In the first opera performance of the new theater season you will see two interesting guests from Austria on Wednesday 9 September at 19:00 on the stage of the Historical Building of the Košice State Theater. Austrian tenors Eugene Amesmannin Florestan and Alexander Kaimbacher in Jaquin for the first time in Košice will perform in Beethoven's Fidelio.
Alexander Kaimbacher (photographed by Lena Kern), who lives in Vienna, comes from Villach. He worked in Vienna's Volksoper and Munich's Bayerische Staatsoper, and since 1999 he has been a freelance opera and concert singer. He has hosted major European opera houses, including La Scala in Milan, and has worked with major directors and conductors. He also presented himself at many important opera festivals in Europe. His repertoire includes many characters ranging from the lyrical roles of Mozart and Britten to the character roles of Wagner and Strauss. He's a specialist in new music. His concert repertoire is also very wide, with which he performed not only in Europe, but also overseas, in the USA and Canada.
Eugene Amesmann introduced himself to Košice's Florestan figure a few months ago at premiere Fidelio in the second half of February. A native of Tirol grew up in Vienna and studied singing at the Vienna Prayner Conservatory. He worked in Eduard-von-Winterstein-Theater Annaberg and in Vienna's Volksoper. As a freelance singer, he has performed in many opera and operetta productions in Germany, Austria, Switzerland, but also in Japan. “Florestan's role is very challenging, because Florestan reveals his weaknesses and strengths only during the opera. Since we don't know this man's story very well in advance, it's always a big challenge to portray him also as an actor,” Amesmann said about Florestan before the premiere. According to him, Fidelio is an opera that can always be adapted to the present. “Don Pizzar's illegal practices are still applicable in some countries. Singing the role of Florestan makes me very happy, although it is not easy for any tenor's voice. From the beginning of the first aria to the final, the role should not be underestimated,” Amesmann thinks.
