Special Concert to the 471th Birthday of the Sächsischen Staatskapelle Dresden

Ton Koopman Conductor and Cembalo
Robin Johannsen Soprano
Yetzabel Arias Fernandez Sopran
Maarten Engeltjes Altus
Mauro Peter Tenor
Manuel Walser Bass

Johann David Heinichen

  • »La Gara degli dei« (anlässlich 300 Jahre Kurprinzen-Hochzeit in Dresden 1719)

Joseph Haydn

  • Symphonie Nr. 98 B-Dur Hob. I:98

European guests in Dresden

In September 1719, the wedding celebrations of Saxon Elector Friedrich August II and Maria Josepha of Austria turned Dresden into Europe’s unofficial capital for one month. The Court Orchestra (today’s Staatskapelle) played numerous works to mark the occasion, including Heinichen’s »La Gara degli die« (The Competition of the Gods). 300 years later – on its 471st birthday – the orchestra will once again perform this work under the baton of early music maestro, Ton Koopman, who will also sit at the harpsichord for the final movement of Haydn’s 98th Symphony.

  • 22.09.2019
    11:00 Uhr

Ton Koopman

Born in Zwolle (The Netherlands) Ton Koopman had a classical education and studied organ, harpsichord and musicology in Amsterdam. He received the Prix d‘Excellence for both instruments. Naturally attracted by historical instruments and fascinated by the philological performance style, Koopman concentrated his studies on Baroque music, with particular attention to J. S. Bach, and soon became a leading figure in the "authentic performance" movement.

As organist and harpsichordist Ton Koopman has appeared in the most prestigious concert halls of the world and played the most beautiful historical instruments of Europe. At the age of 25, he created his first baroque orchestra; in 1979 he founded the Amsterdam Baroque Orchestra followed in 1992 by the Amsterdam Baroque Choir. Combined as the Amsterdam Baroque Orchestra & Choir, the ensemble soon gained worldwide fame as one of the best ensembles on period instruments. With a repertoire ranging from the early Baroque to the late Classics, they have performed at the Concertgebouw in Amsterdam, Théatre des Champs-Elysées and Salle Pleyel in Paris, Barbican and Royal Albert Hall in London, Musikverein and Konzerthaus in Vienna, Philharmonie in Berlin, Lincoln Center and Carnegie Hall in New York, Suntory Hall in Tokyo as well as in Brussels, Milan, Madrid, Rome, Salzburg, Copenhagen, Lisbon, Munich, Athens, etc.

Among Ton Koopman's most ambitious projects has been the recording of the complete Bach cantatas, a massive undertaking for which he has been awarded the Deutsche Schallplattenpreis "Echo Klassik", the BBC Award, the Hector Berlioz Prize and has been nominated for the Grammy Award (USA) and the Gramophone Award (UK). In addition to the works of Bach, Koopman has long been an advocate of the music of Bach's predecessor Dieterich Buxtehude and following the completion of the Bach project, he embarked in 2005 on the recording of the Buxtehude-Opera Omnia. The edition consists of 30 CDs, the last having been released in 2014. Ton Koopman is President of the International Dieterich Buxtehude Society.

In 2006 he was awarded the Bach-Prize of the City of

Leipzig, in 2012 the Buxtehude Prize of the city of Lübeck, and in 2014 he received the Bach Prize of the Royal Academy of Music in London.

In 2016 he received an honorary professorship with the Musikhochschule Lübeck and became Honorary Artistic Advisor of Guangzhou Opera House. In November 2017 Koopman received the prestigious Edison Classical Award.

In recent years, Ton Koopman has been very active as guest conductor working with the most prestigious orchestras as Berlin Philharmonic, Concertgebouw Orchestra, New York Philharmonic, Munich Philharmonic, Chicago Symphony, Symphonieorchester des Bayerischen Rundfunks, Vienna Symphony, Boston Symphony, Philadelphia and Cleveland Orchestra.

Among his recent engagements are performances of Bach’s B Minor Mass with Berlin Philharmonic Orchestra and St. Matthew Passion with The Concertgebouw Orchestra, followed by concerts with Orchestra Philharmonique de Radio France, Tonhalle Orchestra Zurich, NHK Orchestra Tokyo and Gulbenkian Orchestra Lisbon. In 2018-19, he will return to Deutsches Symphonie-Orchester Berlin, Santa Cecilia Orchestra in Rome, Stockholm Philharmonic, Orchestre National de Lyon, Staatskapelle Dresden and National Orchestra and San Francisco Symphony in the USA. The future will include concerts with Los Angeles Philharmonic, Cleveland Orchestra, DSO Berlin and many others.

Ton Koopman has recorded an enormous number of records for Erato, Teldec, Sony, Deutsche Grammophon and Philips. In 2003 he founded his own label “Antoine Marchand”, a sub label of Challenge Classics. Ton Koopman publishes regularly. He has edited the complete Händel Organ Concertos for Breitkopf & Härtel and recently published new editions of Händel’s Messiah and Buxtehude‘s Das Jüngste Gericht for Carus Verlag.

Ton Koopman is Professor at the University of Leiden, Honorary Member of the Royal Academy of Music in London and artistic director of the Festival “Itinéraire Baroque”. Since 2019 he is president of the Leipzig Bach Archive Foundation.

Robin Johannsen

American soprano Robin Johannsen came to Europe as a young artist with the Deutsche Oper Berlin and joined the company soon after as a soloist. Her roles there included Susanna (Le nozze di Figaro), Norina (Don Pasquale), Oscar (Un ballo in maschera), and Soeur Constance (Les dialogues des Carmélites). After two more years with Oper Leipzig (Gretel, Marzelline, Blonde, Susanna, and Pamina), she began her freelance career in 2008 with a special affinity for the Baroque and Classical repertoires.

In recent seasons, Robin has appeared at Theater an der Wien, Festspielhaus Baden-Baden, Athens’ Megaron, Staatsoper Berlin, Hamburgische Staatsoper, Teatro Regio Torino, Staatsoper Stuttgart, Oper Frankfurt, Vlaamse Opera, Théâtre Royal de la Monnaie, and the Komische Oper Berlin, where roles have included Venere/Giuturna in Steffani’s Amor vien dal destino, the title role in Almira, Isifile in Cavalli’s Giasone, Marzelline in Beethoven’s Leonore, Konstanze in Die Entführung aus dem Serail, Fiordiligi in Così fan tutte, the title role in Telemann’s Emma und Eginhard, and Adina in L’elisir d’amore.

She has a close working relationship with René Jacobs and the Freiburger Barockorchester, and is a frequent guest with Akademie für Alte Musik Berlin, La Cetra Basel, the Internationale Bachakademie Stuttgart, Concerto Köln, Academia Montis Regalis, and Belgium’s B’Rock. She has also collaborated with conductors such as Marin Alsop, Teodor Currentzis, Ottavio Dantone, Antonello Manacorda, Andrea Marcon, Alessandro De Marchi, Raphaël Pichon, Jérémie Rhorer, and Christian Thielemann.

Highlights of Robin’s 2019/2020 season include debuts with Orchestra dell'Accademia nazionale di Santa Cecilia in Haydn’s Schöpfung (Manfred Honeck), with the English Concert in Bach’s St John Passion (Harry Bicket), Orquesta y Coro Nacionales de Espana in Bach’s B Minor Mass (David Afkam), Royal Concertgebouw Orchestra in Schöpfung (Philippe Herreweghe), Wiener Symphoniker in Bach’s Magnificat in D (Philippe Jordan) and at the Semperoper Dresden under Ton Koopman. In North America, she debuts with Philharmonia Baroque Orchestra in Handel’s Judas Maccabeus (Nicolas McGegan) and with the Arion Orchestre Baroque

with Andrea Marcon. Together with Martin Haselböck’s Musica Angelica, she will sing a solo program of works by Handel, Haydn, and Mozart on tour in California and Florida. Future tours include those with the Freiburg Baroque Orchestra, Orchestra of the Eighteenth Century, Akademie für Alte Musik Berlin, La Folia Barockorchester and with RIAS Kammerchor, including a recording for Harmonia Mundi as well as performances at the Halle, Ensecu and Dresden Music Festivals. On the opera platform she sings Marzelline in Beethoven’s Leonore and returns to Staatsoper Unter den Linden Berlin for Purcell’s King Arthur.

Robin Johannsen’s numerous concert engagements have also included performances with the Dresden Philharmonic, OSESP São Paolo, Rundfunk-Sinfonieorchester Berlin, Pygmalion, the Academy of Ancient Music, RIAS Kammerchor, Café Zimmermann, NDR Hannover, Helsinki Philharmonic, Capella Augustina, and Singapore Symphony, as well as at Berliner Philharmonie, Hamburg’s Elbphilharmonie, Concertgebouw Amsterdam, Essen Philharmonie, Gasteig Munich, Konzerthaus Berlin, Lucerne Festival, Paris Philharmonie, the Vatican, Salzburg’s Mozarteum, and Tonhalle Zürich.

In the States, Robin has appeared with the Pittsburgh, Baltimore, Dallas, and Cincinnati Symphony Orchestras. She has also performed at Alice Tully Hall at Lincoln Center and the Philadelphia Kimmel Center, as well as Carnegie Hall and the Oregon Bach Festival. Her ever-growing discography includes recent additions of Telemann Cantatas with Concerto Melante (Deutsche Harmonia Mundi/Sony), the title role in Vinci’s Didone Abbandonata with the Lautten Compagney (for Sony Classical), and Handel’s Parnasso in festa with Andrea Marcon and La Cetra Basel (for Pentatone). She was awarded an Edison Classical Music Award for her performance as Konstanze in Die Entführung aus dem Serail under René Jacobs for Harmonia Mundi. In May 2014, Sony Classical (Deutsche Harmonia Mundi/Sony) released Robin’s first solo disc, ‘In dolce amore,’ a world premiere recording of Baroque arias and cantatas by Antonio Caldara, conducted by Alessandro De Marchi.

Yetzabel Arias Fernandez

Yetzabel Arias Fernandez was born in Havana, Cuba where she started her music studies in cello and piano. Graduated in choral conducting at the Amadeo Roldán Conservatory and singing at the Superior Institute of Art in Havana. She continues her postgraduate studies in Italy, which she took up under the direction of Vincenzo Manno in Milan and Fernando Cordeiro Opa. She has also taken courses in 17th-century Italian music interpretation with Roberto Gini at the Accademia Internazionale della Musica di Milano. Nowadays she is student at Manny Perez Vocal Studio in Miami, Florida.

During those years in Europe she worked with the most distinguished Italian ensembles performing in important venues and halls such as Santa Cecilia concerts season in Rome, Teatre Graslin de Nantes, Societa del Quartetto in Milan, Auditorium G.Verdi in Milan, Konzerthaus in Berlin, Conzertgebouw of Amsterdam, Vienna,  Auditorio Nacional of Madrid, as well as Festivals in Brugges, Cologne, Stuttgart, Melk, Dortmund, Graz, Vienna, Ambronay, Santiago de Compostela, Barcelona, Utrecht, Florence, etc.

Some of her past engagements include Mozart’s C Minor Mass with Opera di Roma’s Orchestra under the direction of Jaap van Zweden, Bach’s Magnificat with RAI Symphonic Orchestra in Turin directed by Helmut Rilling, roll of Rossane in Handel’s “Alessandro” at Badische Theater of Karlsruhe, Germany, roll of Megacle in Pergorlesi’s Olimpiade at Opera Rara Festival (Polish premiere) in Krakow with

Accademia Bizantina, roll of Argene from Pergolesi’s Olimpiade in Jesi with Accademia Montis Regalis, roll of Piacere in ‘Trionfo del Tempo e del Disinganno’ by Handel with La Risonanza and the great Bach’s masterpieces Matheus Passion with Diego Fasolis in Lugano and B Minor Mass with Jordi Savall in Fontfroide and Graz Festivals.

In 2013 she began a wonderful collaboration with Maestro Ton Koopman who has conducted her in Mozart Requiem and Exultate Jubilate with the Hague’s Philharmonic Orchestra, Bach B minor Mass at Leipzig BachFest and Tonhalle of Zurich,  Beethoven’s IX Symphony with Arena di Verona Orchestra,  Bach’s Christmas Oratory in european tournée with Amsterdam Baroque Orchestra and Choir, Mozart’s c minor Mass with Lyon National Orchestra and Bach’s Mathews Passion with Symphony Orchestra of La coruña, Spain.

Mrs. Arias has recorded several CDs and DVDs. Among them Handel’s cantata “Tirsi, Clori e Fileno” which won the important Stanley Prize 2010 in London as the Best Handel’s recording of the year. In 2013 she took part as solist in Cecilia Bartoli’s new CD “Stabat Mater” to EMI.

In 2014, two solos CD’s, featuring Yetzabel Arias Fernandez were released by Naxos and Glossa labels: firstly Tonos Humanos of Manuscript Guerra (Spain XVII Century) and secondly Solo Cantatas by Neapolitan composer Niccolò Jommelli with Stile Galante Ensemble.

Maarten Engeltjes

Dutch countertenor Maarten Engeltjes is associated with both baroque and contemporary repertoire working regularly with Ton Koopman and the Amsterdam Baroque Orchestra & Choir and also with Peter Dijkstra and Nederlands Kamerkoor, while his contemporary credentials include the world premiere of Lera Auerbach’s Dresdner Requiem with the Staatskapelle Dresden under Vladimir Jurowski, Gavin Bryars’ The War in Heaven at the Muziekgebouw aan ‘t IJ, and the role of Adschib in Hans Werner Henze’s L’Upupa und der Triumph der Sohnesliebe as part of the NTR Zaterdagmatinee series at the Concertgebouw Amsterdam under Markus Stenz. Notable concert performances have included Bach’s B minor Mass with Akademie für Alte Musik Berlin conducted by Daniel Reuss, Pergolesi’s Stabat Mater with Concerto Köln, and a European tour with B’Rock Orchestra performing Vivaldi’s Nisi Dominus and Hasse’s Salve Regina. He has performed Händel’s Messiah with the Orchesta of the Accademia Nazionale di Santa Cecilia, in Rome, Bach’s Johannes-Passion with the Münchener Philharmoniker and also with Tonhalle-Orchester Zürich, Bach’s Magnificat with the Bergen Philharmonic Orchestra under Juanjo Mena, and he has given a recital of Handel opera arias with Netherlands Chamber Orchestra at the Concertgebouw, Amsterdam.

Handel opera roles include Bertarido (Rodelinda) at the Via Stellæ

Festival in Santiago de Compostela, Tolomeo (Giulio Cesare) with Capella Cracoviensis, Ottone (Agrippina) with the Combattimento Consort Amsterdam, Mago Christiano (Rinaldo) at Opéra de Lausanne, and Polinesso (Ariodante) conducted by Federico Maria Sardelli at the Festival de l’Opéra Baroque de Beaune. He has performed Meraspe (Cavalli’s Artemisia) with La Venexiana, Creonte (Steffani’s Niobe, regina di Tebe) with Boston Early Music Festival Orchestra, Cherubino (Le nozze di Figaro) for Tokyo Metropolitan Theatre with NHK Orchestra conducted by Michiyoshi Inouem, L’humana fragilità and Pisandro (Monteverdi’s Il ritorno d’Ulisse) with Le Concert d’Astrée conducted by Emmanuelle Haïm, and he gave the world premiere of Rob Zuidam’s opera, Adam in Ballingschap, performing the role of The Angel for Dutch National Opera.

Current season highlights includes Johannes-Passion with Koopman and Amsterdam Baroque Orchestra & Choir, he sings the role of David in Händel’s Saul with the Israel Camerata conducted by Avner Biron and he appears with the Scottish Chamber Orchestra and Peter Dijkstra for a performance of Handel’s Solomon. In addition, Engeltjes continues to give regular peformances of Bach, Vivaldi and Monteverdi with his own ensemble, PRJCT Amsterdam.

Mauro Peter

Der aus Luzern stammende Tenor Mauro Peter studierte Gesang an der Hochschule für Musik und Theater München bei Fenna Kügel-Seifried.

2012 gewann er den ersten Preis sowie den Publikumspreis beim Internationalen RobertSchumann-Wettbewerb in Zwickau. Als Liedsänger feierte er 2012 mit Schuberts „Die schöne Müllerin“, begleitet von Helmut Deutsch, sein von Publikum und Presse umjubeltes Debüt bei der Schubertiade in Schwarzenberg. Seither ist er ständiger Gast in Schwarzenberg und Hohenems und auf allen führenden internationalen Konzertpodien und Opernbühnen zu erleben.

Liederabende gibt Mauro Peter regelmäßig im KKL Luzern, an der Wigmore Hall in London, im Musikverein sowie Konzerthaus Wien, im Musikverein Graz, an den Konzerthäusern in Berlin und Dortmund, in der Kölner Philharmonie, im Pierre Boulez Saal in Berlin, an der Oper Frankfurt und am Opernhaus Zürich, außerdem im Teatro de la Zarzuela Madrid. Konzertengagements führten ihn in die Philharmonie im Gasteig München, in die Royal Festival Hall London, ins Mozarteum Salzburg und zum Festival in Verbier. Ebenfalls regelmäßiger Gast ist er beim Festival de Paques in Aix-en-Provence sowie seit 2012 bei den Salzburger Festspielen, wo er im Sommer 2018 die Rolle des „Tamino“ in der Eröffnungspremiere des Festivals übernehmen wird.

Zu den Dirigenten, mit denen Mauro Peter bislang

zusammengearbeitet hat, gehören Gustavo Dudamel, Sir John Eliot Gardiner, Nikolaus Harnoncourt, Zubin Mehta, Teodor Currentzis, Fabio Luisi, Ivor Bolton, Iván Fischer, Vladimir Jurowski und James Gaffigan.

Seit der Spielzeit 2013/14 ist Mauro Peter Ensemblemitglied des Opernhauses Zürich. Darüber hinaus sang er an der Bayerischen Staatsoper München, an der Mailänder Scala, am Royal Opera House Covent Garden, an der Opéra National de Paris, an der Komischen Oper Berlin, im Theater an der Wien, an der Canadian Opera Toronto sowie an der Opera de Lyon.

Nach einem Live-Mitschnitt der „Schönen Müllerin“ aus der Wigmore Hall erschien 2015 seine Debüt-CD bei SONY Classical mit Goethe-Liedern von Schubert. Ein weiteres Album mit seiner Interpretation der „Dichterliebe“ sowie weiterer Schumann-Lieder wurde 2016 ebenfalls bei SONY Classical veröffentlicht.

Für die Spielzeit 2018/19 folgt Mauro Peter erneuten Einladungen an das Züricher Opernhaus und das Theater an der Wien. Liederabende sind u.a. im Konzerthaus in Wien, bei der Schubertiade, im Münchner Prinzregententheater und im Rahmen der Salzburger Mozartwoche geplant. Im Konzertbereich wird Mauro Peter u.a. in Calgary mit Trevor Pinnock sowie mit Riccardo Muti an der Mailänder Scala arbeiten.

Manuel Walser

Der Schweizer Bariton Manuel Walser studierte Gesang bei Thomas Quasthoff an der Hochschule für Musik »Hanns Eisler« Berlin. Daneben gehören Brigitte Fassbaender, Frédéric Gindraux und Wolfram Rieger zu seinen wichtigsten Mentoren. Er ist Preisträger des Internationalen Wettbewerbs »Das Lied« in Berlin sowie der Stella Maris International Song Competition.

Manuel Walser war bis 2019 für fünf Spielzeiten festes Ensemblemitglied der Wiener Staatsoper. Bei den Salzburger Festspielen debütierte er 2014 als Brutamonte unter Ingo Metzmacher in Schuberts Oper »Fierabras«. Im Januar 2018 gab Manuel Walser sein Debüt an der Berliner Staatsoper Unter den Linden als Harlekin unter Eun Sun Kim. Liederabende führten ihn nach Barcelona, zum Schubert Festival in

Gastein, in die Pariser Philharmonie, die Londoner Wigmore Hall und zur Schubertíada Vilabertran. Er sang beim Lucerne Festival, in der Berliner Philharmonie, im Konzerthaus Berlin, im Wiener Musikverein und bei den Schubertiaden Hohenems und Schwarzenberg. Manuel Walser konzertiert regelmäßig bei der J. S. Bach-Stiftung unter Rudolf Lutz und dem Ensemble Pygmalion unter Raphaël Pichon. Unter Ton Koopman konzertierte er im Amsterdamer Concertgebouw. In der Saison 2019/2020 ist er in mehreren Konzerten im Wiener Konzerthaus zu erleben und gibt darüber hinaus zahlreiche Liederabende in Zürich, Regensburg, Schwarzenberg, Perugia, München, Basel und Madrid.