Günther Groissböck

When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss' score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz, chief conductor at the Konzerthaus Berlin, conducts the Orchester der Oper Zürich.

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It is about nothing less than love. This is what the Wartburg singing community asks for, and this is what Tannhäuser also seeks: he finds almost endless lust with the goddess of love Venus, and hopes to attain bliss with the "pure" Elisabeth. In his vacillation between satisfaction and renunciation, between guilt and protest, in being torn between fulfillment and exaltation, he corresponds entirely to the grammar of the Romantic age - and still speaks directly to us today.

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Production Bayreuth 2024. There is no arrival in Tristan and Isolde, only the longing for the unattainable, for the place “where the end of deception promised me my heart”. Two people who strive to fall out of the roles ascribed to them, to escape the supposed lies of the day. Two people suffering from life, whose declaration of love consists of wanting to restore a moment that has irretrievably passed. Two nocturnal devotees who, in their regressive desire to be uplifted and completely abandon themselves, lose touch with reality and who, in their desire to abandon their ego to another and escape their own history, ultimately fail themselves. “To long to die, not to die of longing.”

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Monika Donner is a transsexual elite soldier, a front figure for gender rights and an author celebrated by the political right-wing. She, who was once a he, quickly becomes a lone fighter between the ideological fronts.

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A dream cast assembles for Strauss’s grand Viennese comedy. Soprano Lise Davidsen is the aging Marschallin, opposite mezzo-soprano Isabel Leonard as her lover Octavian and soprano Erin Morley as Sophie, the beautiful younger woman who steals his heart. Bass Günther Groissböck returns as the churlish Baron Ochs, and baritone Markus Brück is Sophie’s wealthy father, Faninal. Maestro Simone Young takes the Met podium to oversee Robert Carsen’s fin-de-siècle staging.

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Wagner’s soaring masterpiece makes its triumphant return to the Met stage after 17 years. In a sequel to his revelatory production of Parsifal, director François Girard unveils an atmospheric staging that once again weds his striking visual style and keen dramatic insight to Wagner’s breathtaking music, with Music Director Yannick Nézet-Séguin on the podium to conduct a supreme cast led by tenor Piotr Beczała in the title role of the mysterious swan knight. Soprano Tamara Wilson is the virtuous duchess Elsa, falsely accused of murder, going head to head with soprano Christine Goerke as the cunning sorceress Ortrud, who seeks to lay her low. Bass-baritone Evgeny Nikitin is Ortrud’s power-hungry husband, Telramund, and bass Günther Groissböck is King Heinrich.

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Max, a young hunter, must win a shooting competition to claim the hand of his beloved Agathe. But on the eve of the competition, seemingly having lost all shooting prowess, Max allows himself to be convinced by his rival Kaspar to make a pact with the devil to use seven magic bullets which never miss their target. Wagner said that Carl Maria von Weber’s early-Romantic gem was the most German of German operas. With touches of the eerie supernatural, Der Freischütz is an irresistible mix of colourful folklore, tender romance, and a passionate struggle between good and evil - all captured in Weber’s tuneful and dramatic score. Successful Russian theatre, opera and film director Kirill Serebrennikov makes his debut in Amsterdam. In his approach to the opera, the struggle for success is transposed from the world of hunters and that of artists.

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In its most ambitious effort yet to bring the joy and artistry of opera to audiences everywhere during the Met’s closure, the company presented an unprecedented virtual At-Home Gala, featuring more than 40 leading artists performing in a live stream from their homes all around the world.

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André Heller is staging "Der Rosenkavalier" (his first opera production) at the Berlin State Opera. The story of a young nobleman caught between two women in Maria Theresa's Vienna is full of bold twists and fantastic entanglements. And as if made for an imaginative realization with all the means of modern theater. André Heller can rely on a first-class ensemble... André Heller is a chansonnier, actor, circus founder, vaudeville maker and stager of spectacles in which a variety of genres are combined with exuberant fantasy. In Berlin, Heller follows in the footsteps of Max Reinhardt, who ruled the Berlin stages at the beginning of the 20th century and revolutionized the theater with a multitude of innovations. Reinhardt also staged the world premiere of "Der Rosenkavalier" in 1911. It will be interesting to see how today's multimedia genius deals with the legacy of the great theater genius of yesteryear.

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Soprano Christine Goerke plays Brünnhilde, Wotan’s willful warrior daughter, who loses her immortality in opera’s most famous act of filial defiance. In this Live in HD transmission of Die Walküre, the second and most popular installment in the composer’s sweeping tetralogy, Goerke is joined by bass-baritone Greer Grimsley as Brünnhilde godly father, Wotan, and mezzo-soprano Jamie Barton as his unbending wife, Fricka. As the incestuous lovers Siegmund and Sieglinde, soprano Eva-Maria Westbroek and tenor Stuart Skelton—alongside bass Günther Groissböck as Sieglinde’s bloodthirsty husband, Hunding—round out the principal cast. And on the podium, Maestro Philippe Jordan conducts Robert Lepage’s innovative staging, which uses state-of-the-art stage technology to tell Wagner’s mythic tale.

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The high-point of the 2017 Bayreuth Festival, Barrie Kosky’s astonishingly entertaining and convincing new Meistersinger is a triumph: a production of enormous insight and great quality... that plumbs the depths of both the opera and its composer.

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In his new production, Robert Carsen places the action at the end of the Habsburg Empire, underscoring the opera’s subtext of class and conflict against a rich backdrop of gilt and red damask

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Frank Castorf revolutionised German-language theatre in the post-Berlin Wall era, bringing to the stage intellectual and political acuteness, brash references and a not infrequent use of crude humour. He brought these qualities to the Bayreuth Festival where his production of the Ring ran from 2013 to 2017. This 2016 recording of Das Rheingold captures Marek Janowski's festival debut as conductor of this unique production, in which Castorf replaces the Rheingold with oil as the central commodity in a pre-capitalist society. The first night of the Ring cycle begins at a gas station off of Route 66, the main road connecting the East and West coasts of the USA, that played an important role in commerce in the 1920s.

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Tony Award winner Bartlett Sher’s bold new production probes the psychological underpinnings of Verdi’s dynamic setting of Shakespeare’s great tragedy. At the helm of this performance is riveting conductor Yannick Nézet-Séguin, who brings out all the cascading emotions in Verdi’s turbulent score. Aleksandrs Antonenko is the Moor Otello, the triumphant general of the Venetian army who is ultimately brought down by the sly insinuations of his friend Iago (Željko Lučić). Sonya Yoncheva continues to win fans as Desdemona, Otello’s faithful and long-suffering wife. With Günther Groissböck as Lodovico and Dimitri Pittas as Cassio.

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Met Music Director James Levine leads this Live in HD presentation of Wagner’s early Romantic opera, starring Johan Botha in the title role of the minnesinger torn between earthly passion and true love. Eva-Maria Westbroek is Elisabeth, whose unswerving devotion redeems Tannhäuser’s soul, and Peter Mattei sings Wolfram, his faithful friend. Michelle DeYoung as the love goddess Venus and Günther Groissböck as Landgraf Hermann complete the cast. Otto Schenk’s classic production was the first of his acclaimed Wagner stagings at the Met.

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With their “musical comedy” in the spirit of Mozart, Richard Strauss and his brilliant librettist Hugo von Hofmannsthal created the most popular of all their works and one of the most frequently performed operas of all time. Disguised as a refined comedy, light as a feather and extremely entertaining, “Der Rosenkavalier” tackles universal themes such as love, sexuality, marital fidelity, and the changes that human relationships undergo over time. All set to music of the most sumptuous kind. With its prestigious cast under the inspired direction of Harry Kupfer, the 2014 Salzburg Festival production of *Der Rosenkavalier* was one of the most internationally acclaimed interpretations of the work since the start of the new millennium.

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Live from Munich June 2014. Guillaume Tell , in a new production by 30-year-old Wunderkind stage director Antú Romero Nunes, opens this year’s Munich Opera Festival with an orgy of fabulous singing.

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In Trelinski's timeless production he leads a superb, first-class young cast headed by Artur Ruzinski as Onegin and Kristīne Opolais as Tatyana. Mariusz Trelinski, Polish filmmaker and theater director, has created a series of dream-like, surrealist tableaux of great suggestive beauty.

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A legend of mermaids, mere mortals, and sylvan glades. Be transported to a mystical world of water sprites, witches, and wood nymphs. In exchange for love, Rusalka will relinquish not only her mermaid magic, but also her voice.

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From the Gran Teatre del Liceu - one of the great Wagner singers of our time in the lead role, Peter Seiffert is a nimble, youthful-voiced Tannhäuser He plays alongside Petra Maria Schnitzer as Elisabeth. As the goddess of love, Elisabeth’s counterpart Venus is portrayed by the stunning Béatrice Uria-Monzon. Sebastian Weigle, the Liceu’s principal conductor, gives a performance that the Spanish daily ABC wrote is “full of vitality and visibly inspired“heldentenor Peter Seiffert ruled the stage as the troubled artist. His duet with Elizabeth and his Rome narration were emotionally potent.” --Opera News

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From the Queen of the Night's vocal pyrotechnics to Papageno's chirpy birdsongs, The Magic Flute is one of Mozart's most charming and engaging operas. However, its fairytale surface conceals the mysteries of an initiation ritual and a multi-layered plot, packed with allegories to fire up the imagination. This celebrated production by artist William Kentridge joyfully bursts onto the stage of Teatro alla Scala in Milan, featuring the dazzling Russian coloratura Albina Shagimuratova as the Queen of the Night, and Italian bass Alex Esposito as Papageno, one of the most sought-after artists of his generation.

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Rusalka is not a happily tragic fairy tale. Rusalka’s lake is a dark, damp cellar, where she is imprisoned with her sisters by her abusive father. But once she finally escapes, she is thrown mute and alone into an equally brutal world where she is utterly unequipped to survive, and he increasingly looks like a protector.

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Schubert Opera composed in 1823 but not performed until 1988. It is set in a medieval world and based on La Chanson de Roland and the legend of the love between Eginhard and Emma. Live performance from 2007 at the Opernhaus Zürich.

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Mozart's opera telling the story of the King of Crete who returns from Troy to find his his son in love with the daughter of the slain Paris, King of Troy. Conducted by Sir Roger Norrington and performed by Ramon Vargas, Magdalena Kozena, Anja Harteros and Ekaterina Siurina.

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The Zurich Opera presents a stunning new production of Verdi’s most popular, most spectacular work. Responding superbly to the role, Swedish soprano Nina Stemme – she of the richly clear voice – offers an Aida vibrant with love and emotion. Heading a magnificent cast, she makes a poignant couple with talented tenor Salvatore Licitra as Radamès. Luciana d’Intino is nothing less than brilliant in the role of Aida’s rival Amneris and Juan Pons imbues his Amonasro with enormous humanity. Conducting the Zurich Opera orchestra and chorus, Adam Fischer brings out all the score’s musical and dramatic majesty.

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Faust - a lonely scholar, despairing of life, who has so far failed to discover its highest meaning - is given a book on black magic from three mysterious students from Cracow. When Mephistopheles appears and proposes a pact with Faust, the two of them set off together on a (dream) journey. Doktor Faust remained a fragment at the time of the composer's death. Busoni died in 1924, unable to complete what he himself described as his "state masterpiece" - an opera to which he had a deep personal attachment. The missing scenes from the score were completed by his pupil, Philipp Jarnach, whom Busoni had become acquainted with during his period in exile in Zurich. In this form the opera was given its first performance in Dresden in 1925. Then in the 1980s the conductor Anthony Beaumont came across previously undiscovered sketches by Busoni and produced a new version of Doktor Faust. The current recording uses the Jarnach score.

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This is an effective staging, though the set looks medieval and the costumes are modern. It’s well paced, well played, well sung. Jonas Kaufmann is an ideal Tito. His voice is not only beautiful and flexible, it’s also ample, retaining warmth and sweetness when he sings out. The character of Tito is too good to be true, but Kaufmann makes him intense, noble, and beliveable. Vesselina Kasarova is riviting as Sesto. Her voice is gorgeous and multi-colored, her technique exquisite, her immersion in the role complete.

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Nikolaus Harnoncourt is the conductor in this 2004 production of Beethoven's only opera staged at the Zurich Opera House. Finnish soprano Camilla Nyland takes the title role, with performances by Jonas Kaufmann, Laszlo Polgar and Alfred Muff.

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