Constantin Trinks is a regular guest conductor with most of the major opera houses in Europe where recent productions have included Sächsische Staatsoper Dresden (Der Fliegende Holländer), New National Theatre Tokyo (Le Nozze di Figaro), Opernhaus Zürich (The Turn of the Screw), Opéra du Rhin (Salome), Opéra National de Paris (Die Zauberflöte), Wiener Staatsoper, Oper Frankfurt and Staatsoper Hamburg. Productions in 2017/18 include the Ring Trilogie (which was developed especially for the Theater an der Wien by Tatjana Gürbaca, Bettina Auer and Constantin Trinks, with ORF Radio-Symphonieorchester Wien and the Arnold Schoenberg Choir – and which tells the story of the Ring from the perspective of the younger protagonists with the spotlight on Hagen, Siegfried and Brünnhilde), Cosi fan tutte and Arabella for Bayerische Staatsoper (the latter as part of the Munchner Opernfestspiele), Lohengrin for Prague National Theatre and Tristan und Isolde for Staatstheater Kassel. He opened the Theater an der Wien 2015/16 season conducting Marschner’s Hans Heiling.
Acknowledged as a major Wagner conductor, Trinks celebrated the Wagner Bicentenary conducting Der fliegende Holländer in Dresden (in Spring 2015 – premiered there 170 years before), Tannhäuser in Tokyo, Strasbourg, Deutsche Oper Berlin and Frankfurt, as well as Wagner’s first opera Das Liebesverbot at the Bayreuth Festival and for Opéra du Rhin in Strasbourg.
Similarly active on the orchestral platform, he made his debut last season with the Bayerische Rundfunk and, following an acclaimed debut with the Munich Philharmonic in 2015/16, he conducted their New Year Beethoven 9 concerts in December 2016. His live recording of Hans Rott Symphony no.1 with the Salzburg Mozarteum Orchester receives an ECHO Classic award in the Symphonic Recording (19th century) category in October 2017. This, plus his acclaimed 2012 recording with Dresden Staatskapelle/Semperoper of Weinbergers’ Svanda Dudak (Schwanda the Bagpiper) both appear on Profil Edition Hänssler). Engagements this season include Wiener Symphoniker, Vancouver Symphony, Seoul Philharmonic, Orchestre Philharmonique de Radio France and the Orchestra of Den Norske Opera.
Trinks’ joined the Saarländisches Staatstheater in 2002 as Kapellmeister, ascending within a few years into the position of interim music director from 2006 to 2009. Whilst there he conducted Nono’s Intolleranza 1960, La bohème, Don Giovanni, Die Zauberflöte, Das Rheingold, Lohengrin, Salome, Carmen, Don Carlo, La traviata, Cavalleria rusticana/ I pagliacci, Kullervo (Sallinen) and the European premiere of The First Emperor by Tan Dun thus demonstrating his interest in wide-ranging repertoire.
In 2009 Trinks was appointed Music Director at the Staatstheater Darmstadt, where his productions included not only his first critically acclaimed Der Ring des Nibelungen, but also Die Meistersinger von Nürnberg, Parsifal, Fidelio, Aida and the world premiere of Orff’s early work Gisei (available on DVD) in combination with De temporum fine comoedia.
Constantin Trinks, born in Karlsruhe, studied conducting at the Conservatory of his hometown with Wolf-Dieter Hauschild and piano with Günter Reinhold. Major musical influences come from Thomas Hengelbrock and Christian Thielemann, combining important insights into historically informed performance practice as well as a strong romantic line.
The 2017 Echo Klassik Awards were bestowed on Sunday, 29 October live from the glamourous Elbphilharmonie in Hamburg. The 24th annual ceremony was broadcast on German television station ZDF and streamed live on its Mediathek. Hosted by Thomas Gottschalk, the...
“Constantin Trinks’ love of Wagner came across right at the beginning of the concert in the famous Prelude to Lohengrin. The high strings were so tenderly shaped at the opening, creating just the type of inward restraint to permit a real ‘opening out’ when the lower strings entered…
…It is always a major challenge for a young conductor and orchestra to take on Schubert’s long 9th symphony (even longer when all its repeats are taken, as here), yet Trinks’ performance was the most distinguished we have seen for years…
Overall, Trinks’ control of the varying intensities needed in this long work was very much a tour-de-force… I would very much welcome visits from this maestro on a recurring basis. He seems to challenge the orchestra to do things that they might not otherwise attempt, and gets absolutely inspired results.”