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Henrik Nánási celebrated his debut as General Music Director of the Komische Oper Berlin 2012/2013 with a highly appreciated new production of Mozart´s  The Magic Flute  staged by Barrie Kosky and with the first Berlin performance of Tchaikovsky´s Mazepa. In the upcoming season he will conduct the new productions of Mozart´s Così fan tutte and Prokofiev´s The Fiery Angel. His most recent successes include new productions of Emmanuel Chabrier's L´Étoile at the Oper Frankfurt, Dvorak´s Rusalka and Lehár's The Merry Widow at the Vienna Volksoper, as well as his debut at the Bavarian State Opera Munich with Verdi´s La Traviata and at the Teatro di San Carlo Napoli with a Symphony concert of Schumann and Brahms. He made his debut with Rossini's L´italiana in Algeri at the Semperoper Dresden, where he regurarly returns to conduct several pieces of the italian repertoire like Puccini`s La Bohème, Madama Butterfly, Verdi´s La Traviata and Rossini´s La Cenerentola. Highlights of the season 2013/2014 include his debut with Puccini´s

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Henrik Nánási celebrated his debut as General Music Director of the Komische Oper Berlin 2012/2013 with a highly appreciated new production of Mozart´s The Magic Flute staged by Barrie Kosky and with the first Berlin performance of Tchaikovsky´s Mazepa. In the upcoming season he will conduct the new productions of Mozart´s Così fan tutte and Prokofiev´s The Fiery Angel.

His most recent successes include new productions of Emmanuel Chabrier's L´Étoile at the Oper Frankfurt, Dvorak´s Rusalka and Lehár's The Merry Widow at the Vienna Volksoper, as well as his debut at the Bavarian State Opera Munich with Verdi´s La Traviata and at the Teatro di San Carlo Napoli with a Symphony concert of Schumann and Brahms. He made his debut with Rossini's L´italiana in Algeri at the Semperoper Dresden, where he regurarly returns to conduct several pieces of the italian repertoire like Puccini`s La Bohème, Madama Butterfly, Verdi´s La Traviata and Rossini´s La Cenerentola.
Highlights of the season 2013/2014 include his debut with Puccini´s Turandot at the Royal Opera House Covent Garden, Verdi´s Otello at the Hamburg State Opera and Bizet´s Carmen at the Arena di Verona Festival. Furthermore he will conduct a new production of Rossini´s La Gazza Ladra directed by David Alden at the Oper Frankfurt and will make his debut in concert with the Bruckner Orchester Linz and the Orchestra del Maggio Musicale Fiorentino.

Henrik Nánási was born in 1975 in Pécs/Hungary. He began his musical education at the Béla Bartók Conservatory in Budapest, studying piano and composition there before continuing his studies at the University of Music and Performing Arts Vienna, where he studied between 1993 and 2000 orchestral conducting (under Uroš Lajovic), rehearsal techniques (under Konrad Leitner), and composition (under Iván Eröd and Kurt Schwertsik) passing with distinction.
He received numerous distinctions and scholarships. In 1993, 1994, and 1997 he received a scholarship from the Alban Berg Foundation for Composers. In 1995 he was awarded the sponsorship prize of the Michael Ziehrer Foundation; in 1996 he was honoured by the Richard Wagner Foundation Bayreuth and received a scholarship from the Federal Ministry of Science, Transport and Art; in 1997 he was recognised for his outstanding artistic talent by the Dr Martha Sobotka - Charlotte Janeczek Foundation, and in 1998 he was honoured by the Global Foundation for Research and Scholarship.

Henrik Nánási came to the Stadttheater Klagenfurt in 1999 as a solo-répétiteur, before becoming that house's First Kapellmeister in 2002 and conducting a broad repertoire of Mozart (The Magic Flute, Così fan tutte), the Italian mode (Don Carlos, Nabucco, Norma, La Cenerentola, Don Pasquale, Turandot, Madama Butterfly, Tosca), Tchaikovsky (Pique Dame), and Stravinsky (The Rake's Progress), through to Offenbach (La Belle Helene) and such rare operettas as Lehar’s Eva.

From 2005 to 2007 he was First Kapellmeister at the Theater Augsburg (including Otello, Hansel and Gretel, Tosca), where he also conducted such new productions as Berlioz's Beatrice et Benedict, Gounod's Romeo et Juliette, Donizetti's Maria Stuarda, and Salieri's Axur, Re d´Ormus.
He also worked as a musical assistant at the Covent Garden Royal Opera House under Antonio Pappano, and at the Opéra de Monte Carlo, and was intensely active in concerts as a pianist and Lieder accompanist.

In 2007 he became First Kappelmeister and temporary Head Conductor of the Staatstheater am Gärtnerplatz in Munich (Le Nozze di Figaro, Fra Diavolo, L'Elisir d'Amore, Il Barbiere di Siviglia, Boccaccio, Martha, etc). The first Munich performances of Verdi's I Masnadieri and Giovanna d´Arco under his direction were particularly well received.

His work as a guest conductor has taken him to such venues as the Volksoper Vienna (Carmen, La Traviata, La Bohème, Countess Mariza, The Bird Seller), the Oper Frankfurt  (La Bohème, I Masnadieri), the Komische Oper Berlin (Fidelio), the Staatstheater Braunschweig (Otello, The Riviera Girl), the Nationaltheater Mannheim (The Magic Flute), the Budapest Operetta Theatre (The Bat, The Land of Smiles) and the Miskolc International Opera Festival (Duke Bluebeard's Castle, Gianni Schicchi). He conducted the extremely successful first Swiss performance of Verdi's early work Alzira at the Theater St Gallen, where he also conducted a new production of Verdi´s Un Ballo in Maschera.

Henrik Nánási's concert work affiliates him the Radio-Symphonieorchester Wien, Orchestra del Teatro di San Carlo di Napoli, Orchestra del Teatro Massimo Palermo, Orchestra Dell´Arena di Verona, Bruckner Orchester Linz, Orchestre Symphonique de L´Opera de Toulon, Tiroler Symphonieorchester Innsbruck, Staatsorchester Braunschweig,  Philharmonisches Orchester Augsburg, Sinfonieorchester St. Gallen and the Neue Philharmonie Westfalen.

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Reviews

"[Henrik Nanasi] is a frequent presence today in major opera houses which is not surprising: he is an excellent conductor. The Fiery Angel needs a baton of the highest level, and Mr. Nanasi has achieved a personal triumph. Under him the orchestra sounded much better than what I’ve heard from them in the past."

José M. Irurzun, Seen and Heard International

"The musical direction was in the hands of young Hungarian Henrik Nanasi[...] His reading was very appropriate with lively timings, but space was always left for the singers to breathe and the orchestra produced a generally good performance. "

José M. Irurzun, Seen And Heard International

"[...] Maestro Henrik Nánási with his moderately sized Staatskapelle Dresden gave a judiciously paced and buoyant performance that set the tone splendidly. In fact their playing was impeccable all evening. I loved the way the Hungarian maestro allowed suitable pauses in the music for the audience to show their appreciation after an aria and to allow the singer time to take a bow if they wished."

Michael Cookson, Seen and Heard International

"Henrik Nánási’s [...] led a reading of great distinction. He kept the piece flowing beautifully and was alert to all the quicksilver changes of mood that abound in the work. [...] He also elicited some ravishing playing from the Komische orchestra who once again revealed themselves as an excellent band. The end of Act 1 in particular was wonderfully played."

Operatraveller