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FAMOUS TENOR ARIAS (Thomas Harper) |
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Composer: |
Amilcare Ponchielli, Giacomo Puccini, Giuseppe Verdi, Ruggero Leoncavallo, Umberto Giordano |
Artist: |
Giacomo Aragall, Jussi Bjorling, Francesco Ellero d' Artegna, Maria Dragoni, Miroslav Dvorsky, Maurizio Frusoni, Miriam Gauci, Thomas Harper, Raoul Jobin, Kristjan Johannson, Kaludi Kaludov, Giorgio Lamberti, Lila Larinova, Herbert Lippert, Daniela Longhi, Janez Lotric, Nicola Martinucci, Lauritz Melchior, Nelly Miricioiu, Jozsef Mukk, Ezio Pinza, Lily Pons, Rosa Ponselle, Yordy Ramiro, Bidu Sayao, Roberto Servile, Renata Tebaldi, Eduard Tumagian, Jonathan Welch, John Brownlee, Luba Orgonasova, John McCormack, Ian Caddy, Alida Ferrarini, Louise Homer, Nellie Melba, Antonio Scotti, Dorothy Kirsten, Giuseppe Valdengo, Salvatore Baccaloni, Anna-Lisa Bjorling, Luigi Marini, Lina Bruna-Rasa, Carlo Galeffi, Ferruccio Tagliavini, Pia Tassinari, Licia Albanese, Beniamino Gigli, Tatiana Menotti, Afro Poli, Feodor Chaliapin, Frida Leider, Richard Tauber, Leonard Warren, Erna Berger, Jan Peerce, Nan Merriman, Nathaniel Sprinzena, Gino Bechi, Giannina Arangi-Lombardi, Ebe Stignani, Camilla Rota, Giuseppe Di Stefano, Frederic Jagel, Iva Pacetti, Mario Basiola, Giuseppe Nessi, Leone Paci, Maria Caniglia, Italo Tajo, Marian Anderson, Lucrezia Bori, Ida Conti, Aristide Baracchi, Natale Villa, Lina Pagliughi, Bo Skovhus, Bianca Scacciati, Enrico Molinari, Giuseppina Zinetti, Francesco Merli, Frances Alda, Luisa Tetrazzini, Pasquale Amato, Ernestine Schumann-Heink, Josephine Jacoby, A. Regis Rossini, Mirella Freni, Karita Mattila, Margaret Price, Fedora Barbieri, Elda Ribetti, Nicola Niccolini, Alessandro Bonci, Aurora Rettore, Giuseppe Menni, Riccardo Stracciari, Maria Pia Pagliarini, Nazzareno de Angelis, Reinald Werrenrath, Robert Easton, Frieda Hempel, Leon Rothier, Andres De Segurola, Maria Duchene, Titta Ruffo, Joan Sutherland, Hilde Gueden, Vittoria Palombini, Tito Schipa, Giovanni Martinelli, Silvano Carroli, Landon Ronald, Jaakko Ryhanen, Zsuzsa Csonka, Magda Olivero, Gina Cigna, Franco de Grandis, Hjordis Schymberg, Boje Skovhus, Alzbeta Michalkova, Carlo Forti, Fabio Previati, Carmen Gonzales, Ivan Urbas, Boaz Senator, Vicente Sardinero, Marcel Rosca, Donald George, Irina Tchistjakova, Barbara Dever, Mark Rucker, Ingrid Tobiasson, Maria Zamboni, Aureliano Pertile, Grace Moore, Richard Wright, Elisabeth Schwarzkopf, Giovanna Casolla, Zinka Milanov, Nicola Moscona, Margaret Roggero, Paul Franke, George Cehanovsky, Lando Bartolini, Masako Deguci, Francisco Heredia, Felipe Bou, Armando Ariostini, Javier Mas, Jose Garcia-Quijada, Gorka Gerrikabeitia, Giuseppe de Luca, Giacinto Prandelli, Giovanni Inghilleri, Fernando Corena, Piero De Palma, Melchiorre Luise, Ildebrando Santafe, Patrice Munsel, Studio pianist, Alan Opie, Yaroslava Poberezhna, Ruslan Tansky, Dusolina Giannini, Joseph Schmidt, Marian Vach, Vittore Veneziani, Ladislav Neshyba, Jan Durco, Lucienne van Deyck, Marina Mescheriakova, Elvira Casazza, Dario Zani, Robert Merrill, Lars Cleveman, Peter Mattei, Bengt Rundgren, Hillevi Martinpelto, Iwa Sorenson, Klas Hedlund, Martti Wallen, Hilde Leidland, Stanislav Benacka, Amelita Galli-Curci, Flora Perini, Andrea Piccinni, Jozef Spacek, Robert Szucs, Jozef Abel, Jiri Sulzenko, Richard Novak, Ladislav Hallon, Ivica Neshybova, Peter Subert, Jitka Saparova, Henk Lauwers, Ludwig van Gijzegem, Sandor Pasztor, Janos Tandari, Riccardo Ferrari, Antonio Marceno, Monica Trini, Lilia Grevtzova, Ingvar Wixell, Antonio Cortis, Cesare Formichi, Claudia Muzio, Mario Del Monaco, Aldo Protti, Dario Caselli, Victoria De los Angeles, Marcello Giordani, Martha Lipton, Thelma Altman, Salvatore Cottone, Stefano Secco, Maria Callas, Rolando Panerai, Nicola Rossi-Lemeni, Angelo Mercuriali, Tito Gobbi, Franco Calabrese, Alvaro Cordova, Maria Amandini, Gianni Poggi, Paolo Silveri, Giulio Neri, Armando Benzi, Piero Poldi, Heddle Nash, Blanche Thebom, Boris Christoff, Nicolai Gedda, Emil Markow, Renato Bruson, Vicenc Esteve, Indra Thomas, Kristine Jepson, Matthew Polenzani, Mariusz Kwiecien, Valerian Ruminski, Mario Sammarco, Soile Isokoski, Meta Seinemeyer, Raffaele Arie, Mario Filippeschi, Paolo Caroli, Hermann Prey, Yvonne Naef, Juliane Banse, Elizabeth Campbell, Edna Thornton, Raimo Sirkia, Cloe Elmo, Giuseppe Noto, Johanna Gadski, Geraldine Farrar, Birgit Nordin, Norman Cordon, Nicola Monti, Mario Borriello, Renato Ercolani, Luisa Villa, Mario Carlin, Plinio Clabassi, Enrico Campi, Anna Masetti Bassi, Anna Maria Rota, Giuseppe Conca, Mattia Battistini, Kenneth Collins, Donald Shanks, Hao Jiang Tian, Bruna Rizzoli, Roberta Peters, John Bolton Wood, Fiorenza Cossotto, Lawrence Tibbett, Enrico Caruso, Colin Mawby, Antonietta Stella, Orietta Moscucci, Lucy Isabelle Marsh, Elena Nicolai, Elvira Galassi, Luisa Mandelli, Loretta Di Lelio, Adriana Lazzarini, Giuse Gerbino, Lauris Elms, Giorgio Casciarri, Vittorio Tatozzi, Nicola Zaccaria, William Dickie, Franco Ricciardi, Richard Tucker, Giuseppe Modesti, Dino Fedri, Dora Labbette, Stella Andreva, Robert Alva, John Reardon, Giorgio Tozzi, Lucine Amara, William Nahr, Thomas Powell, George del Monte, Lado Ataneli, Jonathan Summers, Cynthia Johnston, Robin Donald, Elsie Baker, Silvio Maionica, Eugenia Ratti, Enzo Giordano, Arturo la Porta, Tommaso Frascati, Leonardo Monreale, Lidia Grandi, Silvana Celli, Santa Chissari, Andrea Mineo, Max Saal, Giuseppe Altomare, Giulio Mauri, Rubens Pelizzari, Luca Dall'Amico, Hui He, Simone Kermes, Eugenio Fernandi, Elisabetta Fusco, Pinuccia Perotti, Manuel Spatafora, Carlo Badioli, Anna Moffo, Eraldo Coda, Giuseppe Morresi, Miljenko Turk, Olha Zhuravel, Pavel Kudinov, Marco Voleri, William Corro, Andrea Pistolesi, Josef Wagner, Sarah M'Punga, Giacomo Lauri-Volpi, Ji-Min Park, Simone del Savio, Franco Ventriglia, Giulio Fioravanti, Dino Formichini, Vito Tattone, Rhydderch Davies, Michael Langdon, Ronald Lewis, Howell Glynne, David Tree, Noreen Berry, Sebastian Bollacher, Camilla De Falleiro, Daniel Martinez-Corvera |
Conductor: |
Gaetano Scognamiglio, Landon Ronald, Christoph Poppen, Eugene Goossens, Dimitri Mitropoulos, Victor De Sabata, Cesare Sodero, Josef A. Pasternack, Richard Bonynge, Oliviero De Fabritiis, Gabriele Santini, Lawrence Collingwood, Will Humburg, Gaetano Merola, Markus Lehtinen, Herbert von Karajan, Michael Halasz, Antonello Gotta, Francesco Molinari-Pradelli, Stanford Robinson, Lawrence Renes, Michael Hofstetter, Otto Dobrindt, Clemens Schmalstich, Pietro Cimini, Alberto Erede, Victor Trucco, Giulio Setti, Carlo Sabajno, Steven Mercurio, Izler Solomon, John Barbirolli, Lorenzo Molajoli, Giuseppe Antonicelli, Walter Goehr, Walter B. Rogers, Rosario Bourdon, Umberto Berrettoni, Dino Olivieri, Renato Cellini, Sixten Ehrling, Nicolas Braithwaite, Selmar Meyrowitz, Franco Ghione, Frieder Weissmann, Fausto Cleva, Oliver Dohnanyi, Nils Grevillius, Ondrej Lenard, Pier Giorgio Morandi, Ettore Panizza, Alexander Rahbari, Ricco Saccani, Tullio Serafin, Johannes Wildner, Charles Rosekrans, Jukka-Pekka Saraste, Percy Pitt, Daniele Callegari, Jonel Perlea, Antonino Votto, Alberto Hold-Garrido, Thomas Beecham, Leo Blech, Bruno Seidler-Winkler, Vincenzo Bellezza, Hans Schmidt-Isserstedt, Roberto Paternostro, Giacomo Spadoni, Ivan Anguelov, Wolfgang Grohs, Mikko Franck, Heinz Wallberg, Kurt Peter Eichhorn, Vladimir Ghiaurov, Shao-Chia Lu, Giovanni Reggioli |
Choir: |
Budapest Festival Chorus, BRT Philharmonic Chorus , Kiev Chamber Choir, New York Metropolitan Opera Chorus, RTE Chamber Choir, RTE Philharmonic Choir, Slovak Philharmonic Chorus, Robert Shaw Chorale, Milan La Scala Chorus, Rome Opera House Chorus, Stockholm Royal Opera Chorus , Opera Australia Chorus, Studio chorus, Jaak Gregoor Choir, RCA Victor Chorus, Metropolitan Opera Chorus, Santa Cecilia Academy Chorus, Rome, Slovak Philharmonic Choir, Royal Swedish Opera Chorus, Bilbao Choral Society, CETRA Chorus, Columbus Boychoir, Catania Teatro Massimo Bellini Chorus, Slovak Chamber Choir, Culwick Choral Society, Bray Choral Society, Dublin County Choir, Dun Laoghaire Choral Society, Cantabile Singers, Goethe Institut Choir, Musica Sacra, Phoenix Singers, RAI Chorus, Turin, Philharmonia Chorus, Ludwigsburger Festspiele Choir, Bratislava National Opera Choir, Coro Lirico Marchigiano 'V. Bellini', Compagnia d'Opera Italiana Chorus, Covent Garden Opera Chorus |
Orchestra: |
San Francisco Symphony Orchestra, Victor Orchestra, Berlin Philharmonic Orchestra, MGM Studio Orchestra, Elizabethan Sydney Orchestra, Hollywood Bowl Symphony Orchestra, Rosario Bourdon Orchestra, Royal Opera House Orchestra, Covent Garden, Ukrainian National Opera Symphony Orchestra, Marchigiana Philharmonic Orchestra, Prussian State Orchestra, Stockholm Symphony Orchestra, Stockholm Royal Opera Orchestra , Royal Stockholm Philharmonic Orchestra, New Symphony Orchestra, Munich Radio Orchestra, Tokyo Philharmonic Orchestra, RCA Victor Orchestra, Belgian Radio and Television Philharmonic Orchestra, Malaga Philharmonic Orchestra, RAI Symphony Orchestra, Turin, London Symphony Orchestra, New York Metropolitan Opera Orchestra, Ireland National Symphony Orchestra, Helsinki Philharmonic Orchestra, Josef Pasternack Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic Orchestra, Berlin Symphony Orchestra, Metropolitan Opera Orchestra, Catania Teatro Massimo Bellini Orchestra, Rome Opera House Orchestra, Nils Grevillius Orchestra, CSR Symphony Orchestra, Bratislava, Finnish Radio Symphony Orchestra, John Barbirolli Orchestra, Eugene Goossens Orchestra, Hungarian State Opera Orchestra, Philharmonia Orchestra, Royal Philharmonic Orchestra, Slovak Radio Symphony Orchestra, Irish Army No. 1 Band, Royal Swedish Opera Orchestra, Australian Opera and Ballet Orchestra, Berlin State Opera Orchestra, San Francisco Opera Orchestra, Milan La Scala Orchestra , Studio orchestra, Santa Cecilia Academy Orchestra, Rome, Ludwigsburger Festspiele Orchestra, Europa Symphony, German Radio Saarbrucken-Kaiserslautern Philharmonic Orchestra, Compagnia d'Opera Italiana Orchestra, Covent Garden Opera Orchestra |
Lyricist: |
Giuseppe Giacosa, Francesco Maria Piave, Domenico Oliva, Renato Simoni, Antonio Ghislanzoni, Camille Du Locle, Carlo Zangarini, Andrea Maffei, Ruggero Leoncavallo, Salvadore Cammarano, Antonio Somma, Guelfo Civinini, Joseph Mery, Giuseppe Adami, Tobia Gorrio, Luigi Illica |
Label: |
Naxos |
Catalogue No.: |
8.550497 |
Format: |
CD |
Barcode: |
4891030504974 |
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Famous Tenor Arias
Giuseppe Verdi became the leading Italian composer of his
generation, dominating Italian opera in the second half of the nineteenth century, from
the success of Nabucco in 1842 to his final opera Falstaff
in 1893. Aida, with a libretto by Antonio Ghislanzoni from a scenario by the French
egyptologist known as Mariette Bey, was written for the opening of the Cairo Opera House,
where it received its first performance on Christmas Eve 1871. The drama concerns the love
of the Egyptian general Radames for the Ethopian captive Aida, who is induced to betray
him into divulging military plans against her country. Radames has been rewarded by the
King for his victory in battle with the hand of the Princess Amneris, who loves him, and,
learning of his love of Aida and his breach of military security, ensures his condemnation
and death, in which he is joined by his beloved Aida. In his great aria Celeste Aida Radames, before the battle and victory,
sings of his beloved Aida, whom he hopes to marry when he returns.
Un ballo in maschera, with a
libretto by Antonio Somma based on a French libretto by Scribe, was first staged in Rome
in 1859. The opera had been banned by the censors in Naples, who found a royal
assassination a politically inappropriate subject. Historically based on the murder of
King Gustavus of Sweden in the eighteenth century, the story of the opera was transferred
to Boston for the Roman production, with a further transmogrification for Paris. The aria Di'tu se fedele is given to the protagonist, whether
Gustavus III of Sweden, or Riccardo, Governor of Boston. In the first act of the opera he
consults a fortune-teller, Mam'zelle Arvidson in the original version and the black
fortune-teller Ulrica in the Rome version, overhears his beloved Amelia, wife of his
secretary, declare her love for him, for which she seeks a remedy, and demands, disguised
as a fisherman, his own fortune, in his aria. The woman reluctantly tells him that he will
soon die, killed by one who will be the next to shake his hand. This turns out to be the
secretary of the King, a loyal subject until, in the second act, he discovers his master's
love for his wife. By the third act the hero has resolved to renounce his guilty love,
declaring his intention in his aria Ma se m'e forza
perderti, but his secretary has now joined a conspiracy against his master and
friend and kills him. As he dies the King assures his secretary of Amelia's innocence.
Il trovatore, The Troubadour,
with a libretto by Salvatore Cammarano, was first performed in Rome in 1853. The hero
Manrico, apparently the son of the gypsy Azucena, is in reality the lost son of the old
Count di Luna, pitted in the opera against his real brother, the Count, his rival in love
for the hand of Leonora, lady-in-waiting at the court of Aragon. In the aria Ah, si, ben mio, Manrico, who has rescued Leonora
from the Count and his men and has now taken refuge in a castle besieged by the Count,
sings of his love for the one who will soon be his bride. His joy is interrupted by the
news that his supposed mother, the gypsy Azucena, has been taken prisoner by the Count and
condemned to death for the murder of the infant Manrico himself. Manrico is determined to
save Azucena, and with the virtuoso aria Di quella pira,
declares his intention of saving her from burning. Leonora finally dies by her own hand,
in an attempt to trick the Count into releasing Manrico, who is executed in his turn, at
which Azucena reveals his true identity.
The opera Don Carlos
has a libretto derived from Schiller and was first produced in Paris in 1867. The story is
set in sixteenth century France and Spain and deals with an unhistorical rivalry between
the Infante Don Carlos and his father, Philip II of Spain, for the love of Elisabeth de
Valois, daughter of the King of France. In his first act aria lo la vidi e il suo sorriso, Don Carlos expresses his
love for Elisabeth, with whom he has fallen in love at first sight.
Rigoletto, based on Victor
Hugo's drama Le roi s'amuse, was transferred
by the librettist Piave to sixteenth century Mantua, to avoid the predictable objections
of censors in Venice, where the work was first staged in 1851. The plot deals with the
fate of Gilda, daughter of the hunchback court jester Rigoletto, seduced by the disguised
Duke. Rigoletto seeks to have his master murdered, but his plot goes awry, leading instead
to the murder of his beloved daughter, a fact that dawns on Rigoletto when he hears his
master singing again his characteristic song, La donna
e mobile, Woman is fickle.
Shakespeare exercised his own fascination over the romantic
imagination. Verdi turned to his work on a number of occasions, above all in his final
operas Otello and Falstaff. His version of Macbeth, with a libretto by
Piave, is a much earlier work, first mounted in 1847 in Florence. Macduff, a Scottish
nobleman, learns of the murder of his wife and children on the orders of the regicide
Macbeth, and laments their fate in the romanza Ah, la
paterna mano.
Giacomo Puccini may be seen as the successor to Verdi in
Italian opera. He won his first success in 1884 with the opera Le villi, his second opera, Edgar, was not well
received, but his third, Manon Lescaut, was
greeted with the greatest enthusiasm. La Bohème followed
in 1896, based on Henry Murger's Scenes de la vie de
Bohème. The first staging in Turin was directed by the conductor
Toscanini to a mixed reception. Set in the artists' quarter of Paris, in a garret shared
by an impecunious group of young men, the story deals with the love of the poet Rodolfo
for a young seamstress, Mimi, their neighbour, a love that ends in tragedy. At their first
meeting the hands of the couple meet, and Rodolfo tries to warm Mimi's hand in his, with
his aria Che gelida manina, popularly
translated as Your tiny hand is frozen.
Puccini's last opera, left unfinished at the time of his death,
was Turandot, based on a subject treated by
the eighteenth century Venetian Gozzi and later by Schiller. The Chinese Princess Turandot
will only marry the suitor who can solve the three riddles she propounds, failure being
rewarded by execution. Prince Calaf, son of the deposed King Timur, solves the riddles but
agrees to release Turandot from her promise if she can find out his name before morning.
None shall sleep tonight, the Princess commands, words that Calaf echoes in his famous
aria Nessun dorma.
The opera Tosca
was first performed in Rome in 1900 and is based on a play by Victorien Sardou dealing
with political intrigue, love and persecution by the vicious chief of police, Baron
Scarpia. The artist Cavaradossi is seen at work on a church painting of Mary Magdalene,
based on the beautiful singer Tosca, with whom he is in love. In Recondita armonia,
Strange harmony of contrasts, he compares his painting with a miniature of Tosca herself.
As the tragedy unwinds, Cavaradossi is imprisoned for his complicity in a liberal
political plot and is condemned to death, a fate from which Tosca seeks to save him. In E
lucevan le stelle, The stars were shining, Cavaradossi, with one hour to live, recalls the
past.
In La fanciulla del west,
The Girl of the Golden West, Puccini turned to the American writer David Belasco, whose
play on the subject of Madame Butterfly had earlier impressed him. The story deals with
the love of Minnie and Dick Johnson, alias Ramerrez, a bandit, rescued from hanging in the
nick of time, but only after he has begged his executioners to let Minnie think he has
gone free, in the aria Ch'ella mi credi libero.
Leoncavallo, Puccini's rival,
is remembered chiefly for only one of his ten operas, Pagliacci,
a story of love and jealousy, in which Canio, with his wife Nedda, member of a troupe of
travelling players, learns of her infidelity, but is bound to don the motley and act his
part, in spite of his feelings of anguish. In Vesti la
giubba he expresses his feelings, which in the course of the performance will
lead to the death of Nedda and her lover.
Amilcare Ponchielli wrote some nine operas, of which La Gioconda alone survives in modern repertoire. In
the second act of a complicated plot the hero Enzo, waiting on his boat for an assignation
with Laura, wife of Alvise Badoero, a leader of the Inquisition, stands on deck, admiring,
in Cielo e mar, Sky and sea, the peace of the night and expecting each moment to see his
beloved. The pair have, in fact, been betrayed by the agent Barnaba, but will be
re-united, thanks to the self-sacrifice of La Gioconda, who has also loved Enzo.
Umberto Giordano, like
Puccini and Leoncavallo, is a representative
of operatic realism, verismo, chiefly remembered for his opera Andrea Chenier, first
staged in Milan in 1896. The plot is set in France in the period of the French Revolution,
in which the poet Chenier is condemned to death, a fate in which he is joined by his
beloved Madeleine. In Come, un bel di, the poet awaits his execution.
Puccini's greatest success was the opera Manon Lescaut, based on the novel by the Abbe
Prevost which had also served Massenet for his opera Manon.
The Chevalier Des Grieux persuades Manon, who is about to enter a convent, to elope with
him, frustrating thereby the aims of Geronte, a rich man with whom she is later united,
prefering money to love. Her return to Des Grieux brings about her downfall,
transportation and final death. In the first act Des Grieux expresses his love in Donna
non vidi mai, since he has never seen beauty like hers.
Thomas Harper
The American tenor Thomas Harper was born in Oklahoma but has
made his home in Germany, where he is a member of the Dortmund Opera Theatre. In addition
to a recent highly acclaimed American debut as Mime in Wagner's Der Ring des Nibelungen at the Seattle Opera, he has
won enthusiastic praise for his recording of the role of Fritz in the Marco Polo recording
of Franz Schreker's opera Der ferne Klang,
a milestone in the current revival of operas by Schreker. In Italy, Switzerland and
Germany Thomas Harper has amassed a wide and varied repertoire of some fifty roles,
ranging from the Duke in Rigoletto and Radames in Aida to Anton in Alban Berg's opera Lulu and Gregor in Janacek's The Makropoulos Affair. Other important roles include
that of Florestan in Fidelio, Erik in Der fliegende Hollander and the Witch in
Humperdinck's Hansel und Gretel.
Czecho-Slovak Radio Symphony Orchestra (Bratislava)
The Czecho-Slovak Radio Symphony Orchestra (Bratislava), the
oldest symphonic ensemble in Slovakia, was founded in 1929. The orchestra's first
conductor was Franti?ek Dyk and over the past sixty years it has worked under the
direction of several prominent Czech and Slovak conductors. The orchestra has made many
recordings for the Naxos label ranging from the ballet music of Tchaikovsky to more modern
works by composers such as Copland, Britten and Prokofiev. For Marco Polo the orchestra
has recorded works by Glazunov, Gliere, Miaskovsky and other late romantic composers and
film music of Honegger, Bliss, Ibert and Khachaturian.
Slovak Philharmonic Chorus
The Slovak Philharmonic Chorus has its origin in the Slovak
Radio Chorus started by Ladislav Slovak in 1946. Since then it has developed into a large
professional independent concert ensemble with a considerable reputation both at home and
abroad. The repertoire of the choir ranges from the Baroque to the contemporary and it has
performed with a number of the most distinguished orchestras and conductors in opera,
oratorio and other works. The choir has made frequent guest appearances at major festivals
in Austria, Germany, France, the Netherlands, Italy and elsewhere.
Michael Halasz
Michael Halasz's first engagement as a conductor was at the
Munich Gartnerplatz Theater, where, from 1972 to 1975, he directed all operetta
productions. In 1975 he moved to Frankfurt as principal Kapellmeister under Christoph von
Dohnanyi, working with the most distinguished singers and conducting the most important
works of the operatic repertoire. Engagements as a guest-conductor followed, and in 1977
Dohnanyi took him to the Staatsoper in Hamburg as principal Kapellmeister. From 1978 to
1991 he was General Musical Director of the Hagen opera house and in 1991 he took up the
post of Resident Conductor of the Vienna State Opera.
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