“Vergleiche mit Heroen sind stets ungerecht: aber Casals, Rostropowitsch, Harrell oder Maisky haben in Jens Peter Maintz einen ebenbürtigen Kollegen in der neuen Cellisten-Generation”
Nürnberger Nachrichten

17 Jahre lang war die höchste Auszeichnung im Fach Violoncello beim ARD-Wettbewerb in München nicht mehr vergeben worden, bis Jens Peter Maintz 1994 den ersten Preis bei diesem bedeutenden Wettbewerb gewann. Seitdem hat er eine äußerst facettenreiche Konzerttätigkeit entwickelt, die ihn zu einem der vielseitigsten Cellisten unserer Zeit macht. Er sammelte einige Jahre wertvolle Orchestererfahrung als Solocellist des Deutschen Symphonie-Orchesters Berlin und bereiste als Cellist des renommierten Trio Fontenay die Welt. Seit 2006 ist er Solocellist des Lucerne Festival Orchesters unter Claudio Abbado. Seine Solistenkarriere brachte ihn mit Dirigenten wie Vladimir Ashkenazy, Herbert Blomstedt, Marek Janowski, Franz Welser-Möst , Carl St. Clair und Bobby McFerrin zusammen, er musizierte dabei mit Klangkörpern wie dem Radiosinfonieorchester Berlin, dem MDR Sinfonieorchester Leipzig, dem RSO Stuttgart, dem Residenzorchester den Haag und dem Orchester der Komischen Oper Berlin. Neben dem klassischen Repertoire brachte er dabei auch viele Werke zeitgenössischer Komponisten zur Aufführung, so z.B. die Cellokonzerte von Isang Yun, Jan Müller-Wieland und Georg Friedrich Haas.

Jens Peter Maintz ist aber auch ein überaus engagierter und gefragter Kammermusiker. Zu seinen Partnern auf diesem Gebiet zählen so eminente Musiker wie Kolja Blacher, Janine Jansen, Hélène Grimaud, Isabelle Faust, Mikhail Simonyan und Wolfram Christ, außerdem Ensembles wie das Artemis-Quartett, das casalQuartett und das Auryn-Quartett. Zusammen mit Wolfgang Emanuel Schmidt bildet er das Cello-Duo „Cello Duello“.

Jens Peter Maintz trat bei bedeutenden Festivals wie dem Schleswig-Holstein-Festival, dem Lucerne Festival und dem Rheingaufestival auf. Er ist gerne gesehener Gast bei den Kammermusikfestivals in Utrecht, Dubrovnik und Kuhmo.

In der Saison 2010/11 wird Jens Peter Maintz erstmals bei der Kronberg Academy ein Solorecital geben und einen Meisterkurs abhalten. Ferner wird wieder bei der Celloakademie Rutesheim zu Gast sein, mit „Cello Duello“ und der Nordwestdeutschen Philharmonie auf Tournee gehen und als Solist bei den Belgrader Philharmonikern debütieren.

Ähnlich breit gefächert wie sein Repertoire ist auch die Diskographie von Jens Peter Maintz: Seine bei SonyClassical erschienene Debüt-CD mit Werken von Bach, Kodaly und Dutilleux wurde mit dem ECHO-Klassik-Preis ausgezeichnet. Weiterhin legte er eine Aufnahme von Isang Yuns Cellokonzert bei Capriccio und eine CD mit romantischem Repertoire aus dem Tschaikowski-Kreis bei Arte Nova vor. Bei Oehms Classics erschien eine Aufnahme mit Werken des Cellisten/Komponisten Wilhelm Fitzenhagen. Im Frühjahr 2008 veröffentlichte das Label Berlin Classics seine viel beachtete Aufnahme mit den Cellokonzerten von Joseph Haydn, begleitet von der Deutschen Kammerphilharmonie Bremen.

Jens Peter Maintz studierte bei David Geringas und absolvierte Meisterkurse bei Heinrich Schiff, Frans Helmerson, Boris Pergamenschikow und Siegfried Palm. Schon während des Studiums wurde er vielfach ausgezeichnet, so gewann er 1993 den dritten Preis beim Leonard-Rose-Wettbewerb in Washington sowie erste Preise beim Internationalen Cellowettbewerb in Scheveningen und beim Deutschen Musikwettbewerb.

Seit 2004 ist Jens Peter Maintz Professor an der Universität der Künste Berlin.

Jens Peter Maintz spielt ein Violoncello von Vincenzo Ruggeri aus dem Jahr 1696 und eines von Wolfgang Schnabl, gebaut 2005.

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Schon zur Zeit der Entdeckung Amerikas (1492) gab es wohl am Münchner Hof eine „Kantorei“. In den Annalen heißt es, der 1523 berufene Komponist Ludwig Senfl habe sie „reorganisiert“ und ihr einen über München hinausreichenden Namen verschafft. Aus ihnen formierte sich 1530 die Münchner Hofmusik, die Keimzelle für das Bayerische Staatsorchester und den Staatsopernchor. Ich freu mich sehr, dass auf Initiative von Wolfgang Antesberger die alte Tradition der Hofkantorei zu neuem Leben erweckt wird und die Bayerische Staatsoper ihr weitgefächertes musikalisches Programm durch eine hochkarätige A Cappella Chorformation erweitert wird. Ich wünsche der „Münchner Hofkantorei“ viel Erfolg.

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Fabio Luisi was born in Genoa in 1959 and began to play piano at the age of four. Luisi received his diploma exam in piano at the Niccoló Paganini Conservatory in Genoa in 1978. He then continued his piano studies with Antonio Bacchelli and Aldo Ciccolini in Paris. Further Luisi began conducting studies under Milan Horvat at the Musikhochschule
in Graz. Luisi received his conducting diploma with honours in 1983 and took up his first position as an opera coach and conductor at the Graz Opera that same year. In 1984, he made his conducting debut with Cimarosa’s Requiem in Martina Franca. Luisi left the Graz Opera to begin his international career in 1987. In 1989, he debuted in Il barbiere
di Siviglia at the Bayerische Staatsoper Munich, Le nozze di Figaro at the Staatsoper unter den Linden Berlin, and Tosca (which he calls his “fateful opera”) at the Wiener Staatsoper. Since making successful debuts at the aforementioned houses, he has been a regular guest conductor for repertory productions, revivals and new productions. He celebrated his American debut in 2000 with a new production of Rigoletto at Chicago’s Lyric Opera. In 2002, he debuted at the Salzburger Festspiele in a new production of Die Liebe der Danae, followed by a concertante performance of Die Ägyptische Helena that led to an ongoing collaboration with the Sächsische Staatskapelle Dresden. Luisi’s path in the symphonic realm also began in the city where he studied conducting. Th e Grazer Symphonisches Orchester was re-established under his artistic direction in 1990. The second half of the 90s was marked by career building in terms of live concerts, radio recordings
and CD projects, and three orchestras took part in these activities: In 1995, he became Artistic Director and Principal Conductor of the Tonkünstler-Orchester Niederösterreich and in 1996 Artistic Director of the Symphonieorchester des Mitteldeutschen Rundfunks in Leipzig. In 1997 Luisi was appointed Artistic and Music Director of the Orchestre de la Suisse Romande in Geneva. In February 2000, Fabio Luisi made his U.S. debut with the New York Philharmonic. Moreover, beginning in the 2007–08 season, Luisi was appointed Musical Director of the Sächsische Staatsoper Dresden and Principal Conductor of the Sächsische Staatskapelle, following in the footsteps of such figures as Fritz Busch,
Karl Böhm, Josef Keilberth, Rudolf Kempe and Giuseppe Sinopoli. Since 2005 Luisi has been Chief Conductor of the Wiener Symphoniker, beginning in the 2012–13 season, he became Music Director of the Zurich Opera. In September 2011, Luisi has also been appointed as Principal Conductor of the Metropolitan Opera in New York.

A native of Innsbruck, Austrian soprano Eva Lind started her career at the age of 19 with a sensational debut as Queen of the Night at the Vienna State Opera as well as Lucia di Lammermoor in Basel. Since then her important international career has brought her invitations to the major concert- and opera houses around the world. At the Vienna State Opera she also sang Nannetta (Falstaff), Sophie (Der Rosenkavalier), Sophie (Werther), Celia (Lucio Silla), Lucia (Lucia di Lammermoor)

and Adele (Die Fledermaus).
Eva Lind’s appearances have taken her to the leading opera houses in Milan (La Scala), Paris (Theatre des Champs Elysées), London (Royal Albert Hall), New York (Carnegie Hall), Berlin (Staatsoper), Stockholm (Opera House), Buenos Aires (Teatro Colòn), Madrid (La Zarzuela), Amsterdam (Concertgebouw), Shanghai, Hongkong, Bejing, Tokyo, Osaka and many others as well as at the Festivals of Salzburg, Arena di Verona, Glyndebourne, Schubertiade Feldkirch, Festival of Ancient Music in Innsbruck.
Her repertoire includes roles of the Italian bel canto like Lucia (Lucia di Lammermoor), Amina (La Sonnambula), Marie (La Fille du Régiment), Elvira (I Puritani), Violetta (La Traviata) and Gilda (Rigoletto), roles by Mozart and Strauss like Konstanze (Die Entführung aus dem Serail) and Sophie (Der Rosenkavalier) as well as roles from French repertoire such as Juliette (Roméo et Juliette), Manon, Ophélie (Hamlet), Micaëla (Carmen).
Eva Lind has shared the stage with the likes of Luciano Pavarotti, Placido Domingo, José Carreras and Alfredo Kraus. She has become a favourite of conductors such as Riccardo Muti, Claudio Abbado, Sir Georg Solti, Nikolaus Harnoncourt, Sir André Previn, Sir Neville Marriner, Daniel Barenboim, Jeffrey Tate and Seiji Ozawa. Apart from singing opera Eva Lind is also an accomplished concert singer, appearing in Mozart’s Great Mass in C minor, Beethoven’s Missa Solemnis, Haydn’s The Creation, Orff’s Carmina Burana.etc. In her worlwide recitals she sings songs by Mozart, Beethoven, Mendelssohn, Schubert, Wolf, Brahms, Strauss, Liszt, Mahler, Fauré, Satie or Debussy.

Eva Lind regularly appears on German TV where she hosts various music programs. Her extensive discography shows the versatility of the artist. She has released numerous complete opera recordings, ten solo recitals and three DVDs.
„Bijoux“ is her first recording for Solo Musica

Pianist Stephan Matthias Lademann, born in Meißen (Germany), discovered his passion for chamber music and vocal accompaniment during his studies at the Dresden University of Music. He focused on this genre after his escape from the former GDR. Since 1997, Vienna has been Lademann‘s musical home. His close collaboration with Robert Holl in Vienna as given him important artistic impulses. He has also been the artistic partner of Siegfried Jerusalem and has accompanied many other renowned singers such as Diana Damrau, Edita Gruberova, Paul Armin Edelmann, Mathias Hausmann, Sibylla Rubens, Chen Reiss, Günther Groissböck, Daniela Fally, Marlis Petersen and Robert Dean Smith. Together with these artists, Lademann has performed at several renowned international music festivals and important concert venues in Europe and in the Americas.
His recordings include a live recording of the recital with Diana Damrau at the Salzburg Festival 2005; the world premiere of Gustav Mahler‘s cycle „Des Knaben Wunderhorn“ in the original piano version; the first recording of Mahler‘s „The Song of the Earth“ in the version for tenor, baritone and piano; a CD of Italian songs by Schubert and Donizetti with the Israeli soprano Chen Reiss as well as the song cycle „Myrten“ Op.25 by Robert Schumann under the title „Songs and Letters“ with academy award winners Martina Gedeck and Sebastian Koch. Furthermore, Lademann has partnered with actor Ulrich Reinthaller for a recording of Rainer Maria Rilke‘s „Duineser Elegies VI-X“ imbueded with a performance of solo piano works.
Complementing his work as accompanist, the pianist has a great passion for projects that combine poetry with music. Since 2009 he has devoted himself increasingly to musicalliterary projects, collaborating with actors such as Peter Matic, Sophie von Kessel, Ulrich Reinthaller, Angela Winckler, Martina Gedeck and Sebastian Koch.
Stephan Matthias Lademann teaches at the University of Music and Performing Arts in Vienna.

 

The wind ensemble ‘La Scintilla dei Fiati’ is composed of members of Orchestra La Scintilla at Zurich Opera. Having devoted themselves for many years to performing the substantial repertoire for this instrumentation on modern instruments, their desire grew stronger to play these works on period instruments, and thereby to discover and to experience completely new aspects of the music.

Working with luminaries such as Nikolaus Harnoncourt, Thomas Hengelbrock and Giovanni Antonini, which sparked in all musicians a lively enthusiasm for period performance, together with the fact that all players dedicate a significant part of their working lives to chamber music, brought the members of this unique ensemble together.
Through their work, the ensemble aims to revive the extensive, partly neglected, yet wonderful repertoire of a musical form which had such a rich tradition in the courts of Europe in the late 18th century, and in doing so to conjure up the Zeitgeist of the period in the context of our modern world.

Over the years, La Cetra has collaborated with a number of star guest conductors such as René Jacobs, Attilio Cremonesi, Konrad Junghänel, Jordi Savall, Gustav Leonhard and Andrea Marcon, soloists such as Andreas Scholl, Vivica Genaux, Mojca Erdman, Magdalena Kožená, Patricia Petibon, Nuria Rial, Maurice Steger, Giuliano Carmignola and Nicola Benedetti, and choirs such as the RIAS Chamber Choir and Ensemble Orlando Fribourg. It also plays as a chamber ensemble. Since 2009 the conductor, organist and harpsichordist Andrea Marcon has been Artistic Director of La Cetra Baroque Orchestra Basel. In 2012, and upon his initiative, the La Cetra Vocal Ensemble was founded, with whom the orchestra regularly performs.
The explicit philosophy of La Cetra is that the scientific background work and intensive exploration of period instruments, performance practices and historical context should be communicated in lively, gripping, and up-to-date interpretations. For this, La Cetra Baroque Orchestra Basel was awarded the European Prize for Early Music in 2009.