+49 30 214 594-233
+49 30 214 594-211
28.02. 11:00 — cancelled
A singer with the gift of a beautiful voice and confident stage presence.
Serenade Magazine, April 2019
Simon Bode is one of the most sought-after lyric tenors of his generation, commanding opera and recital stages the world over. Equally beloved for his warm, bright timbre as for his forthright stage presence, the singer is a frequent guest at prestigious international festivals such as the Heidelberger Frühling, Kissinger Sommer, Beethovenfest Bonn, the Rheingau and Schleswig-Holstein MusiK Festivals, the International Handel Festival Göttingen, and at the Bregenz and Salzburg Festivals. He recently made his acclaimed debut at the Pierre Boulez Saal in Berlin and has performed multiple times in London’s Wigmore Hall to great fanfare.
Simon Bode has already been nominated on several occasions for Young Singer of the Year in Opernwelt magazine’s annual survey. Guest performances have led him to the Norwegian National Opera in Oslo, the Opéra National de Bordeaux, the Théatre des Champs-Élysées in Paris, and the Theater Basel, among others. At the Hessiches Staatstheater Wiesbaden he made a guest appearance in 2017 with Zender’s Winterreise, returning in 2018 as Don Ottavio in Mozart’s Don Giovanni and in 2019 as Narraboth for a new production of Richard Strauss’s Salome. As an ensemble member of the Niedersächsische Staatsoper Hannover and the Frankfurt Opera, Simon Bode has performed in numerous premieres and in many major roles of his profession, as in Peter Eötvös' Der goldene Drache, as Tamino (Mozart’s Die Zauberflöte), Belmonte (Mozart’s Die Entführung aus dem Serail), Don Ottavio (Mozart’s Don Giovanni), Fenton (Verdi’s Falstaff), Orsino (Trojahn’s Was ihr wollt), and Steuermann (Wagner’s Der fliegende Holländer), among others.
In addition to opera, Simon Bode’s great passion is song and chamber music. His longstanding musical partners include pianists Igor Levit, Graham Johnson, and Nicholas Rimmer, as well as bayan player Elsbeth Moser, with whom he regularly gives world premieres and song programmes that go beyond the typical concert repertoire. Simon Bode has also performed with ensembles such as the Vienna Philharmonic, NDR Radiophilharmonie, the Ensemble Modern, Bochumer Symphoniker and Les Talens Lyriques, and worked with conductors such as Kent Nagano, Alan Gilbert, Andrew Manze, Andrea Marcon, Constantinos Carydis, HK Gruber, Peter Eötvös and Sebastian Weigle.
In 2011 he released his debut CD, featuring songs by Johannes Brahms together with pianist Graham Johnson for Hyperion. In 2018 for Naxos he released a CD of songs by Schumann, recorded with Ulrich Eisenlohr and Stefan Irmer; further Brahms and Schumann songs will follow soon. Additional recordings have been published in cooperation with Oper Frankfurt for OehmsClassics, including Wagner's Die Feen and Das Liebesverbot. EuroArts also released a DVD of Sciarrino's Luci mie traditrici in 2012, a coproduction of Oper Frankfurt and Cantiere Internazionale d'Arte di Montepulciano.
At the beginning of the year, Simon Bode celebrated frenetic success as Freddy in the semi-staged New Year's Eve production of My Fair Lady in the Great Hall of the Elbphilharmonie with the NDR Elbphilharmonie Orchester under Alan Gilbert. In February 2020 he made his US debut with the Los Angeles Philharmonic Orchestra under Esa-Pekka Salonen performing Hindemith's Mörder, Hoffnung der Frauen and Weill's Seven Deadly Sins. In the 2020/21 season, he gives recitals at London’s Wigmore Hall, Alte Oper Frankfurt, Essener Philharmonie, and Heidelberg Spring Festival. He will be part of Bach’s Christmas Oratorio in St. Jacobi Hamburg in December, followed by concerts with the Munich Philharmonic Orchestra, performing Beethoven’s 9th Symphony under Maxim Emiljanitschew on New Year’s Eve.
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
The highlight of the evening [...]. Incredibly sympathetic and warm-heartedly performed with youthful charm, [Bode] sings Freddy with a gorgeous, supple tenor, wonderfully modulating between delicate piani and powerful fortissimi that go straight to the hearts of the audience.
Kulturfelder.de, Hildegard Wiecker, 7 January 2020
When the tenor Simon Bode comes onstage as Freddy, Eliza’s admirer, the music became magnificent. Bode's voice radiates a charisma and intensity that requires no reinforcement.
Bachtrack.com, Sarah Schnoor, 6 January 2020
The discovery of the evening is the young tenor Simon Bode. In his supporting role as Eliza's admirer Freddy, he shows a flair for the Broadway sound, drawing out the melodic lines with a flourish while also proving he’s earned his operatic credentials with Mozart.
Hamburger Abendblatt, 1 January 2020
Tenor Simon Bode delighted with Vaughan Williams's cycle "On Wenlock Edge," a highlight of lieder singing.
Hamburger Abendblatt, 21 October 2019
Anna Palimina and Simon Bode both produce gorgeous legato lines, which blend lyricism with a tinge of sadness … Occasionally, you listen to a piece of music and come away with the feeling that you have discovered a rare treasure which deserves to be known much more widely. That is certainly the case with these cycles. The performers are all to be commended for the exceptionally high quality of the singing and playing.
musicweb-international.com, Robert Beattie, June 2019 – about the Schumann-CD with songs from „Minnespiel“, „Spanisches Liederspiel“ and „Spanische Liebeslieder“, NAXOS 8.573944
Simon Bode’s repertoire choice was unsual and was delivered by such commanding mastery that no future appearance should be missed. Here is a singer with the gift of a beautiful voice and confident stage presence.
Serenade Magazine, Fareed Curmally, 30. April 2019 - on a song recital at Wigmore Hall London
It’s rare to hear this cycle performed with such gripping immediacy […] with such attention to the text, such clear articulation by this tenor from Hamburg. […] Bode firmly but never forcefully conveys the shifting emotions of this ultimately doomed paramour in a clear, powerful, bright-to-the-core voice, with a broad array of colours, gleaming high notes, subtle lyricism and an elegant pianissimo.
Bayerische Staatszeitung, Renate Freyeisen, 12. Juli 2018 - on Die schöne Müllerin at Kissinger Sommer
Another reason for the premiere’s resounding musical success is the young singer Simon Bode. A highly cultivated lyric tenor with exemplary pronunciation, he was perfectly cast not just vocally but also has a formidable and thrilling stage presence.
Darmstädter Echo, October 2017 - on Eine Winterreise at Staatstheater Wiesbaden
…A stellar evening of artful singing…
Frankfurter Neue Presse, August 2017 - on Die schöne Müllerin at the Rheingau Musikfestival
Equally astonishing is the tenor voice of Simon Bode (Orfeo), who effortlessly lends clear yet nuanced shading even to the highest registers of his nimble voice.
Göttinger Tageblatt, June 2017 - on Haydn‘s Orfeo at International Händel-Festival
Of special mention is the German tenor Simon Bode, with an incredibly warm timbre as Don Ottavio.
musikundtheater.ch, January 2017 - on Don Giovanni at Theater Basel
There were outstanding performances from Kiandra Howarth … and Simon Bode, who was touching in the role of Ottavio, shaping his arias into delicate, soaring declarations of love.
Badische Zeitung, January 2017 - on Don Giovanni at Theater Basel
Louise Alder and Simon Bode strike sparks of each other as the young bohemiens…
Gramophone Magazin, 2017 - on Der Graf von Luxemburg-Oehms Classics
For the full two hours Bode remains clear, present and free in the high demands of the piece-an exceptional singer and -evangelist!
Wiesbadener Kurier, April 2016 - on St. John’s Passion
Political music theatre lives on! Simon Bode is not only equipped with a melodious and effortlessly lyrical tenor, but has a mesmerizing gift for performance…
omm.de, Ursula Decker-Bönninger, 2015 - on Der goldene Drache
Simon Bode … is already an aristocrat in Mozart Style- a name to be watched. I haven`t enjoyed an ‘Entführung’ as much in decades…
Opera Magazine, Hugh Canning, 2012 - on Die Entführung aus dem Serail at Oper Frankfurt
…Bode’s performance of another Wolf favourite, An eine Äolsharfe, is sung with masterly legato…
BBC music magazine, January 2012 - on Brahms - The complete songs Vol.3, Hyperion Records
His tone is crystal-clear, his phrasing always thoughtful…the haunted and little-known „Lerchengesang“ brings one of the loveliest performances…“Wiegenlied“ is a dulcet as you can wish…
Gramophone, Richard Wigmore, February 2012 - Brahms - The complete songs Vol.3, Hyperion Records
|L. van BEETHOVEN||Fidelio||Jaquino|
|L. BERNSTEIN||A Quiet Place||Analyst|
|B. BRITTEN||Owen wingrave||Lechmere|
|Turn of the Screw||Prologue*|
|Albert Herring||Albert Herring*|
|Rape of Lucretia||Male Chorus*|
|P. EÖTVÖS||The Golden Dragon (UA)||A young man|
|C. W. GLUCK||Ezio||Varo|
|G. F. HANDEL||Alcina||Oronte|
|Il trionfo del tempo e del Disiganno||Tempo|
|J. HAYDN||L´anima del filosofo (Orfeo)||Orfeo|
|H. W. HENZE||Der junge Lord||Wilhelm|
|E. W. KORNGOLD||Die tote Stadt||Gaston/Victorin|
|F. LÉHAR||Der Graf von Luxemburg||Armand Brissard|
|B. MARTINÚ||Comedy on the Bridge||Schoolmaster|
|C. MONTEVERDI||Il ritorno dUlisse in patria||Eumete*|
|W. A. MOZART||Die Entführung aus dem Serail||Belmonte|
|The Magic Flute||Tamino|
|La clemenza di Tito||Titus*|
|La finta giardiniera||Belfiore|
|La finta semplice||Fracasso|
|Le nozze di Figaro||Basilio/Don Curzio|
|J. OFFENBACH||Orpheus in the Underworld||Pluto|
|F. J. M. POULENC||Les dialogues des Carmélites||Chev. de la Force|
|A. SALINEN||Barabbas Dialoge||The youth|
|S. SCIARRINO||Luci mie traditrici||Un servo|
|R. STRAUSS||Arabella||Graf Elemer|
|I. STRAVINSKY||The Rakes Progress||Tom Rakewell*|
|G. VERDI||Don Carlo||The Count of Lerma/Herald|
|R. WAGNER||Das Liebesverbot||Antonio|
|Die Feen||Gunther/A messenger|
|Tannhäuser||Walther von der Vogelweide*|
|The Flying Dutchman||Steersman|
|Tristan und Isolde||A young sailor/A shepard|
|K. WEILL||The Threepenny Opera||MacHeath|
|*studiert/ mögliche Rollen|
|more... less / top|
|J. S. BACH||BWV 232 Mass in B minor|
|BWV 243 Magnificat|
|BWV 244 St Matthew Passion (Evangelist+Arien)|
|BWV 245 St John Passion (Evangelist+Arien)|
|BWV 248 Christmas Oratorio|
|L. van BEETHOVEN||Symphony No. 9|
|Christ on the Mount of Olives|
|B. BRITTEN||War Requiem|
|C. FRANCK||Les béatitudes|
|G. F. HANDEL||Messiah|
|Israel in Egypt|
|J. HAYDN||The Creation|
|W. A. MOZART||Vesperae solennes de confessore|
|Mass in C minor (also new version by R. Levin)|
|Der Messias (Arrangement)|
|F. SCHUBERT||Mass in G major|
|Messe in E-flat Major|
|F. SCHUBERT/ H. ZENDER||Winterreise|
|R. SCHUMANN||Scenes from Goethe's Faust|
|more... less / top|
Simon Bode (tenor), Graham Johnson (piano)
Hyperion Records, 2011, CDJ33123
Simon Bode, Anna Palimina, Marion Eckstein, Matthias Hoffman, Ulrich Eisenlohr, Stefan Irmer
Naxos, 2019, 8573944
Simon Bode, Daniel Behle, Camilla Nylund, Louise Alder i.a.
OehmsClassics, 2017, OC 968
Simon Bode (tenor), Christel Lee (violin), Igor Levit (piano)
Deutsche Stiftung Musikleben, 2017
Simon Bode i.a., Frankfurter Opern- und Museumsorchester, Sebastian Weigle (conductor)
OehmsClassics, 2013, OC 942
Simon Bode i.a., The Opern- & Museumsorchester Frankfurt, Sebastian Weigle (conductor)
OehmsClassics, 2011/2012, OC 015
Simon Bode, Nina Tarandek, Christian Miedl, Roland Schneider, Ensemble Algoritmo, Marco Angius
After a long pause due to the current pandemic, Simon Bode has several projects dear to him lined up for the coming year. Performances in the U.S. and of the Zauberflöte at the Salzburg Festival have been rescheduled for later dates, but he is devoting himself all the more to lieder and chamber music – including at the Heidelberger Frühling and Kissinger Sommer festivals and, together with Igor Levit, with Winterreise in Frankfurt and Essen. Anticipation is definitely called for. However, like many other artists, the fact that he is not trumpeting this anticipation too loudly at present has, of course, less to do with theatre superstitions than with the reality of the Corona virus. So while we keep our fingers crossed that Schubert's wanderer will indeed be able to run off into the winter night before this season’s end and not have to remain in his abode, we take the opportunity to talk to the tenor about his own life's journey down various musical paths....
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