Compostela with Federico Maria Sardelli; the modern première of Salieri’s Il Mondo alla Rovescia at the Teatro Filarmonico in Verona; Purcell’s Dido and Aeneas at the Teatro La Fenice in Venice, conducted by Attilio Cremonesi; Pergolesi’s Dixit Dominus under Claudio Abbado with Orchestra Mozart (recorded for Deutsche Grammophon); Gluck’s Le Cinesi at the Musikfestspiele in Potsdam and at the Winterthur Theatre with Werner Erhardt and L’Arte del Mondo; Ottone in Villa at the Innsbruck Festival with Giovanni Antonini; M. Haydn’s Requiem MH559 in Leverkusen; Alessandro Scarlatti’s La Giuditta in Rotterdam and Il Novello Giasone by Cavalli/ Stradella at the Festival della Valle d’Itria in Martina Franca.

Under the baton of Sir John Eliot Gardiner, Krystian Adam starred in Monteverdi’s L’Orfeo (title role) and Vespers on US tour and in London at the BBC proms and in Versailles with the Monteverdi Choir and the English Baroque Soloists and starred in Monteverdi’s Combattimento di Tancredi e Clorinda at the Wigmore Hall in London and in Versailles. Most recently Mr. Adam has starred in Monteverdi’s Trilogy world-wide tour in L’Orfeo(title role) and Il Ritorno di Ulisse in Patria (Telemaco) under the baton of Sir John Eliot Gardiner.

Plans include: L’Orfeo di Monteverdi in Leverkusen and Düsseldorf with L’Arte del Mondo; Aronne in Rossini’s Mosè in Egitto at the Teatro San Carlo in Naples under the baton of Stefano Montanari; Salieri’s La Fiera di Venezia in Schwetzingen and Leverkusen with L’Arte del Mondo; Grimoaldo in Handel’s Rodelinda in Lyon under Stefano Montanari; Saul in Brno and Prague; Arbace in Idomeneo at the Teatro Real in Madrid, Robert Carsen directing Bach’s Matthäus Passion at the Théâtre des Champs-Elysées under Vaclav Luks; Die Entfuhrung aus dem Serail in Glyndebourne

Daniel Behle

The tenor Daniel Behle is equally successful in the concert, Lied and opera genres and is making a name for himself as a composer as well. His extensive repertoire ranges from Baroque masterpieces, Classical and Romantic works to compositions of the 20th and 21st centuries.

In 2018/19 he will participate in a concert at Versailles with the Wiener Philharmoniker and Franz Welser-Möst, followed by Bach’s “Christmas Oratorio” with Aalborg Symfoniorkester under Andreas Spering, Mendelssohn’s “Paulus” with the Warsaw Philharmonic and with the Orchestre Philharmonique de Luxembourg, Zender’s “Winterreise” with the WDR Sinfonieorchester and Beethoven’s 9th Symphony with Le Cercle de l’Harmonie and Jérémie Rhorer. He will sing recitals at the Schubertiade, Alte Oper Frankfurt, Gesellschaft für Kammermusik Basel, Konzerthaus Berlin, Hugo-Wolf-Akademie Stuttgart and the Heidelberger Frühling.

Daniel Behle appears in concert with renowned orchestras, including the Sächsische Staatskapelle Dresden, Berliner Philharmoniker, Rundfunk-Sinfonieorchester Berlin, Deutsches Symphonie-orchester Berlin, NDR Elbphilharmonie Orchester, Orchestra dell’ Accademia Nazionale di Santa Cecilia, Wiener Symphoniker, Gewandhausorchester Leipzig and Bachakademie Stuttgart. He works with conductors such as Stefan Asbury, Bertrand de Billy, Semyon Bychkov, Christoph Eschenbach, James Gaffigan, Thomas Hengelbrock, Pablo Heras- Casado, Marek Janowski, Philippe Jordan, Ingo Metzmacher, Kent Nagano, Yannick Nézet-Séguin, Hans-Christoph Rademann, Jérémie Rhorer, Andreas Spering and Christian Thielemann.

His opera commitments in 2018/19 also demonstrate his versatility: David (“Meistersinger”) at the Bayreuth Festival and at the Bayerische Staatsoper München, Belmonte (“Entführung”) at the Opernhaus Zürich, Max (“Freischütz”) at the Stuttgart Opera, Matteo (“Arabella”) at the Bayerische Staatsoper and the Wiener Staatsoper, and Giacomo (“La donna del lago”) at the Staatstheater Wiesbaden.

As a composer, his transcriptions for tenor and piano trio have met with great critical acclaim: he has performed “WinterreiseN” (Sony Classical) at the Wigmore Hall London, the Concertgebouw Amsterdam and the Alte Oper Frankfurt. With “Mein Hamburg” (Berlin Classics; new compositions and arrangements of famous tenor arias), Daniel Behle pays musical tribute to his home city. Currently, he is working on a Christmas album and on a Belcanto CD together with the Alliage Quintett.

His steadily growing discography comprises well-known song cycles such as “Die schöne Müllerin”, “Dichterliebe” and “Die schöne Magelone” as well as complete opera recordings such as “Die Zauberflöte” (with René Jacobs, harmonia mundi), Vivaldi’s “Farnace” (with Diego Fasolis, Virgin Classics) and Humperdinck’s “Königskinder” (with Sebastian Weigle, Oehms Classics). Gluck’s “Opera Arias” (Decca) and Schubert’s “Arias” (dhm) have been especially well received.

»Lassus Grand Cru«: Concert and wine-tasting

Stalls € 45 (inkl. wine-tasting)
Gallery € 25 (without wine-tasting)

Mark Padmore & Wiener Klaviertrio

In cooperation with Heidelberg University

If you choose to buy tickets for five different events of our »Neuland.Lied«-series by telephone you will recieve 25% discount. Call us from Mo – Fri from 10 am to 6 pm: 0049 (0)6221 – 584 00 44. This discount is not available online.

Ilker Arcayürek & Hartmut Höll

If you choose to buy tickets for five different events of our »Neuland.Lied«-series by telephone you will recieve 25% discount. Call us from Mo – Fri from 10 am to 6 pm: 0049 (0)6221 – 584 00 44. This discount is not available online.