Bariton
ŽELJKO LUČIĆ
BARITON
Serbian baritone, Zeljko Lucic, continues to gain recognition for his performances of the dramatic repertoire in the world’s leading opera houses, including the Metropolitan Opera, Royal Opera House, San Francisco Opera, l’Opéra National de Paris, Teatro alla Scala and the Wiener Staatsoper. For his appearance in La forza del destino with San Francisco Opera, the Financial Times declared, “with this Don Carlo, Zeljko Lucic served notice that he is one of today’s pre-eminent Verdi baritones.”
His many engagements in the 2007-08 season included the Metropolitan Opera, singing the title role in a new production of Verdi’s Macbeth (conducted by James Levine); the Wiener Staatsoper as Germont in La Traviata; Staatsoper Dresden for the title role in Rigoletto; and Oper Frankfurt to reprise the title roles of Simon Boccanegra and Macbeth, as Iago in concert performances of Otello, and Michele in Il tabarro and the title role of Gianni Schicchi in Puccini’s Il trittico.
In subsequent seasons, he sang Iago in a new production of Otello at the Deutsche Oper Berlin, La Traviata at the Royal Opera House Covent Garden and La forza del destino at the Wiener Staatsoper as well as Un ballo in maschera at Teatro alla Scala and Macbeth conducted by Muti at the Salzburg Festival. He also performed in new productions of Rigoletto at the Metropolitan Opera and Simone Boccanegra at the Bayerische Staatsoper.
During the 2015/16 season, he returned to the Metropolitan Opera (Otello, Tosca), to the Lyric Opera of Chicago (Nabucco), to the Oper Frankfurt (Gianni Schicchi), to the Opéra National de Paris (La Traviata) and to Covent Garden (Il Trovatore). In 2016/17, Zeljko Lucic sang namely Otello in Zurich and at Covent Garden, Rigoletto at the Paris Opera and Nabucco and Rigoletto at the Metropolitan Opera. He also appeared at the Met as a soloist in the Opera’s 50th anniversary Gala.
The following season’s engagements included, among others, his return to the Wiener Staatsoper for Salomé and Macbeth and to the Bayerische Staatsoper for Tosca and Simon Boccanegra, as well as to the Paris Opera (Il Trovatore) and Covent Garden (Macbeth). He also reprised the title role of Rigoletto at Oper Frankfurt, and appeared again at the Metropolitan Opera in Cavalleria Rusticana & Pagliacci.
His engagements during the 2018/19 season included the Metropolitan Opera, singing La fanciulla del West and Otello; La Traviata at the Lyric Opera of Chicago; and Tosca at the Opéra National de Paris and at the Deutsche Oper Berlin for its 50th anniversary of the production. Last season, he sang Macbeth at the Metropolitan Opera, La Traviata at the Royal Opera House Covent Garden, Tosca at the Bayerische Staatsoper and at the Wiener Staatsoper.
In the season 2019/20, his projects included a production of La Forza Del Destino at the Opéra National de Paris (cancelled due to Covid 19); Andrea Chénier and Macbeth at the Bayerische Staatsoper; and Macbeth at the Metropolitan Opera, La traviata at the Royal Opera House Covent Garden, Tosca at the Wiener Staatsoper and Adriana Lecouvreur at the Opéra National de Paris.
In 2021 and 2022 he sang Miller (Luisa Miller) at Oper Frankfurt, Scarpia (Tosca) at Opera National de Paris and the MET as well as Germont at the Arena di Verona Opera Festival. At Gran Teatre del Liceu he sang Iago (Otello). At The National Theatre of Novi Sad he sang in october 2022 Scarpia (Tosca).
Zeljko Lucic has also appeared with many orchestras, including the Hessischer Rundfunk Symphony Orchestra, Belgrade Philharmony, RTB Symphony Orchestra and the Boston Symphony Orchestra. He is a recipient of the 1997 first prize at the International Competition Francisco Viñas in Barcelona. Mr. Lucic has studied extensively with world-renowned mezzo Biserka Cvejic.
Zeljko Lucic has also appeared with many orchestras, including the Hessischer Rundfunk Symphony Orchestra, Belgrade Philharmony, RTB Symphony Orchestra and the Boston Symphony Orchestra. He is a recipient of the 1997 first prize at the International Competition Francisco Viñas in Barcelona.
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KONSTANTIN RITTEL–KOBYLIANSKI
DRAMATISCHER BARITON
Der am 07.11.1975 in Kiew/Ukraine geborene Konstantin Rittel-Kobylianski lebt in Deutschland. Er stammt aus einer bekannten ukrainischen Künstlerfamilie (seine Eltern waren Schauspieler und Sänger, seine Urgroßmutter war die berühmte ukrainische Schriftstellerin Olga Kobylanska).
Seine Gesangsstudien-2000 diplomiert er an der Musikakademie Odessa, 2003 beendet er Aufbau-und Solistenstudium an der Musikakademie Freiburg- absolviert er alle mit Auszeichnung.
Während seines Studiums in Deutschland erhält Konstantin Rittel-Kobylianski prägende künstlerische Impulse bei Herrn Professor Fischer-Dieskaus Meisterkurs 1998 in Stuttgart. Im Jahre 2001 arbeitet der Bariton mit Hollywoodstar Sir Peter Ustinov in der Schweiz zusammen und kreiert ein Programm mit Briefen und Liedern Rachmaninows.
2003 feiert er sein Debüt als Dottore Malatesta in Donizettis Don Pasquale an den Vereinigten Städtischen Bühnen Mönchengladbach und Krefeld.
Seitdem singt Konstantin Rittel-Kobylianski weltweit die großen Partien seines Faches u.a. Don Giovanni, Marcello/La Bohème, Rodrigo/Don Carlo, Germont/La Traviata, Don Carlo/La forza del destino, Conte di Luna/Il Trovatore, Vater/Hänsel und Gretel, Albert/Werther, Alfio/Cavalleria rusticana, Prologo/Tonio/Pagliacci. Er feiert große Erfolge bei Opernaufführungen, Konzerten, Liederabenden und Festspielen in Straßburg, Paris, Amsterdam, Rotterdam, Marseille, Moskau, Kiew, St. Petersburg, Chicago, Santa Barbara, San Francisco, Jerusalem, Tel-Aviv, Berlin, bei den Mecklenburgischen Schlossfestspielen in Schwerin, am Oldenburgischen Staatstheater, am Mainfranken Theater Würzburg, an der National Staatsoper Lviv/Ukraine, an dem Operhaus Dortmund, an der Staatsoper Stuttgart etc.
Der Bariton ist ein gern gesehener Gast in den TV-Talk-Shows der Programme Bad Ems und Bad Bertrich, als auch häufig im ukrainischen Fernsehen zu erleben (First National TV,1 +1, Inter, TRK Ukraina, ICTV und zahlreichen regionalen Fernsehsendern).
Seit 2006 nimmt Konstantin Rittel-Kobylianski regelmäßig an großen Opern-und Konzertveranstaltungen in der Ukraine teil. Einige von ihnen sind: das große festliche Weihnachtssolokonzert Echoes of the Century an der National Staatsoper Kiew/Ukraine, begleitet von Staatssymphonieorchester, Chor und Ballett. Er war Ehrengast bei Feierlichkeiten und Teilnehmer des festlichen Gala-Konzerts, anlässlich des Jahrestages der Stadt Donezk. Konstantin Rittel-Kobylianski wurde zur Teilnahme an dem Gala-Konzert bei dem
Internationalen Musikfestival an der Staatsoper in Odessa und zum Gala-Konzert des 12. Internationalen Opernfestivals der National Staatsoper Lviv eingeladen, welches -gewidmet dem 140. Geburtstag von S.Krushelnytska- stattfand.
Auch als Konzertsänger ist er vielseitig. Außer Opernpartien und klassischer Musik gehören zu seinem Repertoire die bekanntesten europäischen und amerikanischen Songs. Von 1998 bis 2003 arbeitet er mit dem Freiburger-Ortenauer-Rock-Symphonieorchester zusammen, mit dem er in Straßburg, Freiburg, Offenburg, Rust, Colmar, Aachen und Basel aufgetreten ist. Unter anderem hat der Sänger mit diesem Orchester Sympathy for the Devil (von Mick Jagger/Rolling Stones) bei den Internationalen Zelt-Musik-Festspielen in Freiburg im Breisgau gesungen.
2007-2008 singt Konstantin Rittel-Koblyanski einen Liederabend zusammen mit Jelena Obraszowa im Jussupow Palast in St.Petersburg und die Hauptpartie des Lord of Fire bei der Uraufführung der Rockoper Mysteria von A. Schnitzer im Europa-Park in Rust bei Freiburg.
2011 war er zum 20. Jahrestag der UNESCO-Benefiz-Gala in Düsseldorf eingeladen.
2012 sang Konstantin Rittel-Kobylianski an der Seite von Eva Lind die Weltpremiere der gemeinsamen Operninszenierung von Zirkusartisten und Sängern der Oper Pagliacci/Leoncavallo im großen Roncalli Zirkuszelt.
2013-2014 sang er am Apollo Theater Düsseldorf Ausschnitte aus Opern von russischen Komponisten im Programm Winter in Sankt-Petersburg.
2007-2015 interpretiert der Sänger zahlreiche Rollen u.a. Escamillo an dem Staatstheater Schwerin, am Stadttheater Koblenz, am Dortmunder Opernhaus, an der Staatsoper Stuttgart und die Partie des Germont/La Traviata, Scarpia/Tosca, Escamillo/Carmen an der National Staatsoper Lviv/Ukraine.
Konstantin Rittel-Kobylianski wurde mit einem der renommiertesten Europäischen Kulturpreise ausgezeichnet: dem European Foundation for Culture Awards-Pro Europe der Kulturstiftung des Europaparlaments in Straßburg (Träger dieser Auszeichnung sind unter anderem Sir Peter Ustinov, A.-S. Mutter, V. Kasarova, M.Rostropowitsch, P. Domingo u.a.).
Außerdem ist er Preisträger des Europäischen W. Semler Musik Kulturpreises. Zusammen mit Patricia Kaas bekommt er 2012 die Auszeichnung Mensch des Jahres in Kiew und ist Träger des Verdienstordens der Heiligen Sophia (Ukraine).
English
Konstantin Rittel-Kobylianski was born on 7 November 1975 in Kiev, Ukraine, and is currently living in Germany. He stems from a well-known Ukrainian art family (his parents were actors and singers; his great-grandmother was Ukraine’s famous writer Olga Kobylianska).
His solo singing studies: In 2000 he graduated from the Odessa Musical Academy, in 2003 he completed additional solo studies at Freiburg Musical Academy with honours.
During studies in Germany, Konstantin Rittel-Kobylianski received important artistic impulses at Professor Fischer-Dieskau’s Master’s course in Stuttgart, in 1998. In 2001, this baritone cooperated with Hollywood star Sir Peter Ustinov in Switzerland to create a program based on Rachmaninoff’s letters and songs.
In 2003 he debuts as Dottore Malatesta in Donizetti’s opera Don Pasquale at Krefeld Mönchengladbach Opera.
Ever since then, Konstantin has been singing major roles of his field worldwide. For example: Don Giovanni, Marcello/La Bohème, Rodrigo/Don Carlo, Germont/La Traviata, Don Carlo/La forza del destino, Conte di Luna/Il Trovatore, Vater/Hänsel und Gretel, Albert/Werther, Alfio/Cavalleria rusticana, Prologo/Tonio/Pagliacci. He laso has great successes in opera recitals, concerts, “lieder” nights and festivals in Strasbourg, Paris, Amsterdam, Rotterdam, Marseille, Moscow, Kiev, St. Petersburg, Chicago, Santa Barbara, San Francisco, Jerusalem, Tel Aviv, Berlin, Schwerin, Oldenburg opera, Wurzburg opera, national opera in Lviv, Ukraine, Dortmund opera, and Stuttgart opera.
Konstantin is a gladly seen guest in TV talk-shows Bad Ems and Bad Bertrich, and can often be seen on Ukrainian TV (First National TV, 1+1, Inter, TRK Ukraina, ICTV and many other regional TV stations). Since 2006, Konstantin regularly takes part in major opera and concert manifestations in Ukraine. One of them is the Great Formal Christmas solo concert Echoes of the Century at the National opera of Kiev, accompanied by the national symphony orchestra, choir and ballet. He was the guest of honour and participant of the Donetsk gala organized on the occasion of the city anniversary. Konstantin Rittel-Kobylianski was also invited to partake in the gala concert of the International Opera Music Festival at Odessa Opera and the gala of the XII International Opera Festival of Lviv National Opera which was dedicated to 140 years since the birth of S.Krushelnytske.
He is also versatile as a concert singer. Besides opera roles and classical music, his repertoire includes some of the most famous European and American songs. Since 1998 to 2003 he has been working with the Freiburger-Ortenauer-Rock-Symphony Orchestra with which he performed in Strasbourg, Freiburg, Offenburg, Rust, Colmar, Aachen and Basel. Furthermore, Konstantin and this orchestra performed Sympathy for the Devil (by Mick Jagger/Rolling Stones) at the International Tent Music Festival in Freiburg and Breisgau.
In 2007-2008 Konstantin sang in concert with Jelena Obraszowa at Jussupow Palace in St. Petersburg and the main role Lord of Fire for the premiere performance of rock-opera Mysteria by A.Schnitzer at Europa-Park in Rust near Freiburg. In 2011 he was invited to the 20th UNESCO Benefit Gala in Dusseldorf. In 2012 Konstantin sang Pagliacci/Leoncavallo together with Eve Lind during the world premiere of a joint opera performance by circus artists and singers under the great Roncalli circus tent.
During 2013-2014 he performed excerpts from Russian composers’ operas as part of the “Winter in St. Petersburg” program at the Apollo Theatre in Dusseldorf. From 2007 to 2015 he starred in many roles, including Escamillo at Schwerin Opera, Stadttheater Koblenz, Dortmunder Opernhaus, Staatsoper Stuttgart, and the roles of Germont/La Traviata, Scarpia/Tosca, Escamillo/Carmen at the National Opera in Lviv, Ukraine.
Konstantin Rittel-Kobylianski received one of Europe’s most prestigious cultural awards: the European Foundation for Culture Awards-Pro Europe from the European Parliament Cultural Council in Strasburg (other winners of this award include Sir Peter Ustinov, A.S. Mutter, V. Kasarova, M.Rostropowitsch, P. Domingo and others).
He also received the Europäischen W. Semler Musik Kulturpreises award. Together with Patricia Kaas in 2012 he received the title of “Man of the Year” in Kiev and the Medal of St. Sophia in Ukraine.
Konstasntin Rittel-Kobylianski-Künstlerischer Lebenslauf
Konstasntin Rittel-Kobylianski ENG
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NEBOJŠA BABIĆ
BARITON
Date of birth September 23 1980.
Education Faculty of music, Belgrade, Serbia - Prof. Nikola Mijailović Music school “Stanković”, Belgrade, Serbia
Opera studio Borislav Popović (2006/07), National Theatre in Belgrade Masterclass w/ Ruggero Raimondi, Nancy (France), 2013.
Languages English – Advanced level; Italian – Basic level; Français – Basic level.
Special skills Martial arts (karate, aikido) – master level
OPERA REPERTOIRE
Bizet Escamillo (Carmen)
Cimarosa Geronimo (Il matrimonio segreto) Gounod Mephistopheles (Faust) Mascagni Alfio (Cavaleria rusticana)
Prokofiev Leandr (L'amour pour trois oranges) Tchaikovsky Tomsky, Zlatogor (Pikovaya dama) Donizetti Belcore (L’elisir d’amore)
Dottore Malatesta (Don Pasquale)
Mozart Masetto, Commendatore (Don Giovanni) Figaro (Le nozze di Figaro)
Rossini Mustafa (L’italiana in Algeri)
Bartolo (Il barbiere di Siviglia) Don Magnifico (Cenerentola)
Verdi Sir John Falstaff (Falstaff) Marullo (Rigoletto)
Il barone Douphol (La traviata)
Il Gran Sacerdote di Belo (Nabucco) Il Re d'Egitto (Aida)
Paolo (Simone Boccanegra) Melitone (La forza del destino)
Puccini Scarpia (Tosca) Schaunard (La bohème) Colline (La bohème) Lescaut (Manon Lescaut)
Sharpless, Bonzo (Madama Butterfly)
CONCERT REPERTOIRE
Bach Mass h-moll Passion of John
Handel Nelson mass
Mozart Requiem Beethoven Sinfornie 9 Mahler Symphony No.8
Faure Requiem
Rossini Stabat Mater (in progress)
WORK POSITIONS (soloist) from
2o12.Serbian national theatre in Novi Sad - Principal s. 2006. National theatre in Belgrade - Principal s. guest 2005. Opera & Theatre Madlenianum: Soloist 2003.Musical theatre “Terazije”: Soloist
Prizes:
Candidate for the Award of Belgrade
I prize and laureate of the competition “Nikola Cvejic” I prize and laureate of Republic competition, Serbia Prize of the year Serbian National Theatre, Novi Sad:
2013, for the role of Tomsky in opera “The Queen of Spades”
2018 for the role of Mephistophelles in opera “Faust”
Participated in productions with:
Conductors: David Porcelijn, Srboljub Dinic, Gianluca Marciano, Aleksandar Markovic, Mladen Jagust, Bojan Sudjic; sopranos: Marina Rebeka, Dmitra Theodosiou, Daniela Dessi, Dragana Radakovic, Ailan Zu, tenors: Placido Domingo, Zoran Todorovic, Fabio Armiliato, baritones: Zeljko Lucic, Paolo Coni, Mauro Augustini, Nikola Mitic.
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MARKO PANTELIĆ
BARITON
Il Conte di Almaviva (Le nozze di Figaro), Dandini (La Cenerentola), Belcore (L’elisir d’amore), Ford (Falstaff), Marcello (La bohème), the title role in the opera Eugene Onegin, are the most significant of around 30 roles that baritone Marko Pantelić performed at the National Theatres in Belgrade and Sarajevo, the Serbian National Theatre in Novi Sad, the Opera and Theatre Madlenianum in Belgrade, the State Theatre in Nuremberg, the Theatre in Regensburg, as well as at his home opera house, Theatre in Magdeburg, where he has been a soloist for five seasons. Haydn's Requiem, Duruflé's Requiem and Messe Cum Jubilo, Schumann's Dichterliebe, Mahler's Lieder eines fahrenden Gesellen, Dvořák's Biblické písně, are part of the concert repertoire he has performed with the Choir of the Radio Television of Serbia, the Belgrade Philharmonic Orchestra, the Musikkollegium Winterthur, the Magdeburg Philharmonic Orchestra, the Academy for Early Music Berlin. Along with viola studies at the Academy of Arts in Novi Sad, he studied voice at the Music School Kosta Manojlović in Zemun in the studio of Nenad Nenić and then at the Faculty of Music in Belgrade in the studio of Nikola Mijailović. He has pursued further studies at the International and Canadian Vocal Arts Institutes in New York City and Montreal, the Opera Studio of the National Theatre in Belgrade, several master classes with Ruth Falcon, Mignon Dunn, Brigitte Fassbaender, Sherrill Milnes, David Bižić, Djordje Nesic. He has received prizes from the Fund for Young Talents of the Republic of Serbia, the Belgrade Faculty of Music awards as the best and most promising student of the Vocal Studies Department, the promotional prize for young artists by the Theater in Magdeburg Promotion Association, and the Richard Wagner Association in Magdeburg, which awarded him a scholarship for the Bayreuth Festival.
Gesungenes Repertoire - Marko Pantelić
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CANER AKGUN
BARITON
Was born in 1981 Zonguldak, Turkey. Started his musical activities in 1999 at Ministry of Culture Youth Polyphonic Choir and Alegria Chamber Choir.
In 2008, completed his singing education at Hacettepe University State Conservatory, with Eralp Kiyici and Prof. Mustafa Yurdakul, graduating with the first degree.
He has participated to the Master Classes with Elio Battaglia about Hugo Wolf and Gustav Mahler. Between 2006 and 2008, he has participated to the Master Classes and several concerts at “MozarteumInternational Summer Academy of Salzburg”, with Elio Battaglia.
He won the third prize in “National Young Voices Singing Contest” in Ankara in 2006. In February 2007, he won The Mansion at “ Lied Contest” which organized by Sedat – GüzinGürel Foundation of Education and the Arts. In April 2007, he won the third prize in “9 th Siemens National Singing Competition” in Istanbul, Turkey, and in November of 2007, he was one of the finalists in “Marie Kraja Singing Competition” in Tirana, Albania. He won the second prize in “ Young Singers Competiton” in Izmir, Turkey which was organized by İzmir State Opera and Ballet on April 2008. He was the finalist in “ 7 th International Leyla Gencer Singing Competition” in Istanbul, September 2007.
Akgun, joined the ensemble of Istanbul Opera House Turkey ,in September 2007 and also he sings Mersin, İzmir, Mersin, Samsun, Ankara State Opera House. and he performed the roles of:
Rigoletto in Verdi’s Rigoletto
Giorgio Germont in Verdi’s La Traviata
Ford in Verdi’s Falstaff
Scarpia in Puccini’s Tosca
Marcello in La Boheme by Puccini
Figaro in Rossini’s Il Barbiere di Siviglia
Dandini Rossini’s La Cenerentola
Poeta Rossini’s Il Turco in Italia
Don Giovanni in Mozart’s Don Giovanni
Il Conte d’Almaviva in Mozart’s Le nozze di Figaro
Papageno in Mozart’s Die Zauberflote
Guglielmo, Mozart’s Cosi fan tutte
Dottore Malatesta in G.Donizetti’s Don Pasquale
Belcore in Donizetti’s L’elisir d’amore
Valentin in Gounod’s Faust
Poeta in Salieri’s Prima la Musica e poi le parole,
He performed Vincenzo Bellini’s Arie da Camera, Mahler Lieder eines fahrenden Gesellen in Istanbul, Ankara and Izmir.
He performed Orff’s Carmina Burana, Bacalov’s Misa Tango, Mozart’s Requiem, Beethoven 9th Symphonie with C.S.O, Antalya State Symphony Orchestra, Bursa State Symphony Orchestra, Orchestra Sion and İstanbul State Opera and Ballet Orchestra.
Caner Akgun was elected as the Most Successful Opera Singer of Young Generation in the 2010-2011 season by Semiha BerksoyOpera Foundation.
Akgun speaks Italian and English.
Still is a member of the Ensemble of Istanbul State Opera and Ballet as a Soloist and Artistic Director.
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MIKAEL BABAJANYAN
BARITON
The Armenian-born baritone Mikael Babajanyan completed his vocal and conducting studies at the Yerevan Komitas State Conservatory with outstanding results, and won several national singing competitions. At the Komitas State Conservatory, he was taught by the famous voice professor Arax Davtian. Later he continued his vocal studies in Germany with Tom Krause, Kurt Moll and Kàroly Szilàgyi.
From 1997 to 1999, he conducted the orchestra of the Armenian National Opera Theatre of Yerevan and has sung often times as a soloist at the Armenian Philarmonic Orchestra, where he performed the Fauré Requiem, the Brahms Requiem, the Mozart Requiem and Rossini's Stabat Mater.
Since 1999 Mikael Babajanyan lives in Germany. His first engagements took him to the theatres of Koblenz, Bielefeld and Giessen, where he performed roles such as Sharpless/Madama Butterfly and Dandini/La Cenerentola. At the State Opera Hanover he performed as Allazim in Mozart's Zaide. Further guest performances lead him to the Grand Théâtre de la Ville in Luxemburg, the Baden State Theatre in Karlsruhe and Bremen Theatre.
From 2002 to 2005 he was a member of the ensemble at Dortmund Theatre, where he sang Belcore/L'elisir d'amore, the title role of Don
Giovanni, Faninal/Der Rosenkavalier, Fernando/Fidelio, Il Conte/Le Nozze di Figaro, Guglielmo/Così fan tutte, Onegin/Eugen Onegin, Schaunard/La Bohème and Sharpless. He also performed regularly at the Mecklenburg State Theatre in Schwerin as Marcello in La Bohème, Ford in Falstaff and Don Giovanni.
By the 2004/2005 season, Mikael Babajanyan has become a highly acclaimed dramatic baritone. A major breakthrough was his much praised debut in 2006/2007 as Iago in Otello at the Bonn Opera, where he gave a year later another successful debut as Yeletzky in Pique Dame. Enthusiastically received by the press and audiences was also his debut as Francesco in Verdi's I Masnadieri in Munich at Gärtnerplatz Theatre and as Amonasro in Aida at the Savonlinna Opera Festival in Finland (both in 2007/2008). Two years later, he was back at the Savonlinna Opera Festival as Sharpless.
Further guest engagements took him to several foreign opera houses such as the New National Theatre in Tokyo/Japan (Iago), Opera Hong Kong (Germont/La Traviata) and Opéra de Dijon/France (Amonasro/Aida). At the Opéra de Lyon in France he debuted as Drebednyov in Shostakovitch's only operetta Moscow, Cheryomushki. In The Netherlands he performed with the Nederlandse Reisopera in Utrecht (Renato/Un Ballo in Maschera) and in The Hague at the Festival Classique (Alfio//Cavalleria Rusticana). His Austrian debut he made as Vincenzo Gellner in Catalani's opera La Wally at the Klagenfurt City Theatre, where he also performed as Conte di Luna in Il Trovatore.
From 2009 to 2013 the baritone was a member of the ensemble at the Aalto Theatre Essen, where he appeared as Amonasro, Belcore, Francesco, Germont, Marcello, Onegin, Renato, Scarpia/Tosca and Sharpless.
Besides his regular appearances at the Mecklenburgian State Theatre and Castle Opera Festival in Schwerin (Renato, Rigoletto, Scarpia, Germont, Conte di Luna, Tonio/Pagliacci), he had performances at Bielefeld Theatre (Amonasro, Alfio, Tonio), Cologne Opera ( Germont), Frankfurt Opera (Francesco), Halle Opera (Yeletzky), Pfalz Theatre Kaiserslautern (Conte di Luna ), Krefeld and Mönchengladbach City Theatre (Amonasro, Scarpia, Yeletzky), Leipzig Opera (Onegin), National Theatre Mannheim (Marcello, Scarpia) and State Theatre Saarbrücken (Germont).
His concert engagements have included the Bartok+Mozart Opera Festival in Miskolc (Hungary), and under Helmuth Rilling he has sung the Messa per Rossini in Stuttgart, at the Rheingau Musik Festival and at the Oregon Bach Festival.
Mikael Babajanyan has also been a regular guest in his homeland. With the Armenian Philarmonic Orchestra he has performed as Figaro and the title roles of Simon Boccanegra and Rigoletto at the Aram Khatchaturian Grand Concert Hall of Yerevan. Furthermore, he has sung in 2017 with the Armenian National Opera and Ballet Theatre the title role of Davit in Haro Stepanyan's opera Sasuntsi Davit in Shushi and Yerevan. In the last two years he has sung several concerts at the Armenian National Opera and Ballet Theatre in Yerevan and performed as Scarpia again. In 2019 he has also conducted there several concerts and operas such as Un Ballo in Maschera and Rossini's Il viaggio a Reims which he also stage-managed. In 2019 he got appointed as the Deputy Artistic Director of the Armenian National Opera and Ballet Theatre.
Operatic Repertoire
Beethoven Catalani Cavalli Donizetti Gluck Gounod Leoncavallo Lortzing Mascagni
Mozart Fidelio La Wally L'Ormindo
L'elisir d'amore Armide
Faust
Pagliacci
Der Wildschütz Cavalleria Rusticana Così fan tutte Fernando Vincenzo Gellner Amida
Belcore Hidraot Valentin Tonio
Count von Eberbach Alfio
Guglielmo
Don Giovanni
Le Nozze di Figaro Don Giovanni Conte di Almaviva
Zaide Allazim
Puccini La Bohème Madama Butterfly Marcello, Schaunard Sharpless
Tosca Scarpia
Rossini Il Barbiere di Siviglia La Cenerentola Figaro Dandini
Il viaggio a Reims Don Alvaro
Strauss Ariadne auf Naxos Der Rosenkavalier Harlekin Faninal
Shostakovitch Moscow, Cheryomushki Drebednyov
Stepanyan Sasuntsi Davit Davit
Tchaikovsky Eugen Onegin Onegin
Pique Dame Count Yeletzky
Verdi Aida
Un ballo in maschera Amonasro Renato
Falstaff
I Masnadieri Ford Francesco
Nabucco Otello Nabucco Iago
Rigoletto
Simon Boccanegra Rigoletto
Simon Boccanegra
La Traviata Il Trovatore Giorgio Germont Conte di Luna
Wagner Die Meistersinger von Nürnberg Konrad Nachtigall
Das Rheingold Donner
Concert and Oratorio Repertoire
Beethoven Symphony No. 9
Brahms Deutsches Requiem
Fauré Requiem
Mendelssohn Walpurgisnacht
Orff Carmina Burana
Rossini Stabat Mater
Verdi & others Messa per Rossini
Extract of Press Reviews
Renato in Un ballo in maschera
Also Mikael Babajanyan satisfies straightaway with a wonderful smooth baritone which indicates also ample „blackness“ and „metal“ for his upcoming Scarpia in Puccini's „Tosca“.
--Westdeutsche Allgemeine Zeitung, 14. September 2009
Marcello in La Bohème
Among the singers Mikael Babajanyan was especially impressive. He sang with great vocal elegance a splendiferous Marcello.
--Der neue Merker, März 2009, Ludwig Steinbach
Gellner in La Wally
Mikael Babajanyan in the role of the unhappy Gellner proves to be an equal partner who is addicted to Wally in self-destructive fervor. The Armenian impressed with a masculine baritone and intense acting.
--Opernglas, November 2008
Francesco Moor in I Masnadieri
As Francesco Moor, Mikael Babajanyan gave a performance that should automatically catapult him into the first tier of Verdi interpreters. His voluminous baritone voice knew no limits, whether in terms of interpretation or of cantilena singing. Here is certainly a singer to be watched!"
--Opera News Online, March 2008, Jeffrey Leipsic
Giorgio Germont in La Traviata
You hardly ever experience a Giorgio Germont as Mikael Babajanyan sang him. Drawing on abundant vocal sources, with dramatic aplomb, but differentiating all the same, he achieved a brilliant performance.
--Opernglas, Nov 2007, K-F Schulte
Iago in Otello
Mikael Babajanyan (Iago) surprises from the first tone: a noble-baritone with suppleness, impact and stream; especially impressive in the dream narration.
--Kölner Stadt-Anzeiger, June 2007, Gerhard Bauer
Fact is that the Iago analysis of the prominent Belcanto-Baritone Mikael Babajanyan in Bonn can already move confidently and self-confident in the opera-olympus of dazzling outstanding villians. The musical conversion succeeds right as rain, perfect in form and still equipped with more extreme, always slight expressivity – altogether a distressing realistic and oppressive character sketch.
--Opernglas, August 2007, B. Kempen Iago is an exquisite theatre sod – sleeky, glibly, diabolical abominable; his Credo does not
drone and therefore it appears the more dangerous. Mikael Babajanyan sings and plays it terrifically.
--Frankfurter Allgemeine Zeitung, June 2007, Gerhard Rohde
Mikael Babajanyan makes a terrific role debut. The Armenian Baritone has the required vocal power - his nihilistic “Credo” almost appears frightening - if necessary, he knows how to direct his voice with balmy beauty.
--General-Anzeiger Bonn, June 2007, Bernhard Hartmann
Perhaps the character study would have to be arranged beyond it, to which Mikael Babajanyan tenders his Iago - a psycho in uniform. The Armenian is extreme in everything, also vocally - his variability is enormous. His revenge duet with Otello turned out grand, furthermore the complex choir - soloist - scene in the third act had been very impressive. Great Applause!
--Kölnische Rundschau, June 2007, H. D. Terschüren
Scarpia in Tosca
Match winner of the evening and a real impact was Mikael Babajanyan as Scarpia. The Baritone savoured completely his role from the first to the last minute and bestowed his audience continuously with striking moments.
--Opernglas, March 2007, Söhnke Mertens Mikael Babajanyan, to whom the black uniform gives a marvellous consistently appearance
with his black hair and his gimlet black eyes, plays the Scarpia with an unobtrusive trickiness, who abruptly turns from soft features to abysmally fiendishness. Avoiding overstatements he forms his character with a psychological sharp eye and due to that achieving an absorbing impression. And all this with a voice, which is capturing in a tempting manner and suggesting humanity.
--Schweriner Volkszeitung, Jan 2007, Michael Baumgartl
The Scarpia of Mikael Babajanyan was minted by self-control and elegance, he lifts his slight Baritone confidently over the orchestra masses.
--Opernglas, Jan 2007, B. Kempen
Mikael Babajanyan as Scarpia is a brutal person right out of the picture book, his singing is a permanent volcanic eruption. A vocal physically complete and an absolute possessive portrait.
--Theater pur, Jan 2007, Christoph Zimmermann
Galerie
{gallery width=80 height=80}kunstler/mikael_babajanyan{/gallery}
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SEYMUR KARIMOV
BARITON
Der Bariton Seymur Karimov stammt aus Baku, Aserbaidschan. Seine Gesangsausbildung absolvierte er mit Auszeichnung an der Musikakademie Baku bei Professor Maya Godjaeva. Seine frühe Karriere als Bariton führte ihn an Opernhäuser und Festivals in Deutschland, Aserbaidschan, Georgien, Russland, Türkei und England.
An der Musikhochschule Freiburg im Breisgau setzte Seymur Karimov seine künstlerische Ausbildung ab Oktober 2002 bei Professor Markus Goritzki fort.
Im Mai 2004 sang er im Festspielhaus Baden-Baden Usciere (Rigoletto) unter der musikalischen Leitung von Thomas Hengelbrock. Seymur Karimovs Repertoire beinhaltet viele Rollen aus Belcanto- und Verdi-Opern, wie z.B. Mozarts "Don Giovanni", Papageno in "Die Zauberflöte", Rodrigo in "Don Carlo", sowie der Vater in Humperdincks "Hänsel und Gretel" und ebenso viele Werke des russischen Repertoires.
Im Sommer 2005 wurde Seymur Karimov vom Innenministerium in Aserbaidschan eingeladen, mehrere Konzerte zu singen. Anschließend hatte er großen Erfolg bei der Opern-Gala "Italienische Nacht" in Lindenfels.
In einer Neuproduktion von "Cosi fan tutte" des Deutschen Schauspielhauses in Hamburg gab Seymur Karimov ab Oktober 2005 die Rolle des Guglielmo. Mit der gleichen Produktion sang im Dezember in der Grand Teatre del Liceu (Barcelona) . Ebenfalls 2005 trat er mit der Partie des Figaro in Rossinis "Der Barbier von Sevilla" beim Ankara Festival auf.
Im November 2005, Karimov sang Opern-Galas Konzerten mit der Staatsphilharmonie Rheinland – Pfalz,unter der Leitung Ari Rassileinen.
Im Frühjahr 2005, Karimov sang Figaro in Mozarts „Le nozze di Figaro“ mit der Junger Oper Stuttgart.
2006 Opernauführung „Le Nozze di Figaro“ in der Rolle Figaro an der Stadttheater Koblenz.
2011 Opernauführung „La Traviata“ in der Rolle Germount an der Stadttheater Görlitz.
2012 August Opernauführung „ Le nozze di Figaro “ in der Rolle Figaro an der VII International Mozartiana Festival Danzig, Gdansk (Polen ) unter der Leitung Massimiliano Caldi
2012 Dezember Opernauführung „ Eugen Onegin“ in der Rolle Onegin an der Theater Lüneburg.
2014 Mai Uraufführung von Samy Moussa „Wüstung“ in der Rolle Dimitri an der Biennale in München.
Soloist an der Theater Regensburg, gesungene Partien:
Masetto in " Don Giovanni "
Rodrigo in " Lulu "
Malatesta in " Don Pasquale "
Schlemihl in " Hoffmanns Erzählungen "
Enrico in " Die wüste Insel "
Lescaut in " Manon Lescaut "
Kaspar in " Der Freischütz "
1. Handwerksbursch in " Wozzeck "
Mathieu in " Andrea Chénier "
Sam in " Trouble in Tahiti "
Figaro in " Le nozze di Figaro "
Kálmán Zsupan in " Der Zigeunerbaron "
Metifio in " L'Arlesiana " unter Leitung von Will Humburg
Onegin " Eugen Onegin "
Paul Rée " Zarathustra "
Herruffer " Lohengrin "
Dr. Falke " Die Fledermaus "
Figaro " Barbiere di Seviglia "
Fritz(Pierots) " Die tote Stadt "
Tarquinius " The Rape of Lucretia "
Giorgio Germont " La Traviata "
Ping " Turandot "
Peter " Hänsel und Gretel "
Orest " Elektra "
Ford " Falstaff "
Feri " Die Csárdásfürstin "
Amonasro " Aida "
Manni " Lola rennt "
Nick Shadow " The Rake´s Progress "
Marcello " La Bohème "
Harald " Die Feen "
Dimitri " Wüstung " - Nach der Wahl ist vor der Wahl (UA)
Rigoletto " Rigoletto "
Schiwago/Живаго " Dr. Schiwago/Др. Живаго "
Pontius Pilatus " Jesus Christ Superstar "
Sharpless " Madama Butterly "
Hans Heiling " Hans Heiling "
Galerie
{gallery width=80 height=80}kunstler/seymur-karimov{/gallery}
ROBERT KOLAR
BARITON
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Robert Kolar ist ein kroatischer Bariton und wurde 1969 in Rijeka geboren. Er beendete 1992 seine Grundausbildung im Fach Gesang an der Musikschule Ivan Matetić Ronjgov in der Klasse von Frau Prof. Margarete Togunjac. Im gleichen Jahr beginnt er sein Gesangsstudium an der Musikakademie in Zagreb in der Klasse von Frau Prof. Zdenka Žapčić- Hesky. Seit 1992 ist er aktives Mitglied des Opernstudios in Zagreb. 1993 debütierte Robert Kolar in dem Theater Gradsko kazalište Komedija mit der Rolle des Aeneas in der Oper Dido und Aeneas von Purcell. 1996 machte er sein Diplom im Fach Gesang an der Musikakademie in Zagreb. Er bildete sich weiter bei der Primadonna Frau Dunja Vejzović (Theater VERO), master class: Nelli Manuilenko –Rijeka, Alessandro Svab –Trst, ljubljana. Zwischen 1997 und 2012 ist der Bariton Solist der Nationaloper in Rijeka. Neben seiner Tätigkeit als Opernsänger, tritt er auch als Solist für Kammermusik, Messen, Requieme von Komponisten des Barock bis hin zu zeitgenössischen Komponisten auf. Er gastiert als Solist auch in anderen Theatern und auf Konzerten:
In dem Staatstheater HNK in Zagrebu, dem Staatstheater Slovensko narodno Gledališče in Ljubljana, dem Staatstheater Narodno pozorište in Sarajevo, dem Nationaltheater HNK in Split, dem HNK in Varaždin, bei den Barockabenden in Varaždin, dem Sommerfestival in Zadar, den Festspielen in Dubrovnik, dem Gradsko kazalište Komedija, in der Konzerthalle Vatroslav Lisinski, bei den Festspielen auf der Insel Krk, bei dem Festival Riječko ljeto, dem Fstival Histria festival,dem Festival Organum Histrie….
Robert Kolar trat als Solist mit folgenden Ensemblen, Orchestern und Chören auf: dem Kroatischen Barockensemble, dem Chor des kroatischen Fernsehens (Radiotelevizija),dem Chor Ivan Goran Kovačić, Oratorienchor aus Rijeka, em Ensemble Collegium Musicum Fluminense, dem Kammerorchester Rijka, der Zagreber Philharmonie, der Philharmonie aus Rijeka, dem Symphonieorchester des Fernsehrundfunks Kroatiens, dem staatlichen Symphonieorchester der Ukraine, dem Symphonieorchester Dubrovniks, dem Europäischen Orchester der Mediziner etc. Robert Kolar arbeitete mit allen renommierten kroatischen und internarnationalen Dirigenten u.a. mit: Nikša Bareza, Pavle Dešpalj,Vladimir Kranjčević, Saša Britvić, Vjekoslav Šutej, Nada Matošević, Ivan Repušić, Miroslav Belamarić, Zoran Juranić, Mladen Tarbuk, Dušan Prašelj, Veseljko Barešić ,Ivo Lipanović , Miroslav Homen, Eddi di Naddai , Igor Švara… Er bekam die besondere Auszeichnung Milan Pihler, die das Nationaltheater HNK Ivana pl. Zajca den erfolgreichsten Opernsängern zuteilt. Robert Kolar bekam die Auszeichnung für seine Interpretion des Minnochet in Cileas Oper Adriana LeCouvreur. Für diese Rolle wurde er auch vom Kroatischen Schauspiel nominiert. Er hat einige Einspielungen für die Academia Lirica Rotariana Laboratorio Lirico Europeo aus Milano mit Künstlern aus Kroatien und Italien gemacht, die in der EU distribuiert wurde. Mit dem Ensemble Vox Caelestis nahmen Robert Kolar und seine Frau, die Sopranistin Kristina Kolar die Einspielingen geistlicher Musik "Sakralna glazba riječkih skladatelja" und "Hrvatska solo popjevka" auf.
Repertoire:
H.Purcell:
„Didona i Enei „ (Enei)
„ Fairy Quenn“
„ Rinaldo „ (Argante)
A. Salieri:
"Prvo glazba zatim riječi" (Pjesnik)
G. Paisiello:
"Il Barbiere di Siviglia" (Figaro)
M. Belamarić:
"Priče iz bečke šume" (Oskar)
G. Puccini:
"Madame Buterfly" (Scharples)
„ Tosca“ (crkvenjak)
J. Strauss:
"Šišmiš" (dr. Falke)
G. Donizetti:
"Ljubavni napitak" (Belcore)
„Lucia di Lamermoor „ ( Lord Enrico Aston )
G. Verdi:
„ Nabucco“ ( Nabucco) _ SNG Ljubljana
La Traviata (Germont)
Ivan pl. Zajc:
"Lizinka" (Vasilij),
"Amelija" (Corrado),
"Momci na brod" (Marko),
"Zlatka" (Pero)
„ Nikola Šubić Zrinjski“ (Levi)
W.A. Mozart:
„ Cosi fan Tutte“ (Guglielmo)
G. Rossini:
"Il Signore Bruschino" (Filiberto),
"Il Barbiere di Siviglia" (Figaro),
"Il Turco in Italia" (Poeta)
Frano Parać:
„Judita“ (Vagav)
Alfi Kabiljo:
Casanova u Istri (dr. Valerio)
J. Gotovac:
"Ero sa onoga svijeta" (mlinar Sima)
B. Bjelinski:
"Pčelica Maja" (pauk Hanibal)
B. Papandopulo:
"Sunčanica" (Kizlar Aga)
Francesco Cilea:
„Adriana Lecovreur“ ( Michonnet)
Pietro Mascagni:
„Cavelleria Rusticana“ (Alfio)
R.Leoncavallo:
„ Pagliacci „ (Silvio)
P.I.Čajkovskij:
„ Evgenij Onegin“ (Onjegin) (NP Srajevo)
Danielle Zanettovich:
„Marco Polo“ (Marco Polo)
Koncertni repertoar:
C.Orff: Carmina Burana
G.Faure: Requiem
F.Schubert: G-major Messe
J.S.Bach: Caffee cantata
Liebster Jesu mein Verlangen
Ich habe genung
Mattheus Passion
Galerie
{gallery width=80 height=80}kunstler/robert_kolar{/gallery}