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About Christian Gerhaher

See 31 performances featuring Christian GerhaherSee 3 video-on-demand performances featuring Christian Gerhaher
Voice type: Baritone
Future engagements in our database:
Past performances in our database:
Count Almaviva in The Marriage of Figaro (Bavarian State Opera, 2010)
Papageno in The Magic Flute (Bavarian State Opera, 2011)
Papageno in The Magic Flute (Bavarian State Opera, 2012)
Rodrigo, Marquis of Posa in Don Carlos (Théâtre du Capitole, 2013)
Wolfram von Eschenbach in Tannhäuser (Madrid Opera, 2009)
Wolfram von Eschenbach in Tannhäuser (Bavarian State Opera, 2010)
Wolfram von Eschenbach in Tannhäuser (Vienna State Opera, 2010)
Wolfram von Eschenbach in Tannhäuser (Royal Opera, 2010)
Wolfram von Eschenbach in Tannhäuser (Royal Opera, 2010)
Wolfram von Eschenbach in Tannhäuser (Royal Opera, 2011)

Read our reviews

Date and venueTitle
10-May-2012
Kimmel Center, Perelman Theater
Christian Gerhaher and András Schiff: A true musical partnership
Image credit: Christian Gerhaher © Hiromichi YamamotoAmong the audience at Thursday night’s Philadelphia Chamber Music Society recital, it seemed few had heard of baritone Christian Gerhaher. They had come for the excellent reason of András Schiff playing the piano. But by the end of the evening it was clear that neither name would be soon forgotten. In a warhorse-heavy program of Beethoven, Schumann, and Haydn, they were an exceptionally subtle and accomplished team.
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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.
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