Constantin Trinks

Conductor

Biography

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.

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Recent News

“Britten’s superbly designed score for a small orchestra of 13 musicians has its own eeriness adding to the atmosphere and supporting the singers. It was superbly played by Seattle Symphony musicians and conducted in his Seattle Opera debut by Constantin Trinks. It’s one of the most memorable productions the opera has done, in that every detail is equally strong, equally riveting, the story gripping.”

Philippa Kiraly

City Arts Magazine

“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)

Michael Stallknecht

Süddeutsche Zeitung

“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)

Gerhard Hoffmann

Online Merker

“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.”

Rick Perdian

Seen and Heard International

“…[the Staatstheater Kassel orchestra] gives everything it has, musically, under the excellent direction of Constantin Trinks.” (translated from German)

Judith von Sternburg

Frankfurter Rundschau

“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)

Bernd Stopka

Online Musik Magazine

“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)

Uwe Friedrich

Deutschlandradio, Kassel

“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.”

Geoffrey Newman

Vancouver Classical Music