Michael Wendeberg



Kerstin Alt


+49 30 214 594-235

Heike Wilms


+49 30 214 594-236

General Management

CR Isabelle Meister


28.11. 20:00
The Presidential Symphony Orchestra Concert Hall, Ankara

Antonín Dvořák,  Konzert für Violine und Orchester a-Moll, op. 53
Sergej Rachmaninoff,  Symphony No. 2 in E minor, Op. 27

Soyoung Yoon, violin
Michael Wendeberg, conductor
Presidential Symphony Orchestra

29.11. 20:00
The Presidential Symphony Orchestra Concert Hall, Ankara

Antonín Dvořák,  Konzert für Violine und Orchester a-Moll, op. 53
Sergej Rachmaninoff,  Symphony No. 2 in E minor, Op. 27

Soyoung Yoon, violin
Michael Wendeberg, conductor
Presidential Symphony Orchestra

07.12. 19:30
Opernhaus, Halle

Kurt Weill,  The Threepenny Opera

Michael Wendeberg, conductor
Staatskapelle Halle

15.12. 18:00
CBSO Centre, Birmingham

Rebecca Saunders,  Scar
Richard Causton,  Transients
Shiori Usui,  "Deep" (2013-2014) for large ensemble
Vito Žuraj s.p.,  Tension (für Ensemble)

Michael Wendeberg, conductor
Birmingham Contemporary Music Group

28.12. 19:30
Opernhaus, Halle

Kurt Weill,  Die Dreigroschenoper

Michael Wendeberg, conductor
Staatskapelle Halle

11.01. 20:00
WDR Funkhaus am Wallrafplatz, Cologne

Beat Furrer,  'Phaos' for orchestra
Márton Illés,  Violin Concerto
Bruno Maderna,  'Stele per Diotima' for solo instruments and chamber orchestra

Patricia Kopatchinskaja, violin
WDR Sinfonieorchester Köln
Michael Wendeberg, conductor

17.01. 20:00
Tonhalle Maag

Malin Bang,  Irimi
Lars Petter Hagen,  Harmonium Repertoire
Simon Steen-Andersen,  Black Box Music

Michael Wendeberg, conductor
Collegium Novum Zürich

08.02. 18:00
Theaterhaus Stuttgart

Fabià Santcovsky,  Die Rose der Winde
Ashley Fure,  "Bound to the Bow" for Orchestra and Electronics
Turgut Erçetin,  “ … like dissolving ancient amber and letting a trapped insect fly away”

Arditti Quartet
Michael Wendeberg, conductor
SWR Symphonieorchester


Classical repertoire – from Bach to Schoenberg – comes just as naturally to conductor and pianist Michael Wendeberg as his passion for new music. In 2016 he took up the position of “Erster Kapellmeister” at the Halle Opera, where in the current season he is conducting Stravinsky’s Firebird and concert performances of Tchaikovsky’s Eugen Onegin, along with an opera premiere of Mozart’s Don Giovanni.

Michael Wendeberg has conducted renowned orchestras and ensembles including the Staatskapelle Berlin, Junge Deutsche Philharmonie, Slovenian Philharmonic Orchestra Ljubljana, Klangforum Wien, Remix Ensemble Porto, Ensemble Intercontemporain, Musikfabrik Cologne and the Basel Sinfonietta. He has made guest appearances at the Lucerne Festival, Munich Biennale, Bregenz Festival, Venice Biennale, Eclat Festival Stuttgart, Ultraschall Berlin Festival and Klangspuren Schwaz, as well as at Wien Modern. He made his debut with the WDR Symphony Orchestra, the Ensemble Modern and the Mahler Chamber Orchestra at the Beethovenfest Bonn and with the Radio Symphony Orchestra Berlin at the Acht Brücken Festival Cologne. Since April 2018, after seven years as Music Director, he is first guest conductor of the Ensemble Contrechamps in Geneva.

Michael Wendeberg studied piano with Markus Stange, Bernd Glemser and Benedetto Lupo, and conducting in Toshiyuki Kamioka’s masterclass in Saarbrücken. During this time, he worked as Toshiyuki Kamioka’s assistant at the Wuppertaler Bühnen. After graduating Michael Wendeberg held positions at the Nationaltheater Mannheim and the Staatsoper Berlin, where he assisted Daniel Barenboim and guest conductors such as Pierre Boulez and Sir Simon Rattle, and was principal conductor at the Lucerne Theater.

His opera repertoire includes Bizet’s Carmen; Britten’s A Midsummer Night’s Dream; Handel’s Orlando; Mozart’s ZaideClemenza di Tito and The Magic Flute; Verdi’s La Traviat, Un Ballo in Maschera and Il Trovatore; Donizetti’s Lucia di Lammermoor and Don Pasquale; Rossini’s La Scala di Seta and La Cenerentola; Humperdinck’s Hansel and Gretel; Ponchielli’s La Gioconda; Bernstein’s West Side Story; and Puccini’s La Bohéme and Tosca. Michael Wendeberg gained national recognition early on in his career in 2006 with Michael Nyman’s The man who mistook his wife for a hat in Wuppertal, as with the world premiere of Enno Poppe’s ArbeitNahrungWohnung in 2008 in a production by Anna Viebrock at the Munich Biennale and Karl Amadeus Hartmann’s Des Simplicius Simplicissimus Jugend, staged by Thomas Fiedler in Zurich in 2010. In 2016 he led the world premiere of Sidney Corbett’s opera Die Andere at the Magdeburg Theatre. He also returned to the Staatsoper Berlin for the revival of The Magic Flute and a new production of Aribert Reimann’s Gespenstersonate in summer 2017. In Halle in past seasons he has conducted, among other works, Strauss’s Ariadne auf Naxos, Weber’s Der Freischütz and Meyerbeer’s L’Africaine.

As a pianist, Michael Wendeberg has won several national and international piano competitions and performed as a soloist at renowned festivals and with prestigious orchestras under conductors such as Jonathan Nott, Marek Janowski and Daniel Barenboim. From 2000 to 2005 he was a member of the Ensemble intercontemporain and worked closely with Pierre Boulez. In March 2018 he appeared at the Boulez Saal with Boulez’s complete works for piano, a feat he first pulled off as part of the late composer’s 90th birthday celebrations at the Staatsoper Berlin in 2015; a CD production of the sonatas was also recorded in 2018.

Michael Wendeberg kicks off the 2019/20 season touring with Ensemble Modern to Klangspuren Schwaz and Shanghai. He also directs concerts for the Birmingham Contemporary Music Group and returns to the WDR Symphony Orchestra. He guest conducts the SWR Symphony Orchestra at the Eclat Festival Stuttgart, and at the Munich Biennale conducts a new opera by the composer Ole Hübner. In August 2020 as part of Suntory Hall’s Summer Festival he will direct the Tokyo Symphony Orchestra in a performance of a new viola concerto by Isabel Mundry for soloist Nils Mönkemeyer.

2019/20 Season

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With relish, Michael Wendeberg inspires the musicians of the Staatskapelle to traverse both the precision of chamber music and the full opulence of Strauss.
Nmz, Joachim Lange, 24/02/2019

But it also worked so well because Michael Wendeberg drove the ensemble to create a minutely detailed, characterful and, where necessary, dirty orchestral tone that was always secure, and that reflected the heated atmosphere on stage.
Opernwelt, April 2018

Michael Wendeberg not only led the Staatskapelle with arresting precision, but also co-ordinated a complex mass of sound which contained a whole palette of sound beyond that of a standard classical orchestra; squeaks, rustles, a piece of styrofoam for a string instrument, and a whole host of electronics. The musicians are no strangers to new sounds, and confidently proved themselves to be true all-rounders.
Die Deutsche Bühne, Joachim Lange, 06/03/2017

The Sinfonietta Basel drew attention to the music with precision and, where the composer intended it, thrilling intensity. Guest conductor Michael Wendeberg led the musicians with a springy beat, making numerous light and haunting moments possible.
Die Oberbadische, Willi Vogel 09/03/2015

Pölzgutter pays minute attention to the gestures and emotions that depict the music. The conductor Michael Wendeberg presents the music in detail with the Lucerne Symphony Orchestra with emphasis. The most beautiful sounds come out of the orchestra pit, the orchestra listens and thinks with him.
NZZ, Alfred Zimmerlin, 29/04/2014

This is when one can really see what an alert conductor is capable of. The Lucerne Symphony Orchestra under Michael Wendeberg’s direction is on top-form, playing crisply, springily, nimbly and colourfully. This is what makes Donizetti’s music, which is not free from sentimentality, fun; the impetus from the orchestra pit carries what is happening onstage with authority.  
www.kulturteil.ch, Peter Bitterli, 27/04/2014 (on “Don Pasquale” in Lucerne)

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