Thomas Hengelbrock
When were you first enchanted by musical theatre? And what was it that enchanted you?
When I was 13, I went to see a performance of Tannhäuser: it was pure magic for me, I especially loved the Venusberg.
Why do people sing, and why don't they speak?
In song, we can say things that we couldn't bear to say without music.
What role can/should musical theatre play in our society?
The question could be better phrased as: What society should play a role in our musical theatre?
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Born in
Wilhelmshaven (Germany)
Education
Studied violin with Conrad von der Goltz in Würzburg and with Rainer Kussmaul at the Freiburg University of Music.
Important Engagements in the last seasons
- Since 2024/25: Musical Director of the Orchestre de chambre de Paris
- 2024/25 (since 2020): Artist in residence at the Château de Fontainebleau, under the patronage of UNESCO, with the Balthasar Neumann Choir and Orchestra
- 2024: Musical director of the concert in honour of Gabriel Fauré with the Orchestre de chambre de Paris, at the Panthéon in Paris
- 2025: Opening concert of the celebrations for the 150th anniversary of the Palais Garnier: ‘Gala d'anniversaire, 150 du Palais Garnier’ in Paris
- 2025: Mahler: Symphony No. 9, with the Munich Philharmonic Orchestra at the Isarphilharmonie
- 2025: Gluck: Iphigénie en Tauride, with the Balthasar Neumann Choir and Orchestra, Elbphilharmonie Hamburg
- 2025: Rossini, La Cenerentola, with the Balthasar Neumann Choir and Orchestra, Baden-Baden Festspielhaus, director: Vincent Huguet
- 2024: Verdi, Simon Boccanegra, with the Choeur & Orchestre de l’Opéra national de Paris, Opéra Bastille, directed by Calixto Bieito
- 2023: Massenet, Werther, with the Balthasar Neumann Orchestra, Baden-Baden Festspielhaus, directed by Robert Carsen
Debut at Volksoper Wien
2000-2003: Music Director of Volksoper Wien
2025: Musical Director at the Christmas Concert
Website
https://www.thomas-hengelbrock.com/
Other
During the covid pandemic, Thomas Hengelbrock was particularly committed to the preservation of culture and the support of freelance musicians in Europe. In addition, he has been committed to giving young people access to art and culture for many years. He passes on his knowledge and experience to the next generation through the Balthasar Neumann Academy and the Cuban-European Youth Academy, which he founded, as well as through a variety of school and social projects.
* Use of the photograph (© Mina Esfandiari) solely for the purpose of current reporting on the Vienna Volksoper.
