Constantin Trinks is a regular guest conductor with opera houses around the world. Highlights of 2018/19 include productions of The Turn of the Screw for Seattle Opera, Lustige Witwe for Teatro dell’Opera di Roma, Die Entführung aus dem Serail and Arabella for Bayerische Staatsoper (Arabella is also performed in Theatre des Champs Elysees in Paris in January 2019), Lohengrin for National Theatre Prague (revived after a hugely successful run in 2017/18 which included a performance in the Prague Spring Festival) and Euryanthe for Theater an der Wien.
Operatic highlights of recent seasons 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 Strasbourg (Salome), Opéra National de Paris (Die Zauberflöte), Wiener Staatsoper, Oper Frankfurt and Staatsoper Hamburg, 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), Così fan tutte and Arabella for Bayerische Staatsoper (the latter as part of the Munchner Opernfestspiele), and Tristan und Isolde for Staatstheater Kassel.
Acknowledged as a major Wagner conductor, Trinks celebrated the Wagner Bicentenary conducting Der fliegende Holländer in Dresden (in Spring 2013 – 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, upcoming engagements include Orchestre Philharmonique de Strasbourg, Orchestre de Chambre de Paris, Hessischer Rundfunk, ORF Radio-Symphonieorchester Wien at the Brucknerhaus Linz, Vancouver Symphony, Dresden Philharmonic, the orchestra of den Norske Opera and Salzburg Mozarteum Orchester with whom the live recording of Hans Rott’s Symphony No. 1 received an ECHO Classic in October 2017 for Profil Edition Hänssler. He made his debut in 2016/17 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 acclaimed recording with Dresden Staatskapelle/Semperoper of Weinbergers’ Švanda dudák (Schwanda the Bagpiper) is also for Profil Edition Hänssler.
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...
“Conductor Constantin Trinks does everything right at the opera festival of the Bayerische Staatsoper: he keeps the orchestral playing fluid and the chamber excerpts light and playful, allowing that waltz and melody shimmers with delight” (translated from German)
“Trinks knew exactly how to capture this sound world with rousing energy from start until end. He drew out brilliantly nuanced phrases from the orchestra, allowing the plays and singers alike to breathe with the music, earning himself a mightily loud and rapturous applause from the house.” (translated from German)
“The sounds that emerged from the pit were seamless, as if released in a single, long, extended breath. The orchestra played splendidly. Immediacy was provided by trumpets placed in one of the side boxes and blazing brilliantly. The backstage orchestra, with those same trumpets doing double duty, provided grandeur to the pageantry, as did the luxury of an actual pipe organ. After the final notes had sounded, the woman sitting next to me turned and said, ‘Ich bin begeistert’. It is a phrase that I always have trouble translating into English from German. Somehow, delighted or thrilled does not quite capture its meaning, but I knew exactly what she meant.”
“…[the Staatstheater Kassel orchestra] gives everything it has, musically, under the excellent direction of Constantin Trinks.” (translated from German)
Judith von Sternburg
“Constantin Trinks’ sensitive conducting never overwhelms, a style characterised by his unique ability to evoke the most passionate emotions at even the most moderate tempi, allowing the music to naturally seep right under your skin.” (translated from German)
“Constantin Trinks is truly a master of seamless transitions. The way he arouses excitement which spurs ecstasy, without deafening your ears and without straining the singers, by carefully shaping the phrases around climatic moments – that is great art.” (translated from German)
“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… Trinks’ performance [of Schubert’s Symphony No. 9] was the most distinguished we have seen for years… 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.”