Karl Amadeus Hartmann

Symphony No. 4

Felix Mendelssohn-Bartholdy

Symphony No. 2 Lobgesang

Alexander Liebreich
Conductor
Münchener Kammerorchester
RIAS Kammerchor
Lydia Teuscher
soprano I
Katharina Persicke
soprano II
Maximilian Schmitt
Alexander Liebreich

Alexander Liebreichhas proven himself to be one of the most avid conductors of his generation. Having only assumed the position of Principal Conductor of the Polish National Radio Symphony Orchestra in Katowice in 2012, he has already received widespread recognition in Poland for reinventing the sound and programming of this tradition-steeped orchestra. Liebreich has also been Chief Conductor of the Munich Chamber Orchestra from 2006 until 2016: under his leadership, the orchestra has made tremendous strides through the development of new concert formats. In the same way, South Korea’s Tongyeong International Music Festival (TIMF) – which Liebreich led from 2011 to 2014 – has also benefited greatly from this spirit of renewal. In May 2016 the new concert hall in Katowice hosted the festival Katowice Kultura Natura under the artistic guidance of Alexander Liebreich for the second time.

Liebreich continually unearths new perspectives through his sleek, distinct and deft approach. He is equally aware of the historical, political and social dimensions of music: it is one’s responsibility towards the future to portray the present. Vocal music has always played a prominent role in Alexander Liebreich’s career. Born in Regensburg, Liebreich was steeped in the choir tradition of his hometown at an early age. In addition to conducting, he studied voice with the goal of being able to focus on both Romance philology and music history. Liebreich has conducted many renowned orchestras: he recently made his debut at such venues as the Musikverein in Vienna, Suntory Hall in Tokyo and Cité de la Musique in Paris.


Münchener KammerorchesterUnusually creative programming and ever greater sonic homogeneity: more than 60 years after it was founded, the Münchener Kammerorchester (MKO) is a shining beacon in German orchestral life. Under the Artistic Direction of  Alexander Liebreich, the MKO’s programmes – inspired, exciting and often surprising – juxtapose works from the past with music from our own time.

The MKO has presented over 70 world premieres since former Artistic Director Christoph Poppen established its unmistakably dynamic profile in the 90s. Composers such as Iannis Xenakis, Wolfgang Rihm, Tan Dun, Chaya Czernowin, and Jörg Widmann have written works for the ensemble, and since 2006 the MKO has commissioned pieces from Erkki-Sven Tüür, Thomas Larcher, Nikolaus Brass, Samir Odeh-Tamimi, Klaus Lang, Mark Andre, Peter Ruzicka, Márton Illés, Georg Friedrich Haas, Tigran Mansurian, and Salvatore Sciarrino.

Able to draw on a permanent pool of outstanding wind and brass soloists from Europe’s finest orchestras, the MKO, in the form of a “slim” symphony orchestra, can set new standards in the interpretation of some of Beethoven’s and Schubert’s most important works. Renowned guest conductors and a phalanx of outstanding international soloists regularly provide new artistic impulses.

The MKO plays its own concert series (the subscription series in the Munich Prince Regent’s Theatre and the Nachtmusik in the Pinakothek der Moderne, concerts each dedicated to a composer of the 20th or 21st century) as well as special concerts in Munich, and is presenting a further sixty concerts each year all over the world. Many recordings of the Munich Chamber Orchestra have been published by ECM Records, the Deutsche Grammophon and Sony Classical.


RIAS KammerchorThe RIAS Kammerchor (RIAS Chamber Choir) has an artistic profile which is unmistakeable in its rich diversity and is received with enthusiasm all over the world. Among professional choirs, the RIAS Kammerchor is a pioneer in the area of historical performance practice. Since its foundation in 1948 by RIAS (Radio in the American Sector), it has also been exemplary in promoting music of the modern era and the present day. Within the context of the tension between these areas, the choir’s interpretations of works from the classical and romantic repertoires have acquired intensive musical speech with clarity of depth. Since 2007, Hans-Christoph Rademann has been creating new emphases in the development of the choir’s sound and repertoire.

In 2013, RIAS Kammerchor was awarded the Nachtigall (Nightingale), the honorary prize of the Preis der deutschen Schallplattenkritik (German Record Critics’ Award). Three years earlier, it was named one of the world’s ten best choruses by Gramophone in the UK.
The RIAS Kammerchor is an ensemble of Rundfunk Orchester und Chöre GmbH (roc berlin.) The shareholders are Deutschlandradio, the Federal Republic of Germany, the City State of Berlin, and the Rundfunk Berlin-Brandenburg broadcasting station.


Lydia Teuscherwas born in Freiburg, Germany, and studied at the Welsh College of Music and Drama and at the Hochschule für Musik in Mannheim. Early appearances include the Göttingen Handel Festival, the Stadttheater in Heidelberg, and the Nationaltheater Mannheim.

On the concert platform, she has sung with Graham Johnson in recital in London, Cologne, and Antwerp; with the Bachakademie Stuttgart/Helmuth Rilling, at the Ludwigsburger Festspiele, the Hamburg Camerata, the Barockorchester L’Arco, the Fronteras Festival London and The Sao Paolo Roberto Monczuk Festival. She has appeared with the Hannover Band in Brighton and London, with the Gürzenich Orchester, Cologne/Markus Stenz, with the Royal Concertgebouw Orchestra/Sir Roger Norrington, with Double Bande /René Jacobs (with whom she has also recorded Telemann’s Brockes Messe).

In September 2006, she joined the Semperoper/Sächsische Staatsoper in Dresden as a resident artist where her roles included Pamina, Susanna, Annchen, Valencienne and Gretel. She has since appeared with the Bavarian State Opera as Pamina and as Ighino in the new production of Palestrina; at the Glyndebourne Festival as Gretel, Susanna and Cherubino; at the Aix-en-Provence Festival and the Salzburg Mozartwoche with René Jacobs; at the Deutsche Staatsoper Berlin as Pamina; and most recently at the Saito Kinen Festival (with Seiji Ozawa) as Cherubino.

Recent concert engagements include J.C Bach’s Lucio Silla with Ivor Bolton for the Salzburg Mozartwoche, Haydn’s Paukenmesse with the BBC Scottish Symphony Orchestra/Labadie, Bach’s B Minor Mass with Arcangelo/Jonathan Cohen, and Handel’s Aci, Galatea e Polifemo with Le Concert d’Astrée/Emmanuelle Haïm. Engagements this season include a tour of Vivaldi and Bach Magnficats with Il Giardino Armonico, and concerts with the San Francisco Symphony/Labadie.


Katharina Persickestudied in Dresden and Freiburg/Breisgau where she graduated with honors with a Master’s Degree in vocal performance. She has participated in master classes with KS Professor Peter Schreier, Dietrich Fischer-Dieskau, Julia Varady and Catherin Malfitano. Since 2005 she has studied with Stefan Haselhoff (Basel).

On the competition stage, she has won prizes in both the “Schubert und die Musik der Moderne” Competition in Graz and the “Queen Sonja” Competition in Oslo. Included among her most notable operatic performances are Giselher in Die lustigen Nibelungen with the Semperoper Dresden, Gianetta in L’elisir d’amore with both the Stadttheater Freiburg and the Oldenburgisches Staatstheater, Contessa in Le nozze di Figaro with both the Luzerner Theater and the Stadttheater Augsburg and Marguerite in Faust with Bühne Baden bei Wien.

Additionally, Katharina Persicke has enjoyed great success at the Feldkirch Festival 2006 as Zerlina in Don Giovanni and the Herrenchiemsee Festspiele 2010 and 2011 as Pamina in Die Zauberflöte.

On the concert stage, Katharina Persicke has worked with the Amaryllis Quartet, pianists Nicholas Rimmer and Pauliina Tukiainen, the Royal Liverpool Philharmonic Orchestra, the NDR Radiophilharmonie Hannover, and the SWR Sinfonieorchester Baden Baden und Freiburg among others. She has worked with many prominent conductors such as Thomas Hengelbrock, Sylvain Cambreling, Vasily Petrenko, Howard Arman and others.

In 2012 Katharina Persicke made her debut with the Israel Philharmonic Orchestra, performed again at the Herrenchiemsee under the direction of Enoch zu Guttenberg and toured with the SWR Sinfonieorchester Baden Baden und Freiburg as soprano soloist in Schönberg’s Moses and Aaron


Maximilian Schmittstudied voice performance with Professor Roland Hermann and Professor Anke Eggers at the Berlin University of the Arts. In 2005 and 2006, he was member of the Young Ensemble at the Bayerische Staatsoper München.

While still a member of the Young Ensemble, Maximilian Schmitt was able to make his debut at the Salzburg Landestheater as Tamino in the Zauberflöte. In the meantime, in Munich he performed such roles as Lord Cecil in Roberto Devereux, or Albazar in Il turco in Italia in a staging by Christoph Loy at the Festival 2007.

Besides his passion for the opera, also operatic performances are of great importance to him. His wide variety of repertoire covers Monteverdi to Mozart and Mendelssohn. He is invited by conductors such as Daniel Harding, Thomas Hengelbrock, Trevor Pinnock, Helmut Rilling and by such orchestras as the Akademie für Alte Musik Berlin, Concerto Köln, Kammerorchester Basel, Swedish Radio Symphony Orchestra, and Gewandhausorchester Leipzig.

Just as important are the operatic performances in the calendar of Maximilian Schmitt, which he sings with Gerold Huber. Lately, the duo has guest performed in the Concertgebouw Amsterdam, repeatedly at the Heidelberg Spring Festival, and the Cologne Philharmonic.

The Lied-CDs of Gerold Huber and Maximilian Schmitt are being released by Oehms classics. After the debut-album Träumend wandele ich bei Tag (Robert and Clara Schumann), Schubert’s Die schöne Müllerin was released in 2013 and presented by the duo in an acclaimed debut at the Schubertiade Schwarzenberg.

Besides his lied-recordings, Maximilian Schmitt can be heard on CD with Haydn’s Creation (Baroque Orchestra Freiburg/René Jacobs/harmonia mundi France), in two recordings of Bach’s St. Matthew’s Passion (Gewandhausorchester/Riccardo Chailly/DECCA; Choir of the Bavarian Radio/Concerto Köln/Peter Dijsktra/BR Klassik);  in Dvorak’s Stabat Mater (Royal Flemish Orchestra/Philippe Herreweghe).