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About Christof Fischesser

See 29 performances featuring Christof Fischesser
Voice type: Bass
Future engagements in our database:
Past performances in our database:
Banquo in Macbeth (Bavarian State Opera, 2012)
Banquo in Macbeth (Staatsoper Berlin, 2009)
Colline in La Bohème (Zurich Opera, 2013)
Count Walter in Luisa Miller (Bavarian State Opera, 2012)
Don Basilio in The Barber of Seville (Vienna State Opera, 2009)
Escamillo in Carmen (Staatsoper Berlin, 2009)
Figaro in The Marriage of Figaro (Staatsoper Berlin, 2010)
Giorgio Valton in I Puritani (Vienna State Opera, 2010)
Heinrich der Vogler in Lohengrin (Staatsoper Berlin, 2009)
Heinrich der Vogler in Lohengrin (Bavarian State Opera, 2011)
King Marke in Tristan and Isolde (Houston Grand Opera, 2013)
King Marke in Tristan and Isolde (Opéra de Lyon, 2011)
Klingsor in Parsifal (Staatsoper Berlin, 2009)
Landgraf Hermann in Tannhäuser (Royal Opera, 2010)
Landgraf Hermann in Tannhäuser (Bavarian State Opera, 2012)
Landgraf Hermann in Tannhäuser (Royal Opera, 2010)
Landgraf Hermann in Tannhäuser (Opéra de Paris, 2011)
Landgraf Hermann in Tannhäuser (Royal Opera, 2011)
Le Comte Des Grieux in Manon (Royal Opera, 2010)
Raimondo in Lucia di Lammermoor (Zurich Opera, 2012)
Ramfis in Aida (Staatsoper Berlin, 2009)
Sarastro in The Magic Flute (Staatsoper Berlin, 2010)
Sarastro in The Magic Flute (Staatsoper Berlin, 2009)
Sparafucile in Rigoletto (Zurich Opera, 2013)

Read our reviews

Date and venueTitle
30-Dec-2010
Royal Opera House, Covent Garden
Bychkov and Botha do Tannhäuser
Image credit: Johan Botha as Tannhäuser and Eva-Maria Westbroek as Elisabeth © 2010 Royal Opera House / Clive BardaMy last opera of the year was also my first Wagner: a new Covent Garden production of Tannhäuser, directed by Tim Albery and conducted by Semyon Bychkov. First things first: Bychkov was magnificent. His phrasing wowed me time after time, the dynamics and matching of the music to the action were impeccable, and some glorious textures came from the orchestra in passages of all sorts, particuarly in Wagner's trademark brass writing. In just under four hours of music, there was hardly a foot wrong and never a dull moment.
Read full review...

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