"Thomas Tatzl überzeugt mit seinem sonoren Bass-Bariton in der Titelrolle"
(Kurier / Susanne Zobl, Juli 2024)
"Thomas Tatzl convinces with his sonorous bass-baritone in the title role"
(Kurier / Susanne Zobl, July 2024)
(Foto: Wiener Opernsommer / Anna Stöcher)
Premiere of the Vienna Opera Summer 2024:
A cultural open-air spectacle at Belvedere Park.
July 1st - July 20th, 2024
Finally making my debut in the title role of Don Giovanni. An innovative production with music in the original language and entertaining dialogues in German (with English subtitles).
Debut at the New National Theatre as Dr. Falke in a wonderful production, directed by Heinz Zednik, conducted by Patrick Hahn.
December 2023
CAST
Gabriel von Eisenstein: Jonathan McGOVERN
Rosalinde: Eleonore MARGUERRE
Frank: HATAKEYAMA Shigeru [Updated on 8 Dec]
Prinz Orlofsky: Tamara GURA
Alfred: ITO Tatsundo
Dr. Falke: Thomas TATZL
Adele: Kerstin AVEMO
Dr. Blind: AOCHI Hideyuki
Frosch: Horst LAMNEK
Ida: ITO Hare
Chorus: New National Theatre Chorus
Ballet: Tokyo City Ballet
Orchestra: Tokyo Philharmonic Orchestra
Debut at the Opera Bastille with "Lieder eines fahrenden Gesellen" by Gustav Mahler in the Ballet Production of Maurice Béjart
Conductor: Patrick Lange
Coreography: Maurice Bejart
April-May 2023
The partnership between Maurice Béjart and the Paris Opera lasted for over forty years and provided the institution with more than twenty pieces. In a tribute to this choreographer who died fifteen years ago, the Paris Opera Ballet presents three works initially created during the seventies and which all shine with equal choreographic and musical intensity. Written for two male dancers, Le Chant du compagnon errant is an intimate work to a song cycle by Mahler highlighting all the rigour and grace of Béjart’s language.
Concerts:
11/11/2022 — 20:00
Muziekcentrum De Bijloke | Gent | BE
12/11/2022 — 20:00
Koningin Elisabethzaal | Antwerpen | BE
JOHANNES BRAHMS [1833–1897]
Ein deutsches Requiem op.45
Chen Reiss soprano
Thomas Tatzl baritone
Collegium Vocale Gent choir
Antwerp Symphony Orchestra
Matthew Halls conductor
Miriam Kutrowatz, Sopran
Thomas Tatzl, Bariton
Heinz Ferlesch, Dirigent
Barucco Originalklangorchester
Antonio Salieri: Ouvertüre zu „La Scuola de gelosi“
Joseph Haydn: „Dice benissimo chi si marita" Hob. XXIVb:5 (Einlagearie zu A. Salieris „La scuola de' gelosi")
Domenico Cimarosa: Ouvertüre zu „I Due supposti Conti“
Joseph Haydn: „Infelice sventurata" Hob. XXIVb:15 (Einlagearie zu D. Cimarosas „I due supposti Conti")
Paul Wranitzky: Sinfonie in C-Dur, op. 19 „Krönungssymphonie“
Wolfgang Amadeus Mozart: Ouvertüre, „Non piu andrai“, „Deh vieni non tardar“ & „Cinque, Dieci, Venti” aus „Le nozze di Figaro“ KV 492
Wolfgang Amadeus Mozart: Divertimento KV 138 in F-Dur
Wolfgang Amadeus Mozart: „Der Vogelfänger bin ich ja“ & „Papageno - Papagena: "Pa - Pa - Pa ..." aus „Die Zauberflöte KV 620“
„... ich liebe daß die aria einem sänger so accurat angemessen seÿ, wie ein gutgemachts kleid“: So schrieb einst Wolfgang Amadeus Mozart – und auch sein Freund und Kollege Joseph Haydn war in diesem Sinne ein exzellenter Schneidermeister. Zur musikalischen Hofhaltung des Fürsten Nikolaus I., dem „Prachtliebenden“, gehörte ab 1776 ein laufender Opernbetrieb, den Haydn als Kapellmeister zu betreuen hatte: Das umfasste nicht nur Auswahl, Einstudierung und Aufführung der Stücke, sondern auch das Anpassen an die Esterházy’schen Verhältnisse – Austausch und Neukomposition bestimmter Arien inklusive. Dieses Gala-Konzert mit Ouvertüren und Opernarien, aber auch Instrumentalmusik der klassischen Epoche lässt in jedem Fall den Glanz von anno dazumal aufleben: mit Einlagekompositionen für die Werke berühmter Zeitgenossen wie Antonio Salieri und Domenico Cimarosa, mit einer Sinfonie aus der Feder des Haydn-Freundes Paul Wranitzky zur Krönung des Habsburgers Franz II. zum (letzten) Kaiser des Heiligen Römischen Reiches 1792 in Frankfurt wie auch mit Auszügen aus Mozarts „Le nozze di Figaro“ und der „Zauberflöte“. Gestaltet und präsentiert wird dieses dritte sommerliche Galakonzert nach den erfolgreichen Ausgaben 2020 und 2021 erneut von Heinz Ferlesch und dem Originalklangorchester Barucco.
Inszenierung:
Benedikt von Peter
Musikalische Leitung:
Alessandro De Marchi
What a pleasure to be part of it!
A musical ritual for our age
Johann Sebastian Bach created the ‹St Matthew Passion› as a musical ritual for the faithful of his age. Accounts of suffering, death and resurrection are among the foundations upon which European culture is based. But what does the Passion mean for a diverse society in which Christianity is increasingly losing relevance? At the centre of Benedikt von Peter’s production is a group of children who re-enact the Passion. Orchestra, singers, choirs and audience come together as one large congregation. Singing societies from Basel and the surrounding districts have been invited to support the Theater Basel Choir, and the audience is also invited to sing along.
A coproduction with Deutsche Oper Berlin.
March 2022 – The Rake´s Progress
My Debut as Nick Shadow in The Rake´s Progress
At the height of his art, Stravinsky reconciles with The Rake’s Progress [La Carrière du libertin] tradition and modernity. Tradition in form and in neoclassical writing reminiscent of Mozart’s greatest operas; modernity in this ability to reinvent the lyrical model, give it a dazzling new youthfulness and approach the consumer society with distance and derision.
The director Mathieu Bauer signs his first opera here and situates this plot in the carefree 1950s, jubilantly characterizing each of the characters: Tom Rakewell, anti-hero who squanders an unexpected legacy in gambling and brothels; Anne Trulove who is looking for true love; Nick Shadow, the Tempting Devil; Turkish Baba, the bearded lady… To sublimate this art of contrasts, Grant Llewellyn conducts his Orchester National de Bretagne and the chamber choir Mélisme(s), as well as a cast of soloists who are all Mozartians at heart.
Dates and times
Thursday March 3, 2022 at 8 p.m.
Saturday March 5, 2022 at 6 p.m.
Monday March 7, 2022 at 8 p.m.
Wednesday March 9, 2022 at 8 p.m.
During her creative career, Angelin Preljocaj has enjoyed inspiration from a wide range of sources, including the visual arts, literature, music, politics, and religion, constantly challenging body and movement from observation. of the world and society.
Link:
Choreographer music regularly the central pillar of his work, and this time is the starting point for a score of Franz Schubert: The Winter Journey (Winterreise): a masterpiece for voice and piano that includes 24 songs composed from the poems of Wilhelm Müller in 1824.
The lieder of the Winterreise creates an intimate atmosphere in the manner of a journey through life itself. A kind of conservatory, but in which you can also see the next seasons.
Twelve dancers express the various facets of this character’s personality and moods to the edge of the world. With this creation, premiered at the Teatro alla Scala in Milan in January 2019, Preljocaj’s gesture and vocabulary amplify the excitement of this great cycle by Schubert.
Second recording day done! „Die Fledermaus – La Chauve-Souris“ 🦇 Singing Dr. Falke in the TV-production of „Die Fledermaus“ by Johann Strauss tonight – the first time without mask (after a negative PCR test) after rehearsing more than one month in Rennes. Looking forward to seeing the faces of my colleagues 😷 😃 Toi Toi Toi! Picture by Laurent Guizard
Location: The Accademia Nazionale di Santa Cecilia in Rome Link concert Date: 5th March 2021 at 20:30 Live-Streaming on Raiplay and Live on Rai Radio 3 Orchester and Chor Accademia Nazionale di Santa Cecilia Conductor Antonio Pappano Sopran Chen Reiss Bariton Thomas Tatzl
