Adam Fischer & Dorottya Láng & Miklós Sebestyén
“La fedeltà premiata” – Ouvertüre Hob. XXVIII:10
Sinfonie Nr. 97 C-Dur Hob I:97
“Herzog Blaubarts Burg” – Oper in einem Akt
Adam Fischer - Conductor
Adam Fischer is together with his brother Ivan Fischer, one of the renowned conductors of his generation. Born in Budapest, he founded the Austro-Hungarian Haydn Philharmonic in 1987, which includes musicians from both his home countries, Austria and Hungary. At the same time, he founded the Haydn Festival Eisenstadt, where an international centre for Haydn cultivation has existed ever since.
Whether in Bayreuth, at the Metropolitan Opera or La Scala in Milan, whether with the Vienna or the Berlin Philharmonic, the Orchestra of the Age of Enlightenment or the Salzburg Festival: Adam Fischer is appreciated by audiences and musicians alike as a bridge builder between the world of music and the society in which we live. He acquired his profound understanding of opera and his unusually broad repertoire in classical career steps from répétiteur (Graz) to general music director (Freiburg, Kassel, Mannheim and Budapest). In 1978 he took over the “Fidelio” conducting at the Bavarian State Opera for Karl Böhm and celebrated his international breakthrough. Since then he has been a guarantor for gripping opera evenings at all the world’s great houses. He is most closely associated with the Vienna State Opera, which made him an honorary member in 2017. In addition, he still regularly provides impressive opera evenings and concerts in Budapest, especially during the International Festival there. Adam Fischer will make his debut with the RSB in 2023.
Dorottya Láng - Mezzo-soprano
Dorottya Láng was born in Budapest and studied at the University of Music and Performing Arts in Vienna. In 2011 she won 3rd prize at the Wigmore Hall/ Kohn Foundation International Singing Competition in London, and in 2013 she won the sponsorship prize at the Emmerich Smola Competition in Landau. From 2012 to 2014 the mezzo-soprano was an ensemble member of the Vienna Volksoper, in 2014/2015 she moved to the Nationaltheater Mannheim, and from 2015 to 2018 the Hamburg State Opera was her artistic home. Her repertoire includes roles such as Cherubino (Mozart, “Le nozze di Figaro”), Dorabella (“Così fan tutte”), Octavian (Strauss, “Der Rosenkavalier”), Angelina (Rossini, “La Cenerentola”), Marguerite (Berlioz, “La damnation de Faust”), Orlofsky (Strauss, “Die Fledermaus”), Hansel (Humperdinck, “Hansel and Gretel”), Varvara (Janáček, “Káťa Kabanová”), Hermia (Britten, “A Midsummer Night’s Dream”). She will make her debut at the Hungarian State Opera in 2022/2023 as Rosina (Rossini, “Barbiere di Siviglia”), Idamante (Mozart, “Idomeneo”) and as the Composer (Strauss, “Ariadne auf Naxos”).
Dorottya Láng has made guest appearances at the Deutsche Oper am Rhein, the Latvian National Opera, Malmö Opera and the RuhrTriennale, among others. Concerts have taken her, for example, to the Vienna Musikverein, the Vienna Konzerthaus, London’s Wigmore Hall and the Elbphilharmonie Hamburg.
She is also regularly active in the Lied scene and has worked closely with pianists such as Helmut Deutsch and Julius Drake. With the role of Judith in Béla Bartók’s “Duke Bluebeard’s Castle”, she made her scenic debut at the Deutsche Oper am Rhein and Theater Hagen in the 2021/2022 season. She also made her debut as Cenerentola at the Latvian National Opera. She performed as Adriano (Wagner, “Rienzi”) in June 2022 as part of the renowned Budapest Wagner Days with Marc Albrecht on the podium. In the 2022/3023 season she returns to the Vienna Musikverein with the Vienna Symphony Orchestra. She will appear for the first time in autumn 2022 with the Rundfunk-Sinfonieorchester Berlin (RSB) as Judith.
Miklós Sebestyén - Baritone
Miklós Sebestyén was born in Budapest. Trained in various instruments such as flute, guitar and piano in his early years, he eventually decided to make singing his profession. He studied with Prof. László Polgár in Zurich and Prof. Josef Loibl in Munich. After his success at the Belvedere Competition in Vienna in 2010, he sang at opera houses such as the Metropolitan Opera in New York, La Scala in Milan, the Teatro Real in Madrid, the Bavarian State Opera, Covent Garden London, the Zurich Opera House, the Bregenz Festival, the Royal Opera in Copenhagen and Oslo, the Bolshoi Theater in Moscow, the Welsh National Opera, the Theater an der Wien and others.
Among his most important roles are Mozart’s Figaro, Leporello, Osmin, Sarastro, Don Alfonso; Rossini’s Mustafa (“L’Italiana in Algeri”), Don Magnifico (“La Cenerentola”), Mosé (“Mosé in Egitto”), Bartók’s Duke Bluebeard, Dosifei (Mussorgsky, “Khovanshchina”) Seneca (Monteverdi, “L’Incoronazione di Poppea”), Pizarro (Beethoven, “Fidelio”) Vodnik (Dvorák, “Rusalka”), Prince Gremin (Tchaikovsky, “Eugene Onegin”), Verdi’s Sparafucile (“Rigoletto”), Banco (“Macbeth”) Padre Guardiano (“La Forza del Destino”), Kothner (Wagner, “Meistersinger”), Celio (Prokofiev, “The Love for Three Oranges”), et al. a.
He made an international name for himself with numerous oratorios by J. S. Bach, Mozart, Handel, Haydn, Beethoven, Paul Ben Haim, Stravinsky; and songs by Schubert, Schumann, Brahms, Wolf and Mussorgsky.
He has worked with conductors and directors Riccardo Chailly, Ádám Fischer, Fabio Luisi, Lorin Maazel, Carlo Rizzi, Ulf Schirmer, Robert Carsen, Kasper Holten, David Pountney, Philippe Arlaud, Giancarlo del Monaco, Peter Konwitschny and others.
In October 2022, he will make his debut with the Rundfunk-Sinfonieorchester Berlin (RSB) with Béla Bartók’s “Duke Bluebeard’s Castle.”
The heart is a pit of murder
Adam Fischer comes to the RSB for the first time and has Hungarian music in his luggage. Yes, Haydn is also a must! Then Bartók, the man-woman drama “Bluebeard’s Castle”. Bluebeard’s castle – according to the lyricist Balázs – is not a real fortress made of stone: it is Bluebeard’s soul. Consequently, it does not need the “mighty Gothic hall” that Balázs nevertheless imagined, blood everywhere: on executioner’s axes, golden jewellery and rose stems. Today, this seems like kitsch on the verge of the ridiculous. So what could be more natural than to perform Bartók’s magnificent music for the psychoanalytical chamber play in the concert hall? “This work is a masterpiece, a compressed tragedy, a musical volcano that erupts for sixty minutes and leaves us with only one wish: to hear the whole thing again.” (Zoltán Kodály)
Concert introduction: 19.10 Uhr, Südfoyer, by Steffen Georgi
“Don Quixote” – An adventurous tale of heroes
Moderated rehearsal with Vladimir Jurowski
in cooperation with Südddeutsche Zeitung