Constantin Trinks 2019/20 season opens with Lydia Steier’s new production of La Juive for Staatsoper Hannover. This season sees him return to Bayerische Staatsoper for Les contes d’Hoffmann and Così fan Tutte, following hugely successful performances of both Die Entführung aus dem Serail and Arabella in 2018/19 featuring Anja Harteros, which was first performed at the Münchner Opernfestspiele in June 2018, in Paris in January 2019 and finally in Munich. He will also conduct La bohème for Oper Köln, return to Theater an der Wien for Andrea Breth’s Prokofiev The Fiery Angel, and conduct Pique Dame in Sofia, Salome at the New National Theatre in Tokyo, and make his debut at Royal Swedish Opera/Kungliga Operan with Die Walküre. Further ahead he will make debuts with Glyndebourne and Royal Opera House, Covent Garden.
Last season, he conducted productions of The Turn of the Screw for Seattle Opera, Die Lustige Witwe for Teatro dell’Opera di Roma, and Euryanthe for Theater an der Wien.
Highights of previous 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. 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 early opera Das Liebesverbot at the Bayreuth Festival and for Opéra du Rhin in Strasbourg.
Similarly active on the orchestral platform, he appears this season with the Orchestre de Chambre de Paris, Vancouver Symphony, Salzburg Mozarteum at the Grosses Festspielhaus in Salzburg and Dresden Philharmonic. Further ahead he makes his debut with Orchestre National de Belgique in Bozar.
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 live recording of Hans Rott’s Symphony No. 1 with the Mozarteum Orchester received an ECHO Classic in October 2017 for Profil Edition Hänssler. On the same label, he has also recorded Weinberger’s Švanda dudák (Schwanda the Bagpiper) with Dresden Staatskapelle/Semperoper.
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. Between 2009-2012, Trinks held the position of 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.
Constantin Trinks to Make Opera Roma Debut with Damiano Michieletto’s Production of Lehár’s Die lustige Witwe 14 – 20 April
Constantin Trinks makes his debut with Opera Roma with Lehár’s Die lustige Witwe. Co-produced with the Teatro La Fenice di Venezia, the production is directed by Damiano Michieletto and opens on Sun 14 April at Teatro Costanzi with further performances on 16, 17, 18,...
Constantin Trinks conducts the premiere of Christof Loy’s production of Weber’s Euryanthe for Theater an der Wien on 12 December 2018, with performances which extend until the end of December. ORF Radio Symphonieorchester Wien is the pit band for this production, and...
Constantin Trinks makes his debut for Seattle Opera on 13 October, conducting a new production of Benjamin Britten’s Turn of the Screw. With Elizabeth Caballero as the Governess, Ben Bliss as Peter Quint and Seattle Symphony in the pit, the performances continue...
“The Sofia Opera Orchestra, already familiar with Richard Wagner’s music for years, on these two evening performances, was by far the best I’ve heard here in recent years. Trinks was able to animate the orchestra to display unbelievable musical sensitivity and transparency, with a virtually flawless and extremely engaged reading. The musical contribution was by far the best part of both evenings in addition to the two engaging and produced by the score Kartaloffs productions…. Under the baton of Constantin Trinks the orchestra impressed me even more than tonight’s “Tristan”. The sonorous “Parsifal” aesthetic, so specific, came to full bloom with Trinks’ sensitive and singer-friendly conducting, but also with his accentuation of dramatic moments, when no one else was on stage or had to sing, as for example in the transformation music in the 3rd act.” [Wagner’s Tristan und Isolde, and Parsifal]Klaus Billand
“Czech conductor, Tomáš Netopil, has been Music Director of the Essen Philharmonic Orchestra since 2013. Together, they turn in a performance of the Ninth that is more than worthy of a place in any decent Mahler collection… Netopil’s pacing of this movement is exemplary. In his hands the opening is noble and immensely dignified, with not a trace of self-pity. I like this very much, as I also do the control of the final page, leading to a close that is as moving as any I have heard on record… When, in the future, I find myself in need of Mahler’s Ninth – and who can say when that will be? – the simple humanity and fine control of Netopil’s performance, alongside the superb orchestral playing and demonstration quality recording, will do much to persuade me to take this version down from the shelves.”William Hedley
“…a Die lustige Witwe to listen to… Trinks has the right balance, deep and light at the same time, depicting the contrasts of irony and nostalgia for a world at dusk” [translated from Italian]Giuseppe Pennisi
“The remarkable orchestra of finesse and power was placed under the energetic and subtle direction of Constantin Trinks… Dominating perfectly these sudden and delicate transitions, the baton of Constantin Trinks directs the orchestra with the hand of a master, until the last moment of this luxurious imaginary voyage.” [translated from French]Jean Landras
“Constantin Trinks, handled the theatrical impact of this music [Strauss’ Arabella] perfectly, which was played by an orchestra (Bayerische Staatsoper) in whose veins this music runs. An evening one cherishes, where everything seems to converge towards a single goal: the perfection of a memorable interpretation… The orchestra of the Bayerische Staatsoper shows an indisputable empathy with the music of Strauss, the child of the country if any: wonderful sounds, transparency of the strings, softness of the winds, cohesion between the desks.” [translated from French]Jean-Pierre Robert
“the fabulous Bayerisches Staatsorchester responds perfectly to Constantin Trinks’ ample and elegant beat, assuming every bit of contrast required by this singular score which oscillates between musical dialogue and lyrical flights, turbulent emotions, and masquerades.” [translated from French]Steeve Boscardin
“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
“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.”