Austrian baritone Florian Boesch is counted as one of today’s foremost Lieder interpreters with appearances at Wigmore Hall, Musikverein and Konzerthaus Vienna, Het Concertgebouw Amsterdam, Laeiszhalle Hamburg, Philharmonie Cologne, Edinburgh and Schwetzingen Festival, Maifestspiele Wiesbaden, the Salzburg Festival, the Konzerthaus in Dortmund, Philharmonie Luxemburg as well as throughout the USA (Carnegie Hall) and Canada. Accompanied by Malcolm Martineau, he performed all three Schubert cycles in Glasgow and in Australia (Sydney, Adelaide, Melbourne). Florian Boesch was an artist in residence at the Wigmore Hall (2014/2015 season) and at the Konzerthaus in Vienna (2016/2017 season).
As a frequent guest on the concert platform Florian Boesch has worked with leading orchestras and conductors such as Wiener and Berliner Philharmoniker, Royal Concertgebouw Orkest Amsterdam, Bavarian Radio Symphony Orchestra, Orchestre Philharmonique de Radio France, Gewandhausorchester Leipzig, Staatskapielle Dresden, London Symphony Orchestra, Danish National Symphony Orchestra, Mozarteumorchester Salzburg, Bamberger Symphoniker, and Ivor Bolton, Riccardo Chailly, Gustavo Dudamel, Adam Fischer, Iván Fischer, Valery Gergiev, Stefan Gottfried, Philippe Herreweghe, Pablo Heras-Casado, Mariss Jansons, Sir Roger Norrington, Sir Simon Rattle, Robin Ticciati and Franz Welser-Möst. He worked very closely with Nikolaus Harnoncourt with whom he did Händel’s Messiah and Saul at the Wiener Musikverein and Purcell’s The Fairy Queen at the 2014 styriarte festival. Further joint projects included Haydn’s The Creation and The Seasons at the 2013 Salzburg Festival, or The Creation in Japan.
In September 2018, Florian Boesch opened the season at London's Wigmore Hall with a Lied recital. Other highlights in 2018/2019 included a tour with Mozart’s Requiem with the Orchestre des Champs-Elysées and Philippe Herreweghe, Mahler’s Wunderhorn-Lieder with MusicAeterna and Teodor Currentzis, Händel’s Messiah with the DSO and Robin Ticciati, Beethoven’s Symphony No. 9 with the Vienna Symphony Orcchestra and Andrés Orozco-Estrada, Haydn’s Seasons with the Antwerp Symphony Orchestra and Philippe Herreweghe, Haydn’s Creation with Il Giardino Armonico and Giovanni Antonini, as well as Mendelssohn’s Elias with the Concentus Musicus and Stefan Gottfried. Recitals brought Florian Boesch to Madrid, Wiesbaden, to the Konzerthaus in Vienna, as well as to Reykjavik together with pianist Vikingur Ólafsson.
The season 2019/2020 is marked by a variety of high-profile concerts including Britten's War Requiem with the Orchestre de Paris and Daniel Harding, Martin's Monologues from Jedermann with the Konzerthausorchester Berlin and Juraj Valčuha, Mozart's Requiem with the Orquesta Nacional de España and David Afkham, Berlioz's Damnation de Faust with the Finnish Radio Symphony Orchestra and Hannu Lintu, Haydn's The Creation with the Collegium Vocale Gent and Philippe Herreweghe, Brahms' Requiem with the CBSO and Mirga Gražinytė-Tyla, Bach's St Matthew Passion both with Philippe Herreweghe on tour and with the Royal Concertgebouw Orchestra and Trevor Pinnock in Amsterdam, Mahler's Lieder des Knaben Wunderhorn with the Konzerthausorchester Berlin and Iván Fischer, and Fauré's Requiem with the Orchestre de Paris and Pablo Heras-Casado.
In the anniversary year 2020, Florian Boesch will appear in Beethoven’s Symphony No. 9 with the London Symphony Orchestra and Sir Simon Rattle, with the Orchestre National de France and Emmanuel Krivine, as well as with the Chamber Orchestra of Europe and Yannick Nézet-Séguin. Together with the Concentus Musicus and Stefan Gottfried, he can be heard in Beethoven's Mass in C major at the Vienna Musikverein.
Recitals in the 2019/2020 season will bring Florian Boesch to the Frankfurt Opera, the Liszt Festival in Raiding, the Vienna Musikverein, the Concertgebouw in Amsterdam, the May Festival in Wiesbaden, and to the Konzerthaus Berlin with Vikingur Ólafsson.
On the opera stage Florian Boesch compels as a great singer-actor, most recently in a new production of Handel’s Orlando at the Theater an der Wien. He has offered further acclaimed portrayals in staged versions of Schubert’s Lazarus and Handel’s Messiah and as Jonathan Peachum in Kurt Weill’s Dreigroschenoper, in Purcell’s Fairy Queen at the Theater an der Wien and as Méphistophélès in Berlioz’ La Damnation de Faust at the Berlin State Opera at the Schillertheater under Sir Simon Rattle’s baton. Major productions of his career also include Alban Berg’s Wozzeck in Cologne or Mozart’s Così fan tutte at the Salzburg Festival. The 2017/2018 season began with a brilliant success as Wozzeck in the eponymous opera by Alban Berg at the Theater an der Wien, followed by an equally successful staged version of Handel’s Saul at the same theatre. During the 2018/2019 season, Florian Boesch appeared at the Berlin State Opera Unter den Linden in a musical theatre work with masks entitled Himmelerde together with the company Familie Flöz and the ensemble Franui.
His recordings have been celebrated by the international press and received numerous awards, including an Edison Klassiek Award in 2012. Die schöne Müllerin was nominated for a 2015 Grammy in the category Best Classical Vocal Solo. In early September 2017, Hyperion released a new recording of Schubert’s Winterreise with Roger Vignoles at the piano; in the autumn of 2018 this was followed by a recording of orchestrated Schubert songs with Concentus Musicus Vienna under the baton of Stefan Gottfried. Boesch’s recordings of Schumann and Mahler songs won a BBC Music Magazine Award.
Florian Boesch received his initial vocal trainings from KS Ruthilde Boesch and later studied Lied and oratorio with KS Robert Holl in Vienna.
2019 | 2020
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Ludwig van Beethoven: Symphony No. 9
Christiane Karg, Sophie Harmsen, Werner Güra, Florian Boesch
Freiburger Barockorchester & Zürcher Sing-Akademie
Conductor: Pablo Heras-Casado
Label: Harmonia Mundi | 2020
Franz Schubert: (Un-)Finished Sympony No. 7 D 759 & Lieder orchestratet by Johannes Brahms & Anton Webern
Concentus Musicus Wien
Conductor: Stefan Gottfried
Label: Aparte | 2018
Franz Schubert: Winterreise
Piano: Roger Vignoles
Label: Hyperion | 2017
Robert Schumann & Gustav Mahler: Lieder
Piano: Malcolm Martineau
Label: Linn Records | 2017
Johannes Eder, Klarinette, Bassklarinette
Andreas Fuetsch, Tuba
Romed Hopfgartner, Altsaxophon, Klarinette
Markus Kraler, Kontrabass, Akkordeon
Angelika Rainer, Harfe, Zither, Gesang
Bettina Rainer, Hackbrett, Gesang
Markus Rainer, Trompete, Gesang
Martin Senfter, Ventilposaune, Gesang
Nikolai Tunkowitsch, Violine
Andreas Schett, Trompete, Gesang, Moderation,
Florian Boesch, Gesang
Jonas Dahlberg, Video
Im über 25-jährigen Bestehen der Musicbanda Franui entwickelte sich eine spezielle Form der romantischen Musik zu ihrem besonderen Kern, zu ihrer Leidenschaft: das Lied. Franz Schubert, Gustav Mahler, Robert Schumann – all diesen Liedkomponisten wurde mit Hingabe und Franui -eigenem Klang gefrönt. Mit Florian Boesch fand man eine fruchtbare Partnerschaft .„Alles wieder gut“, ein Konzert im Zeichen der Vergänglichkeit.
Boeschs eigene, natürlich-innige Interpretation der Lieder wird getragen und umspielt von Franuis einzigartigem Klanggerüst. Der renommierte schwedische Künstler Jonas Dahlberg entwarf hierfür eine Videoprojektion als Bühnenbild, die das Thema der Vergänglichkeit in Form eines dahinschmelzenden Zimmers eindringlich veranschaulicht – der letzte Baustein für ein intensiv-bewegendes Konzerterlebnis.
Franz Schubert: Die schöne Müllerin op. 25, D 795
Florian Boesch, bassbaritone
Malcolm Martineau, piano
Joseph Haydn: Symphony in C-Major Hob. I:30 „Alleluja“
Ludwig van Beethoven: Mass in C-Major op. 86
Marlis Petersen, soprano
Anke Vondung, alto
Werner Güra, tenor
Florian Boesch, bass
Arnold Schoenberg Choir
Nicolas Altstaedt, donductor
Florian Boesch, bassbaritone
Malcolm Martineau, piano
Six Monologues from »Jedermann« (version for baritone and piano) (1943–1944)
as well as selected songs by Franz Schubert and Hugo Wolf
Florian Boesch, bassbaritone
Jonas Dahlberg, video
What happens if a ten-piece ensemble from the Austrian mountains, that has made its name with interpretations of Schubert-, Schumann-, Brahms-, and Mahler Songs, shares the stage with one of the most distinguished Lieder-singers of our time and backed up by one of the more exciting video artists of his generation? A new kind of Liederabend is born. Up front and center: Florian Boesch – internationally celebrated baritone, a strong character of solid Viennese rearing. Surrounded by Musicbanda Franui, who are tackling the 19th century genre of art song with their assortment of instruments, which ranges from folk harp and dulcimer to zither, violins, double bass, accordion and plenty of brass. For all this, the well-regarded Swedish artist Jonas Dahlberg has created a novel set and space for the musicians. What have we got here? A bedroom in black and white? A freeze-frame? The audience eventually realizes that something isn’t right. The disalignment is subtle at first; the opacification creeps in; distortions – imperceptible at first – become notable.
The backrest of a chair – facing the audience – melts away slowly. The beside-lamp, the bookshelf, the duvet, the bedframe – everything dematerializes. The room, perfectly familiar, melts away before our eyes – until there is nothing left but the walls. All awhile, the audience is listening to someone who sings about life, love, and loss. On top of the world one minute, in the depths of despair the next. Everyone is facing their own mortality. And in the end, just like in Gustav Mahler’s Songs of a Wayfarer, “Just when I didn’t know what life might bring / Everything and all was well ag’in!”FURTHER INFORMATION & TICKETS