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Ensemble - Deutsche Oper Berlin

Fabio Sartori

Fabio Sartori

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Fabio Sartori wurde in Treviso geboren und studierte am Conservatorio di Musica Benedetto Marcello in Venedig sowie bei Leone Magiera. Am Teatro La Fenice sang er kleinere Partien, bevor er dann 1995/96 mit dem Rodolfo / LA BOHEME debütierte. Es folgten Auftritte als Percy / ANNA BOLENA in Bologna, in L’OCCASIONE FA IL LADRO und ALL IDEA DI QUEL METALLO in Pesaro, als Pinkerton / MADAMA BUTTERFLY in Florenz und Triest, Carlo di Sirval / LINDA DI CHAMOUNIX in Bologna, als Edgardo in Venedig.

Ein Markstein war seine Interpretation des Macduff unter Riccardo Muti in MACBETH zur Saisoneröffnung des Teatro alla Scala di Milano 1997. In derselben Spielzeit sang er ebenfalls in Mailand unter Muti in Verdis MESSA DA REQUIEM und eröffnete die Spielzeiten der Opernhäuser von Venedig und Bologna. 1998 gab er erstmals zwei wichtige Verdi-Partien: Gabriele Adorno / SIMON BOCCANEGRA unter Daniele Gatti und Don Carlo unter Eliahu Inbal; weitere Erfolge waren die Titel- und Hauptpartien in WERTHER in Venedig und FALSTAFF in Macerata. 1999 kamen LA BOHEME in Bologna, ATTILA in Parma und Genua, OBERTO in Macerata und SIMON BOCCANEGRA unter Claudio Abbado in Berlin hinzu.

2009 kehrte er in Verdis I DUE FOSCARI an das Teatro alla Scala zurück und sang in SIMON BOCCANEGRA in Zürich, Berlin und Wien. Zu seinen jüngsten Engagements zählen u. a. SIMON BOCCANEGRA in Berlin, Mailand, Barcelona und Madrid, ADRIANA LECOUVREUR in Florenz, sowie Verdis MESSA DA REQUIEM im Rahmen einer Tournee der Mailänder Scala nach Buenos Aires. Er sang in ATTILA in Mailand und China, gastierte in Konzerten unter Stabführung von Zubin Mehta zusammen mit dem Orchester des Maggio Musicale Fiorentino in Mumbai, gab am Opernhaus Zürich sein Debüt in I MASNADIERI und sang in NORMA in Las Palmas und in Rom. Während der Feierlichkeiten im Verdijahr 2013 feierte er große Erfolge in OBERTO CONTE DI SAN BONIFACIO am Teatro alla Scala, in AIDA an der Arena di Verona sowie in DON CARLO wiederum in Mailand und Zürich. Es folgten Verdis MESSA DA REQUIEM unter Gianandrea Noseda im Rahmen einer Tournee mit dem Teatro Regio in Turin am Mariinsky Theater in St. Petersburg, sowie die Neuproduktion von TOSCA unter Leitung von Daniel Barenboim an der Staatsoper im Schiller Theater. Als stets gerne gesehener Gast kehrte er in SIMON BOCCANEGRA und AIDA an das Teatro alla Scala unter Leitung von Zubin Mehta zurück.

Zu weiteren Engagements zählen AIDA in Paris und Wien, NORMA an der Deutschen Oper Berlin sowie TOSCA an der Staatsoper im Schiller Theater und nicht zuletzt DER TROUBADOUR und LA BATTAGLIA DI LEGNANO am Teatro alla Scala in Mailand. Zukünftige Engagements umfassen Arrigo / I VESPRI SICILIANI bei den Salzburger Festspielen und Mario Cavaradossi / TOSCA an der Deutschen Oper Berlin.

Schedule

Tosca

Su 15.06.2025 - 17:00 h
Ticket kaufenBuy tickets
Th 19.06.2025 - 19:30 h
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22
DEC

Advents-Verlosung: Das 22. Fensterchen

On 7 March 2025, the first part of Tobias Kratzer's Strauss trilogy, ARABELLA, celebrates its revival as part of our ‘Richard Strauss in March’ weeks, with Jennifer Davis as Arabella , Heidi Stober as Zdenka/Zdenko, Thomas Johannes Mayer as Mandryka, Daniel O'Hearn as Matteo and, as in the premiere series, Doris Soffel and Albert Pesendorfer as the Waldner couple. Today we are giving away our DVD, which will not be available in shops until 14 February 2025. We would like to express our heartfelt thanks to NAXOS for giving us the very special opportunity to put ARABELLA in our lottery pot for you almost eight weeks before the official sales launch.

In today's Advent Calendar window, we are giving away two DVDs of ARABELLA – a lyrical comedy in three acts by Richard Strauss and Hugo von Hofmannsthal. If you would like to win one of the two DVDs, please write an e-mail with the subject ‘The 22nd window’ to advent@deutscheoperberlin.de.

Vienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening. At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto. Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

Richard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day. In the category of stage design, Manuel Braun, Jonas Dahl and Rainer Sellmaier were honoured with the renowned German Theatre Award DER FAUST 2023 for this production.

In this recording, under the baton of Sir Donald Runnicles, you will experience Albert Pesendorfer, Doris Soffel, Sara Jakubiak, Elena Tsallagova, Russell Braun, Robert Watson, Thomas Blondelle, Kyle Miller, Tyler Zimmerman, Hye-Young Moon, Lexi Hutton, Jörg Schörner and others, as well as the chorus and orchestra of the Deutsche Oper Berlin. The performances on 18 and 23 March 2023 were recorded by rbb Kultur and Naxos for this DVD.

We would like to thank the Naxos label for the great collaboration over the past few years, which documents recordings of DER ZWERG, DAS WUNDER DER HELIANE, FRANCESCA DA RIMINI, DER RING DES NIBELUNGEN, DER SCHATZGRÄBER, DIE MEISTERSINGER VON NÜRNBERG and ANTIKRIST. Richard Strauss' ARABELLA and INTERMEZZO will be released in the course of 2025.


Closing date: 22 December 2024. The winners will be informed by email on 23 December 2024. The DVDs will then be sent by post. There is no right of appeal.