Soloist - Bass
Philipp Meierhöfer
Zitat einfügen oder Element löschenIf I weren’t a singer, I’d have become a carpenter. My father was a master carpenter.
In the Ensemble of the Komische
Oper Berlin since 2012.
ORIGINALLY FROM
born in Bavaria
lives in Weimar / Thuringia
STUDIES
Hochschule für Musik Würzburg (with Leandra Overmann)
Oper Berlin since 2012.
ORIGINALLY FROM
born in Bavaria
lives in Weimar / Thuringia
STUDIES
Hochschule für Musik Würzburg (with Leandra Overmann)
DVD and CD
Der Kobold von Siegfried Wagner
IMPORTANT CONDUCTORS
Enrique Mazzola
Yakov Kreizberg
Johannes Harneit
Enrique Mazzola
Matthias Grünert
IMPORTANT DIRECTORS
Peter Konwitschny
Anthony Pilavachi
Karsten Wiegand
Dietrich Hilsdorf
Barrie Kosky
PREVIOUS ENGAGEMENTS
Landestheater Coburg
Staatstheater Hannover
Deutsches Nationaltheater Weimar
EXCURSIONS
Oper Bonn
Oper Lübeck
Semperoper Dresden
IMPORTANT PARTS AT THE KOMISCHE OPER BERLIN
Athlete (American Lulu)
Bill (Aufstieg und Fall der Stadt Mahagonny)
Masetto (Don Giovanni)
Colline (La Bohème)
Orlik (Mazeppa)
Colline (La Bohème)
Gandharta, Feldherr des Poros (Poros)
Graf Oscar (Blaubart)
Papageno (Die Zauberflöte)
Celio (Die Liebe zu drei Orangen)
Le Premier Ministre (Cendrillon - Aschenputtel)
Sarastro (Die Zaubermelodika)
Kálmán Zsupán (Der »Zigeuner«baron)
IMPORTANT PARTS ELSEWHEREDr. Baculus (Der Wildschütz)
Leporello (Don Giovanni)
Figaro (Die Hochzeit des Figaro)
Papageno (Die Zauberflöte)
Mefistofeles (Margarete)
1. Which opera character have you learnt the most from (and what)?
I believe that all opera characters share the same goal as any person who wants to convey a message.
Regardless of whether the character’s goals are noble or wicked, my aim – and this is a constant learning process – is to convey the character’s aspirations honestly to the audience, as if the person were doing this for the first time, that is, without the weeks of rehearsals we all go through to get there.
2. What do you sing when no one is listening?
Nothing that’s pleasant. Not even for my family or my own ears.
3. What profession would you have today if you hadn’t become a singer?
I’d probably be a banker; that’s what I was before I became a singer. It’s a bit like opera, after all...
4. Which artistic experience changed everything for you?
I joined the Windsbach Boys’ Choir as a soprano when I was 10. Until then, music hadn’t played a role in our home. The sense of community at boarding school and the shared experience of performing in concerts changed everything for me. Without all those experiences, my life would certainly have turned out differently.
5. What do you do after the performance?
Shower, relax, and – if rehearsal is at 10 the next day – off to bed quickly.
I believe that all opera characters share the same goal as any person who wants to convey a message.
Regardless of whether the character’s goals are noble or wicked, my aim – and this is a constant learning process – is to convey the character’s aspirations honestly to the audience, as if the person were doing this for the first time, that is, without the weeks of rehearsals we all go through to get there.
2. What do you sing when no one is listening?
Nothing that’s pleasant. Not even for my family or my own ears.
3. What profession would you have today if you hadn’t become a singer?
I’d probably be a banker; that’s what I was before I became a singer. It’s a bit like opera, after all...
4. Which artistic experience changed everything for you?
I joined the Windsbach Boys’ Choir as a soprano when I was 10. Until then, music hadn’t played a role in our home. The sense of community at boarding school and the shared experience of performing in concerts changed everything for me. Without all those experiences, my life would certainly have turned out differently.
5. What do you do after the performance?
Shower, relax, and – if rehearsal is at 10 the next day – off to bed quickly.