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About Matti Salminen

See 3 performances featuring Matti Salminen
Voice type: Bass
Future engagements in our database:
Past performances in our database:
A Hermit in Der Freischütz (Barcelona Opera, 2011)
Boris in Boris Godunov (Zurich Opera, 2010)
Daland in Der fliegende Holländer (Bavarian State Opera, 2009)
Daland in Der fliegende Holländer (Zurich Opera, 2013)
Daland in Der fliegende Holländer (Opéra de Paris, 2010)
Daland in Der fliegende Holländer (Zurich Opera, 2012)
Fafner in Das Rheingold (Metropolitan Opera, 1990)
Fafner in Siegfried (Metropolitan Opera, 1990)
Fasolt in Das Rheingold (Valencia Opera, 2007)
Gurnemanz in Parsifal (Vienna State Opera, 2010)
Gurnemanz in Parsifal (Zurich Opera, 2011)
Hagen in Götterdämmerung (Metropolitan Opera, 1990)
Hagen in Götterdämmerung (Vienna State Opera, 2010)
Hagen in Götterdämmerung (Vienna State Opera, 2009)
Hagen in Götterdämmerung (Deutsche Oper Berlin, 2011)
Kaspar in Der Freischütz (Zurich Opera, 2010)
King Marke in Tristan and Isolde (Metropolitan Opera, 2008)
King Marke in Tristan and Isolde (Royal Opera, 2009)
King Marke in Tristan and Isolde (Teatro alla Scala, 2008)
Landgraf Hermann in Tannhäuser (Bavarian State Opera, 2010)
Philippe II, King of Spain in Don Carlos (Zurich Opera, 2012)
Philippe II, King of Spain in Don Carlos (Bavarian State Opera, 2010)
Veit Pogner in Die Meistersinger von Nürnberg (Zurich Opera, 2010)
Veit Pogner in Die Meistersinger von Nürnberg (Zurich Opera, 2012)

Read our reviews

Date and venueTitle
15-Dec-2012
Southbank Centre: Queen Elizabeth Hall
Gloom, doom, stormy seas, and a Dutchman flown over from Zurich: A concert Flying Dutchman in London
Opera being a strongly visual art form as well as a musical one, the idea of a pure concert performance seems a little strange to those unfamiliar with the form. However, removing the necessity for singers to run around (often in uncomfortable-looking costumes), negotiate (sometimes uncooperative) props and scenery, and bodily convey their thoughts and feelings in a manner visible to amphitheatre Row W, allows for 100% concentration on the music, in particular the expression of character and emotion through voice alone.
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4-Oct-2012
Semperoper
A relentlessly dark Don Carlo at the Dresden Semperoper
Image credit: Sade, Frontali, Guriakow, Scandiuzzi © Matthias CreutzigerThere’s something relentlessly dark about Verdi’s Don Carlo. King Philippe and his son, the eponymous Don Carlo, are both very troubling characters, the former power-hungry and vengeful, the latter plagued by desire for his stepmother. Standing next to them are the stepmother herself, Elisabeth, and Don Carlo’s friend, Rodrigo, who are both models of selflessness, but suffer the consequences of their generosity of spirit. Light relief is provided by Princess Eboli, but as the drama progresses even she despairs her fate, suffering the consequences of her jealousy and loose tongue.
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