Born in 1978, the Austrian tenor is one of the most sought-after Evangelists and Bach interpreters of his generation. After completing his training as a church musician, he studied voice with Margit Klaushofer and Robert Holl in Vienna. He participated in master classes with Dietrich Fischer-Dieskau, Nicolai Gedda and Christa Ludwig and was a prizewinner at the Bach, Schumann, Mozart, Hilde Zadek and Wigmore Hall Competitions.

Since his debut in 1998, appearances as a concert, lieder and opera singer have taken him to the major musical centres of Europe, North America, Japan and the Middle East, where he sings works from every period. In addition to regular concerts at the Vienna Musikverein and Konzerthaus, he appears at leading festivals (Styriarte Festival in Graz, Salzburg Festival, Carinthian Summer, Israel Festival, La Folle Journée, International Herrenchiemsee Festival, several international Bach festivals). He performs under such distinguished conductors as Sir Neville Marriner, Bertrand de Billy, Jordi Savall and Enoch zu Guttenberg with various ensembles, including Le Concert des Nations, the Vienna Philharmonic and the Chamber Orchestra of Europe. Daniel Johannsen is also involved in several large-scale Bach cantata projects.

The lyric tenor is engaged by such theatres as the Munich State Theater on Gärtnerplatz, the Leipzig Opera, the Vienna Volksoper, the Lucerne Theater, the Bonn Opera and the Ludwigsburg Castle Festival, where he is heard in Mozart roles, Baroque, 20th-century and contemporary works as well as several operetta roles.

Song recitals featuring the entire range of German repertoire, in addition to English and French compositions, are a central focus in the work of the singer, who collaborates with such pianists as Simon Bucher, David Lutz, Gerold Huber and Helmut Deutsch. Daniel Johannsen’s recording of the Dichterliebe was released in spring of 2010, following his first solo CD, Tenore & Traverso with arias by J. S. Bach, which received the ORFPasticcio Award. In addition, numerous other recordings, radio and television broadcasts document his creative output.

During the 2013/14 season Daniel Johannsen appears at the Leipzig Bach Festival under Trevor Pinnock. He will give lieder and chamber music recitals at the Carinthian Summer and the Hugo Wolf Academy in Stuttgart. He sings the title role in Benjamin Britten’s Albert Herring at the Vienna Volksoper and appears in a contemporary adaptation of Henry Purcell’s King Arthur at the Theater an der Wien. In the 2014/15 season he makes his debut singing the role of Belmonte in Die Entführung aus dem Serail under Michael Hofstetter at the season premiere of the Giessen Theater. Concerts will take him to the Munich Philharmonie, Brucknerhaus in Linz and the Leipzig Gewandhaus.

4/2013

The South African conductor Conrad van Alphen has delighted audiences and musicians alike in his performances of the orchestral repertoire. A well-established conductor, he has gained tremendous popularity with orchestras for the manner in which he rehearses and performs, and is continually re-invited by the orchestras he conducts.

As artistic director and chief conductor of Sinfonia Rotterdam he has moulded this orchestra to one of the foremost orchestras in The Netherlands who host their own concert series in the “Wereldmuseum” in Rotterdam and in the Concertgebouw in Amsterdam. Furthermore Sinfonia Rotterdam is one of the house ensembles of Rotterdam’s grand concert hall De Doelen. Conrad regularly takes the orchestra on tours throughout The Netherlands and Europe. Intercontinental tours include countries like Brazil, Russia, Mexico and Colombia.

From 2005 to 2009 Conrad van Alphen held the position of chief conductor of the State Philharmonic Orchestra Kislovodsk in Russia, where he received an award for his contribution to the Arts in South Russia by the Ministry of Culture.

Conrad has received excellent reviews internationally for his many recordings. To name a few labels: Telarc (works by Grieg, Dvorak and Elgar), Channel Classics (Rodrigo’s Concierto Madrigal for two guitars and orchestra - Editor’s choice in Gramophone Magazine), Raptus (reconstructions of recent Beethoven finds), Talent Records (Shostakovich Chamber Symphonies), Cybele (works by Karl Amadeus Hartmann) and Brilliant Classics (Bassoon concerto’s by Dupuy, Villa Lobos, Vivaldi and Othuis). Live recorded Cd's of Beethoven's 5th symphony at the Beethoven fest in Bonn and the Leningrad Symphony of Shostakovich in Russia have also appeared.
The latest Cd recorded with the WDR Rundfunkorchester Cologne with premiere recordings of the piano concertos of Herold has recently appeared.

Conrad van Alphen is a popular guest conductor of various orchestras nationally and internationally. He regularly conducts orchestras in The Netherlands, England, Germany, Denmark, Bulgaria, Russia, Poland, South Africa, China and Mexico. Last season included successful debuts with the Noord Nederlands Orkest, Aarhus Symphony Orchestra and the Moscow Philharmonic Orchestra.

Countless soloists have enjoyed being accompanied by Conrad van Alphen. To mention just a few: Daniel Hope, Janine Jansen, Benjamin Schmid, Quirine Viersen, Boris Petruchansky, Ronald Brautigam, Simone Lamsma and Nikita Boriso Glebsky.The South African conductor Conrad van Alphen has delighted audiences and musicians alike in his performances of the orchestral repertoire. A well-established conductor, he has gained tremendous popularity with orchestras for the manner in which he rehearses and performs, and is continually re-invited by the orchestras he conducts.

As artistic director and chief conductor of Sinfonia Rotterdam he has moulded this orchestra to one of the foremost orchestras in The Netherlands who host their own concert series in the “Wereldmuseum” in Rotterdam and in the Concertgebouw in Amsterdam. Furthermore Sinfonia Rotterdam is one of the house ensembles of Rotterdam’s grand concert hall De Doelen. Conrad regularly takes the orchestra on tours throughout The Netherlands and Europe. Intercontinental tours include countries like Brazil, Russia, Mexico and Colombia.

From 2005 to 2009 Conrad van Alphen held the position of chief conductor of the State Philharmonic Orchestra Kislovodsk in Russia, where he received an award for his contribution to the Arts in South Russia by the Ministry of Culture.

Conrad has received excellent reviews internationally for his many recordings. To name a few labels: Telarc (works by Grieg, Dvorak and Elgar), Channel Classics (Rodrigo’s Concierto Madrigal for two guitars and orchestra - Editor’s choice in Gramophone Magazine), Raptus (reconstructions of recent Beethoven finds), Talent Records (Shostakovich Chamber Symphonies), Cybele (works by Karl Amadeus Hartmann) and Brilliant Classics (Bassoon concerto’s by Dupuy, Villa Lobos, Vivaldi and Othuis). Live recorded Cd's of Beethoven's 5th symphony at the Beethoven fest in Bonn and the Leningrad Symphony of Shostakovich in Russia have also appeared.
The latest Cd recorded with the WDR Rundfunkorchester Cologne with premiere recordings of the piano concertos of Herold has recently appeared.

Conrad van Alphen is a popular guest conductor of various orchestras nationally and internationally. He regularly conducts orchestras in The Netherlands, England, Germany, Denmark, Bulgaria, Russia, Poland, South Africa, China and Mexico. Last season included successful debuts with the Noord Nederlands Orkest, Aarhus Symphony Orchestra and the Moscow Philharmonic Orchestra.

Countless soloists have enjoyed being accompanied by Conrad van Alphen. To mention just a few: Daniel Hope, Janine Jansen, Benjamin Schmid, Quirine Viersen, Boris Petruchansky, Ronald Brautigam, Simone Lamsma and Nikita Boriso Glebsky.

Conrad van Alphen was born in 1963 in Pretoria. After his music studies at the age of 26, he moved to The Netherlands and held permanent positions as a Double Bass player in the Radio Symphony Orchestra (Hilversum) and Beethoven Academie (Antwerp), whilst continuing his conducting studies under Eri Klas and Roberto Benzi.

Conrad van Alphen was born in 1963 in Pretoria. After his music studies at the age of 26, he moved to The Netherlands and held permanent positions as a Double Bass player in the Radio Symphony Orchestra (Hilversum) and Beethoven Academie (Antwerp), whilst continuing his conducting studies under Eri Klas and Roberto Benzi.

Bass-baritone Stefano de Peppo, was born in Italy and began his career as a boy soprano in the Children Chorus of La Scala in Milan.

After graduating at Civica Scuola di Musica in Milano he moved to London thanks to a scholarship, and studied at Royal College of Music and with private teachers.
He then moved to Mexico City and made his debut as a very young bass-baritone at Bellas Artes Opera House in 1990.

Leporello (don Giovanni), Figaro (Le Nozze di Figaro), don Magnifico (La Cenerentola), Bartolo (Il Barbiere di Siviglia), Publio (Mexican premier of Mozart’s “La Clemenza di Tito” with Ramon Vargas in  the title role) are some of the roles that made him very successful for and opened the doors for an international career. 
His vocal and acting skills, plus his crisp diction and musicality have made him a great and acclaimed specialist  in the comic Italian/French repertory of the 18^th and 19^th century.

He sang Mustafà (L’Italiana in Algeri), Dulcamara (L’Elisir d’amore), don Pasquale, Geronte (Manon Lescaut), Sulpice (La Fille du regiment), don Alfonso (Così fan tutte),  Sacristan (Tosca) at Minnesota Opera, Palm Beach Opera, Hamilton Opera in Canada, Lyric Opera of Kansas City, Miami Lyric Opera, Sarasota Opera, Connecticut Grand Opera, New Jersey Opera, Houston Opera in the Heights, (USA), Teatro Villamarta, Teatro Cervantes, Gran Teatro de Cordoba, Gran Teatro de Zaragoza, Opera de Tenerife (SPAIN), Teatro Colon de Bogota (COLOMBIA), New Israeli Opera, Finnish National Opera.

In 2002 he sang Leporello in Rome with the famous baritone Renato Bruson as don Giovanni in a production televised by RAI and made into a commercial DVD.

After auditioning for Placido Domingo he was chosen to sing Betto (Gianni Schicchi) at Los Angeles Opera and at Washington Opera with Samuel Ramey as Schicchi in a new production by movie director William Friedkin. 

He has sang also Bartolo in Kansas with the delightful Rosina of worldwide acclaimed mezzo Joyce DiDonato.

He sang also a very successful Don Pasquale at Memphis Opera and at Opera in the Heights in Houston TX, the title   role of don Giovanni with Mozart Festival Opera, and the comic role of Barone Kelbar in the world premier of the revised edition of Verdi’s “Un giorno di regno” (A king for a day) with great acclaim at Sarasota Opera. 
Recent engagements include don Magnifico at Opera Monterrey (Mexico) and at Intermountain Opera, don Pasquale at Miami Lyric Opera. 
He also took part to Francesca Zambello’s megaproduction of La Boheme (as Schaunard) at the prestigious Royal Albert Hall in London.
He appeared in a televised concert at Auditorio Nacional in Mexico City with the worldwide famous Mexican tenor Javier Camarena. 

Also to be mentioned in the last 2 years his first successful take of the title role in Gianni Schicchi at Opera Santa Barbara, Sulpice at Arizona Opera, Dulcamara at Opera Costa Rica, don Alfonso at Sarasota Opera , don Magnifico at Lyric Opera of Chicago and at San Diego Opera and Sulpice at Austin Opera.

He will be soon again don Magnifico at Arizona Opera,  Leporello at Opera Monterrey, don Pasquale at Chautauqua Opera,  and the two Bartolos (Barber of Seville and The Marriage of Figaro) in a tour of Spain and at Opera Tampa.

Updated: 2017-05-12

Within the last 5 years lyric-tenor Xavier Moreno has sung the main leading roles of his repertoire and received critical acclaim at renowned international opera houses. Born in Barcelona, he studied voice, piano and choral conducting at the "Conservatori Superior del Liceu" and finished with highest distinction. 

Starting his career, he went to the Mannheim National Theatre and established there between 2003 and 2008 a remarkable repertoire. Furthermore he was invited as guest to perform at such venues like Opera National de Paris (Bastille), Teatre del Liceu (Barcelona), Hungarian State Opera (Budapest), Tel Aviv Perfoming Arts Center, Latvian National Opera (Riga), Seoul Opera House, as well as at the theatres of Hannover, Dortmund, Rouen, Limoges, Rennes, Darmstadt, Mainz or Heidelberg, a.o. 

His opera repertoire comprises roles such Don Carlo (Don Carlo), Edgardo (Lucia di Lammermoor), Rodolfo (La Bohème), Pinkerton (Madama Butterfly), Nemorino (L'elisir d'amore), Werther (Werther), Alfredo (La Traviata) and Tamino (Die Zauberflöte), a.o.

His concert repertoire comprises works such as Mozart’s and Verdi’s Requiem, Haydn’s Creation, Beethoven’s “Christus am Oelberge” and 9th Symphony, as well as Dvorak’s Stabat Mater and Requiem. These works he performed at such venues like the “Beethovenhalle” (Bonn), or the “Tonhalle” (Zürich) and orchestras like the Israel Symphonic Orchestra, the Orchestra and Chorus of the Arena di Verona, the Hamburger Symphoniker, the Bochumer Symphoniker, and many others.
Among the conductors with whom he has worked there has been Adam Fischer, James Conlon, Hartmut Haenchen, Dan Ettinger, Frédéric Chaslin, György Ráth, and Cornelius Meister.

Future projects include his debut at Slovene National Theatre (Maribor), in June 2012, as Nemorino in Donizetti’s “L’elisir d’amore”, a new production of Verdi’s “Don Carlo” at the theatre of Hagen (Germany), from November 2012, and also a concert series in Tokyo of Rossini's "Petite Messe Solenelle", January 2013, with the Tokyo Philharmonic Orchestra. 

Rafi Kadishson - a conductor and composer, is regularly conducting orchestras such as the Israel Philharmonic Orchestra, the Jerusalem Symphony, the Jerusalem Camerata and also conducted the London Symphony Orchestra. His works and arrangements were played by various orchestras such as thePittsburgh Symphony, Tokyo Symphony, Rome Opera Orchestra, and Israel Philharmonic as well as other Israeli orchestras under the batons of such conductors as Zubin Mehta, Gary Bertini and others. 

Mr. Kadishson collaborated with artists such as Lalo Schifrin - orchestrating and conducting Schifrin's "Kol Nidrei". Violinist and former music Director of the Israel Chamber Orchestra Shlomo Mintz performed a commissioned work, "Yefe Nof", in numerous concert-tours. The violinist Yuval Yaron performed and reordered the "Fanatsia" for violin and Piano. "Concerto for Peter and Orchestra" was recorded by Peter Wertheimer (in 1996) with the Symphonett Ra'anana conducted by the composer. 

Mr. Kadishson won the Israel Film Prize for his film scores "Fantasia on a Romantic theme", and "Summer Holiday Blues". He also won the ACUM Music for the Theater Prize and the prestigious Prime Minister Prize for Composers 2008. 

Rafi Kadishson teaches at the Israel Academy of Music and Dance in Jerusalem and various other colleges and institutions. He is engaged in composing, score arrangements, as a pianist and as a conductor. Among his works are over one hundred and fifty scores for the Theater, and the music for dozens of Film, Ballets and TV series in Europe and in Israel. 

Rafi Kadishson is a graduate of the Guildhall School of Music and Drama in London and the Tel Aviv Rubin Academy of music. Mr. Kadishson studied with Ilona Vinze, Itzhak Edel, Sergiu Natra, Noam Sheriff, Rina Waldman and Mendi Rodan. 

Book Published

• Keyboard Harmony,   textbook, co-authored with Drs. Dalia Cohen and Naftali Wagner; published by Academon Publishers of the Hebrew University of Jerusalem, 1981; second edition, 1985

Articles Published

• "The Theory Of Composition"  Music In Time, Israel 2006
• Art & Entertainment, Published in the World New Music Magazin No.11
• "Text and Sound in Stravinsky's Oedipus Rex" (in Hebrew) published in Prisma, monthly publication of art and literature,  March 1987, Tel-Aviv 
• "From Draft to Score and Back Again" published in Music In Time, a publication of the Rubin Academy of Music and Dance in Jerusalem,  issue of 1986-87 
• "Tonal Ambiguities as a Constructive Force in the Language of Stravinsky” published in The Musical Quarterly,  Vol. LXVIII, No. 4,  October, 1982