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06.02. 19:30 — cancelled
26.03. 19:30 — cancelled
Michael Wendeberg’s interpretation was gripping, with sharp and accurate dotted notes and impactful climaxes, yet also with room for rest and contemplation. Mitteldeutsche Zeitung, 19/02/2020
Classical repertoire – from Bach to Schoenberg – comes just as naturally to conductor and pianist Michael Wendeberg as his passion for new music. As of 2020/21 he has been appointed Chief Conductor Opera at the Bühnen Halle, where he has held the position of “Erster Kapellmeister” since 2016. In the current season he is conducting Wagner’s Tristan und Isolde among others in Halle.
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, Birmingham Contemporary Music Group, 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 debuts with the SWR 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. He served as Music Director of the Ensemble Contrechamps in Geneva from 2011 to 2018.
In the 2020/21 season, Michael Wendeberg will conduct a concert with the WDR Symphony Orchestra at the Wittener Tage für neue Kammermusik and will also lead the world premiere of Alexander Moosbrugger’s Wind as the workshop production at the Bregenz Festival. Concerts with the Ensemble Modern in Prague and Messiaen's Turangalîila with the Slovenian Philharmonic in Ljubljana had to be postponed due to the Corona pandemic.
His opera repertoire ranges from Handel's Orlando to Mozart, Beethoven, Donizetti, Verdi, Bizet, Puccini, Strauss and Britten, and includes numerous world premieres. He attracted national attention early in his career with the world premiere of Enno Poppe's ArbeitNahrungWohnung in a production by Anna Viebrock at the Munich Biennale in 2008. In 2017 he returned to the Staatsoper Berlin for performances of Die Zauberflöte and for a new production of Aribert Reimann's Gespenstersonate. In Halle, he conducted Weber’s Freischütz and Meyerbeer’s L’Africaine, as well as the premieres of Strauss’ Ariadne auf Naxos and Mozart’s Don Giovanni.
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 2015 he appeared with Boulez’s complete works for piano as part of celebrations at the Staatsoper Berlin and in 2018 at the Boulez Saal, a CD production of the complete sonatas has been released at the beginning of 2021 on the label bastille musique.
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.
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On the piano duo recital with Nicolas Hodges / Pierre Boulez's Structures
Boulez specialist and conductor Wendeberg, who worked with the composer himself during his lifetime [...] sets the tone: dynamic, energetic, and assured.
Tagesspiegel, Christiane Peitz, 21/10/2020
On Don Giovanni (Oper Halle)
From the orchestra pit, Michael Wendeberg (who frequently delivers and whom one could well imagine in place of the Staatskapelle's GMD Ariane Matiakh, who seems to again have gone astray) ensured a supple orchestral sound that always supported and spurred on the singers, without falling into a by-the-numbers revue.
NMZ, Joachim Lange, 02/03/2020
Wendeberg also places special emphasis on the tender and introspective musical passages of this opera. A touching musical interpretation.
Klassik begeistert, Guido Müller, 29/02/2020
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)
|A. BERG||Sonata Op. 1 (10)|
|P. BOULEZ||Notations (10)|
|B. BARTÓK||Im Freien (15)|
|P. BOULEZ||Sonata No. 1 (13)|
|O. MESSIAEN||Le courlis cendré (10)|
|P. BOULEZ||Incises (12)|
|W. A. MOZART||Sonata in A minor KV 310 (20)|
|A. SCHOENBERG||Kammersinfonie Op. 9, Version for piano solo by Eduard Steuermann (23)|
|A. WEBERN||Variationen Op. 27 (6)|
|P. BOULEZ||Sonata No. 2 (30)|
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