Sae-Kyung Rim

Sae-Kyung Rim studied music at Hanyang University, Seoul, graduating in 1998. She then attended and won a diploma at a course at La Scala, Milan. She has won several competitions, including the Gianbattista Viotti in Vercelli, Italy.

As a concert performer she sang at the Teatro degli Arcimboldi and La Scala, Milan. She also sang in Vienna, London and at the National Algerian Theatre, making her operatic debut in Donizetti’s Parisina, Bergamo. At the Teatro degli Arcimboldi and la Scala in Milan, she took part in Dialogues des Carmélites, Rinaldo, Elektra and La Bohème, conducted by Riccardo Muti, Ottavio Dantone, Semyon Bychkov, Rafael Frühbeck de Burgos and Niksa Bareza. In the Teatro Coccia in Novara she sang the title role of Cio-Cio San Madama Butterfly, conducted by Marcello Rota. Other roles include Echo Ariadne auf Naxos at La Scala, conducted by Jeffrey Tate, and then at the Stadttheater in Bolzano and at the Teatro del Giglio in Lucca, conducted by Arthur Fagen.

Sae Kyung Rim began the 2006-2007 season at La Scala in the role of Priestess Aida, followed by Liù Turandot at the Teatro Comunale di Alessandria.

Recently the artist has performed Cio Cio San / Madama Butterfly at Savonlinna Opera Festival, Abigaille / Nabucco at Greek National Opera, Aida at New National Theater Tokyo, Leonora / Forza del Destino in Las Palmas, Cio Cio San / Madama Butterfly at Oper Leipzig, Arena di Verona and Greek National Opera, Aida at Arena di Verona and Tosca at Wiener Staatsoper w. Domingo, Antonenko, Hampson.

Future engagements include Aida at Wiener Staatsoper, Liù / Turandot and Cio-Cio-San / Madama Butterfly at Theater Dortmund, Manon Lescaut / Manon Lescaut at Hungarian National Opera in Budapest as well as Cio-Cio-San / Madama Butterfly at Principal de Mallorca.

Further past engagements include Cio-Cio-San / Madama Butterfly in Budapest, Las Palmas, Wiener Staatsoper, Bergen and Trondheim, Leonora / Forza del Destino at Teatro Filarmonico di Verona, Maddalena / Andrea Chenier in Seoul and Aida / Aida at Arena di Verona, in Seoul and in Munich.

In Teatro alla Scala in Milan she has performed in productions such as: “Dialogues des Carmelites” by Poulenc, “Rinaldo”by Handel, “Elektra” by Richard Strauss, “La Boheme” by Puccini, Fiordiligi / Così Fan Tutte and others under the direction of Riccardo Muti, Ottavio Dantone, Semyon Bychkov, Rafael Frühbeck de Burgos, Niksa Bareza, Jeffrey Tate, Riccardo Chailly, Lothar Koenigs, Daniel Barenboim.

In 2013 she performed the title role in “Aida” at Sejong Theater Seoul, and Verdi’s Requiem in the Opera House of Seoul. In Seoul she has performed many leading roles in the past 5 years such as Madame Lidoine / Les Dialogues des Carmelites by Poulenc, Amelia / Un Ballo in Maschera, Leonora / Forza del Destino, Marguerite / Mefistofele by Boïto, Tosca.

Her theatrical debut was performing “Parisina” by Donizetti at the Teatro Donizetti in Bergamo.
She made her debut at the Teatro Coccia of Novara performing the title role in “Madama Butterfly” by Puccini.

In February 2009 she took part in the production of “Madama Butterfly” by Puccini at the Teatro Valli in Reggio Emilia, in the role of Cio-Cio-San. That season she also performed Leonora in “La Forza del Destino” by Verdi at the Teatro Sejong Seouland also “Aida” by Verdi, in the title role, at the Stadttheather of Klagenfurt.

Mickael Spadaccini

The combination of being tall, dark and handsome and in possession of a superlative tenor voice is rare in the opera world, but Spadaccini had it all.

Mickael Spadaccini was born on 1984 in Charleroi, Belgium. He studied singing at the “Verdi Accademia” in Busetto with Carlo Bergonzi and at the “Universita del bel canto” in Modena with Mirella Freni.

His repertoire includes Gerardo (Donizetti’s “Caterina Cornaro”), Turiddu (Mascagni’s “Cavalleria rusticana”), Canio (Leoncavallo’s “Pagliacci”), Verdi’s Duke (“Rigoletto”), Alfredo (“La traviata”), Radames (“Aida”), Ernani (“Ernani”), Alvaro (“La forza del destino”), Edgar (“Edgar”), Foresto (“Attila”) and Ismaele (“Nabucco”), Puccini’s Des Grieux (“Manon Lescaut”), Rodolfo (“La bohème”) and Pinkerton (“Madama Butterfly”), Don José (Bizet’s “Carmen”), Werther (Massenet’s “Werther”), etc.

Mickael Spadaccini has won the Prize of Nicolai Ghiaurov (2006), 1st Prize at the opera competition at Théâtre de Spa (2007) and been the finalist of the 17th Verviers International Singing Competition (2007).

Marvelous purity of tone and breathtaking virtuosity make his singing irresistible, coupled with good looks and delight in performance.

Aris Argiris

Born in Athens, studied with Kostas Paskalis, Frangisco’s Voutsinos and Despina Calafati in his home town. In 1999, the Maria Callas Scholarship received his vocal studies in the master class of Prof. Daphne Evangelatos at the Academy of Music and Theater in Munich. In 2002 Mr. Agiris won the International Singing Competition at Kammeroper Schloss Rheinsberg, where he sang the title role in Mozart’s Don Giovanni.
Arias Argiris recorded Ariadne – Dithyrambos for baritone and orchestra by Siegfried Matthus and Holoferne’s Aria from Matthus’ Judith with the label Genuin and can be seen singing Escamillo in the first 3D opera-movie, which is based on the Royal Opera House Carmen production of 2010
Internationally-acclaimed Greek baritone Aris Argiris, is one of the leading singers in front of the opera and concert public today. Zubin Mehta, Kurt Masur, Christian Thielemann, Yakov Kreizberg, Gustav Kuhn, Donato Renzetti, Manfred Honeck, Walter Attanasi, Graeme Jenkins, Carlo Franci, Antonello Allemandi, Patrick Lange and Carlo Rizzi.
Aris Argiris returns to the Semperoper in Dresden in 2016-17 as Figaro in Rossini’s Il barbiere di Siviglia and to La Monnaie in Brussels as Sharpless in Puccini’s Madama Butterfly. He then sings Paolo in Verdi’s Simon Boccanegraat Les Théâtres de la Ville de Luxembourg and The Ruler in Korngold’s The Miracle of the Heliane in concert at Theater Freiburg.
He started the 2015-16 season singing Belcore at Donizetti’s Elisir d’Amore at La Monnaie, followed by Mahler’s Kindertotenlieder with the Israel Philharmonic on tour at Athens’ Megaron Concert Hall under Zubin Mehta. He had a celebrated debut as Iago at Verdi’s Otello at Opéra de Montreal. He could also be heard as Escamillo in Bizet’s Carmen both at Hamburg State Opera, as Scarpia at Puccini’s Tosca at Musiktheater in the district in Gelsenkirchen, as Figaro in Il Barbiere di Siviglia at the Semperoper, and as Amonasro in Verdi’s Aida at the Prinzregententheater in Munich.
In summer 2016, Amonasro starred with the Greek National Opera in performances at the Odeon of Herodes Atticus Theater as part of the Athens Festival and Orestes in a concert performance of Gluck’s Iphigenia on Tauris in the version by Richard Strauss at the International Gluck Opera Festival.
In the 2014-15 season, Aris Argiris could be seen as Escamillo at Bizet’s Carmen at the Theater St. Gallen.The last season was written in the title role of Verdi’s Rigoletto at the Music Theater in the district of Gelsenkirchen. Other engagements included Figaro in Darius Milhaud’s La mère coupable at Theater an der Wien as well as Renato at Verdi’s Un Ballo in Maschera with the Israel Philharmonic and Zubin Mehta in Tel Aviv.
His 2013-14 season included roles as Germont at Verdi’s La Traviata at the Komische Oper Berlin, Escamillo at Carmen at the Savonlinna Festival, Scarpia at Puccini’s Tosca at Oper Bonn, Lescaut at Puccini’s Manon Lescaut at La Monnaie , Francesco in Verdi’s Masnadieri at the Aalto Music Theater Essen and Renato in Verdi’s Un Ballo in Maschera at San Diego Opera and Teatro Verdi in Trieste. He could also be heard in concert performing Johann Strauss’ Bat with the Israel Philharmonic Orchestra under Zubin Mehta.
Highlights of his 2012-13 season included Marcello at Puccini’s La Bohème at New National Theater in Tokyo, The Four Villains at Offenbach’s Les Contes d’Hoffman at Theater an der Wien, Count di Luna at Verdi’s Il Trovatore at Opera Bonn and Nardo in Mozart’s La Finta Giardiniera at the Staatsoper Berlin.Audiences in Frankfurt had the opportunity to hear Mr. Argiris in major roles of the baritone repertoire, as Lord Enrico Ashton in Verdi’s Lucia di Lammermoor, the title role in Mozart’s Don Giovanni, Guglielmo in Mozart’s Cosi fan tutte, The Four Villains at Offenbach’s Les Contes d’Hoffmann, Marcello at Puccini’s La Bohème, Dandini at Rossini’s La Cenerentola, Ramiro at Ravel’s L’heure espagnole, Rodrigo and Marchese di Posa at Verdi’s Don Carlo , Germont in Verdi’s La Traviata and Francesco in Verdi’s I Masnadieri. Aris Argiris also had a close relationship with Bonn Theater, where Lord Enrico Ashton in Lucia di Lammermoor, Valentin in Gounod’s Faust, Fritz / Frank in Korngold’s The Dead City, Scarpia in Tosca, Figaro in Il Barbiere di Siviglia and count Luna in Il Trovatore.

Oksana Lyniv

Lyniv is the daughter of two musicians and the granddaughter of a choral conductor. Her father is also a choral conductor. As a youth, she studied piano, flute, violin and singing. From 1992 to 1996, she studied flute and conducting at the Stanislav Liudkevych Music School in Lviv. She first conducted an orchestra at age 16, where this experience initiated her interest in conducting.

From 1996 to 2003, she was a conducting student at the Lysenko music academy in Lviv, where her teachers included Bogdan Dashak, who was also chief conductor at Lviv Opera. During her studies, Lyniv became an assistant conductor to Dashak at Lviv Opera. She became principal guest conductor of the Leopolis Chamber Symphony Orchestra in 2003.

In 2004, Lyniv participated in the first Gustav Mahler conducting competition of the Bamberg Symphony Orchestra, and won 3rd prize. In 2005, she became assistant conductor to Jonathan Nott at the Bamberg Symphony Orchestra.

From 2005 to 2009, Lyniv continued her music studies at the Musikhochschule Dresden (“Carl Maria von Weber” College of Music). She participated in a masterclass with Ekkehard Klemm in 2007. She held a scholarship from the German Academic Exchange Service (DAAD), the Goethe Institute, and the Oscar and Vera Ritter Foundation.

From 2007 to 2009, Lyniv was promoted by the “Dirigentenforum” of the German Music Council. She has taken further master classes in conducting with Hartmut Haenchen, Kurt Masur, Peter Gülke, Georg Fritzsch and Roland Seiffarth.

From 2008 to 2013, Lyniv was associate chief conductor of the Odessa National Opera. She has worked on establishing a national youth orchestra in Ukraine.

Since the 2013-2014 season, Lyniv has served on the conducting staff of the Bavarian State Opera, as an assistant conductor to Kirill Petrenko. Her work at the Bavarian State Opera has included conducting productions of Mirandolina (Martinu), Die Soldaten (Zimmermann), and Selma Ježková (Poul Ruders).

In October 2016, Lyniv made her first guest-conducting appearance with Graz Opera, in a production of La Traviata. Based on this engagement, in February 2017, Graz Opera announced her appointment as the next chief conductor of the Graz Opera and of the Graz Philharmonic Orchestra, effective with the 2017-2018 season, with an initial contract of 3 years. This appointment marks her first chief conductorship, and she is the first female conductor to be named chief conductor of the Graz Opera and the Graz Philharmonic Orchestra. She is scheduled to conclude her tenure in Graz at the end of the 2019-2020 season.

Academic Symphony Orchestra «INSO-Lviv»

«INSO-Lviv» Orchestra (International Symphony Orchestra) despite its young age (founded in 1998) can boast the rich, versatile and successful experience of concert activity both in Ukraine and abroad.

The orchestra «Golden Fund» is comprised of collaboration with the world-renowned musicians and conductors, among whom are Francois Leleux, Lisa Batiashvili, Wolfgang Emanuel Schmidt, Alexander Zemtsov, Dirk Brossé, Sergey Nakariakov, Otto Sauter, Ilya Grubert, Alan Bern, Valeriy Sokolov, Vadim Neselovskyi, Lorin Sklamberg, Raymond Janssen, Andriy Bielov, Leopold Kozlowski, Claude Delangle, Fahraddin Kerimov, Steven Decraene, Anna Skryleva, Nicolás Pasquet, Dalia Stasevska, Alessandro Safina, Maria Prinz, Philippe Pierlot and many others.

Annually «INSO-Lviv» orchestra sets off on concert tours in European countries (Switzerland, Germany, Austria, Italy, Poland, Portugal, Spain). The geography of concert tours also includes such countries as China and Colombia.

«INSO-Lviv» orchestra has been enthusiastically implementing its creative, educational and cultural diplomatic mission, constantly searching for the new forms of classical music performance and promotion among the existing and potential audience, practicing cross-art approach, including among others ballet, sand animation, video background.

The orchestra is a regular participant of annual festivals held in Lviv: VIRTUOSOS International Festival of Music Art, CONTRASTS International Contemporary Music Festival, LvivKlezFest Jewish Music Festival. «INSO-Lviv» orchestra has successfully represented Ukraine at the International festivals and arts projects in Poland. In 2016 «INSO-Lviv» Orchestra together with the world renowned jazz pianist and composer Vadim Neselovskyi (USA) opened the prestigious ALFA JAZZ FEST in Lviv, ranked, according to «The Guardian», one of the best jazz festivals in Europe in 2016.

The National Choir of Ukraine “Dumka”

The National Academic Choral Capella “Dumka” (abbreviation for Ukrainian State Travelling Capella) is the icon and tradition-setter of choral performance in Ukraine today. Founded in 1919 and over the years lead by such outstanding conductors as Nestor Horodovenko, Oleksandr Soroka, Pavlo Muravskyi, Mykhaylo Krechko, “Dumka” established its own choral traditions and performance style. Since 1984 it has under the able leadership of the outstanding conductor and Shevchenko Prize laureate, academician Yevhen Savchuk.

If one were to describe “Dumka’s” uniqueness – probably the closest fitting description would be “universalism”, which is evident in Mr. Savchuk’s selection of repertoire. First, it is music for chorus a ‘ capella where traditional for Ukrainian choral ensembles arrangements of folk songs coexist in “Dumka” programs and recordings with West-European Renaissance music or 18th cent. Ukrainian spiritual music of M.Dyletskyi, M.Berezovskyi, A.Vedel, D.Bortnianskyi, or 19th cent. M.Lysenko, K.Stetsenko, M.Leontovych as well as Russian romanticists P.Tchaikovskyi, O.Arkhanhelskyi, S.Rachmaninov.

Second, in “Dumka’s” world of music is the vocal-symphonic music. Here, the choir’s universalism is most evident – its repertoire covers the whole spectrum of world chefs d’oeuvre – from Bach’s St. Matthew’s Passion and Scriabin’s “Prometheus” to Beethoven’s Ninth Symphony, Missa Solemnis and Penderecki’s “Credo”, to Haydn’s “The Seasons” and Verdi’s “Requiem”, as works by Vivaldi, Mozart, Brahms, Borodin, Mahler, Tanieyev, Stravinsky, Schnitke.

In performing these masterpieces besides a masterful reading, “Dumka” displays its own Ukrainian – Slavic style – filled with softness, beauty, lyricism, glorious vocal tembre, freer tempos and a great dynamic expanse. “Dumka” under Yevhen Savchuk’s direction is often the first, if not the only performer of the many works of Ukrainian contemporary composers. Some of “Dumka’s” premieres included Sylvestrov’s “Diptych” and “Requiem for Laryssa”, Stankovych’s “Babyn Yar”, “Requiem”, “Legend about Prince Ihor’s Campaign”, Laniuk’s “Palimpsests”, and others. “Dumka” has 28 CD’s to its credit which are available in specialized music stores throughout Europe.

Today, “Dumka” has reached the Olympus, as confirmed by listeners in Italy and Poland, Austria and Switzerland, Germany and Holland, France and the USA, Spain and Canada, Belgium and Great Britain. Having achieved world recognition and unquestionable authority, “Dumka” confirms its unique status with every new concert, with every new recording.

“Dumka’s” performance is a celebration of sublime music, a contribution to humanity’s spiritual treasury and a manifestation of Ukraine’s creative genius.

Sebastian Ellrich

1984 born in Magdeburg.

2004-2005 Costume Assistance Theater Magdeburg.

2005-2006 Free costume assistants include Opera Bonn, Deutsches Schauspielhaus Hamburg, Deutsche Oper Berlin, Kiel Theater, Freiburg Theater.

Since 2006 Costume and stage designer for theater, opera, show and dance, among others at the Apollo Variety Dusseldorf, Theater Aachen, Schauspiel Cologne, Theater Oberhausen, Opera Dortmund, Theater Augsburg, Hebbel am Ufer Berlin, Kampnagel Hamburg, Opera Dortmund, Centraltheater Leipzig.

From 2010, Fashion design.

From 2011, Founding of own prêt-à-porter label.

Since 2011 Sebastian Ellrich has been creating collections and individual pieces in Berlin. The designer attaches particular importance to fair production conditions and personal contact with the traditional craftsmen who manufacture for him. For the exclusive designs made in Germany and Poland mainly materials produced in Germany (eg Plauen lace) are used.

Wolfgang von Zoubek

Wolfgang von Zoubek was born in Austria. He has designed lighting for numerous opera productions including Elektra (R. Strauss), Il trittico (Puccini), Fidelio (Beethoven), Parsifal (Wagner) and Nabucco (Verdi). He has designed for the opera houses of Madrid, Rome, Vienna, Bologna, Nice and Tokyo and for the Salzburg, Bregenz and Bayreuth festivals.

From 1984 to 1987 at Stanford University Design, 1994 he became theater master in Munich.

He began working as a lighting technician at the Salzburg Festival under the direction of Herbert von Karajan and Schneider Siemsens. Further stations of his professional career were the Bayreuth and Bregenz Festival, the Rossini Opera Festival (ROP) in Pesaro, the Opera Festival in Istanbul.

In 2004, together with Giancarlo del Monaco, he brought Otello by Giuseppe Verdi to the stage of the Theater St.Gallen. Zoubek operates internationally and worked with many directors.

In the 2010s, Zoubek also increasingly worked in the field of building illumination in Germany and internationally. In particular, in the Middle East, he is concerned with planning and implementation of major projects in the field of light projection on façade surfaces.

Michael Sturm

Michael Sturm hails from north Germany and grew up in Hamburg. He studied opera directing with Götz Friedrich at the University for Music and Performing Arts Hamburg. He supplemented his training through work with Harry Kupfer, Ruth Berghaus and Achim Freyer, whom he met in 1992 as a participant of the stage-class in the Bauhaus Dessau. Since then he has worked as a director, dramaturg and author.

As a dramaturg he worked in Ulm on Ligeti’s “Le Grand Macabre”, as an author his work can be seen as part of the text-collage “Götzendämmerung oder Selbstgespräche eines Irren” for the Wolf-Ferrari Theatre in Ottobrunn. As a director he has worked in the state theatres in Kassel and Saarbrücken, the state opera in Hamburg and in the theatres of Linz, Bremen and Dessau.

Michael Sturm counts among his most important work “The Bartered Bride” (1995) in the former concentration camp of Theresienstadt, “Brundibar” (1999) at the Vienna Chamber opera, “Fidelio” (2007) in Tirana, Albania and the world premiere of “Gegen die Wand” (2008) in Theater Bremen. This production was nominated for the European Tolerance Prize.

Most recently, he works regularly at Theater Freiburg. There he has staged “Nabucco”, “Gegen die Wand” as well as “I Vespri Siciliani”.

He staged “Lohengrin” in Saarbrücken / Luxembourg with Constantin Trinks, his production of Cilea’s “Adriana Lecouvreur” for MEZZO-TV met with great success. Together with Jiři Bělohlávek he staged “Cosi fan tutte” at the National Theater in Prague.

From 2007 to 2010 Michael Sturm was stage director at Oper Schloss Laubach, a summer academy for talented young opera singers. He has given numerous masterclasses in the USA in universities in the states of New York, West Virginia and Alabama, as well as regularly working with the International Performance and Arts Institution – IPAI.

2017 Michael Sturm performed with an outstanding success for the International Opera Festival Wexford Jacopo Foronis masterpiece “Margherita”. His next work was the first performance in Poland after WW2 with “Die Meistersinger von Nürnberg” by Richard Wagner in Teatr Wielki Poznan.