Search results

Important opera houses in my artistic career Here is an overview of my performances at the most important opera stages in the world: AUSTRIA Vienna State Opera Volksoper Vienna Ronacher Vienna Theater an der Wien Musiktheater Linz Opera House Graz Stadttheater Bregenz GERMANY Bavarian State Opera Munich Hamburg State Opera Deutsche Oper Berlin Staatsoper Berlin under Linden Komische Oper Berlin Staatsoper Hannover Opera Cologne Staatsoper Stuttgart Staatstheater Darmstadt Deutsche Opera on the Rhine Düsseldorf Opera Leipzig Semperoper Dresden Aalto – Theater Essen Lübeck City Theatre Badisches Staatstheater Karlsruhe Magdeburg Opera House SWITZERLAND Zurich Opera House Grand Théâtre de Genève Bern Opera ITALY Teatro alla Scala Milano Teatro Maggio Musicale Firenze Teatro di San Carlo - Naples Teatro Massimo – Palermo Teatro Massimo Bellini – Catania Teatro La Fenice – Venice Teatro Lirico di Cagliari Teatro Regio Torino Teatro Verdi Firenze FRANCE Opéra National de Paris Opéra Garnier Paris Théâtre Champs – Elysées Paris Opéra de Rouen Normandy Théâtre Mogador Paris Théâtre de Poissy Opera Municipal de Clermont- Ferrand SPAIN Grand Teatre del Liceu PORTUGAL Teatro Nacional de São Carlos Lisbon ENGLAND Royal Opera House Covent Garden – London BELGIUM Théâtre Royal de la Monnaie – Brussels Théâtre de Liège DENMARK Det Kgl Teater – The Royal Danish Opera Copenhagen HUNGARY Hungarian State Opera House ARGENTINA Teatro Colón Buenos Aires RUSSIA Bolshoi Theatre of Russia, Moscow JAPAN Tokyo Bunka Kaikan The Opera Nagoya Oper Osaka

HERBERT LIPPERT UNIVERSAL ARTIST FROM AUSTRIA PAINTER & TENOR 01 The artist 02 My galleries 03 My paintings 04 My current works 05 My events 06 Search This was the exhibition "Is hope the sister of fear" at Klosterneuburg Abbey - all information and the gallery HERE . Singing and painting open up undreamt-of possibilities for me to live out my creativity and my emotions and to combine these two fascinating and different arts into universal works that appeal to all the senses. Complementing a piece of music with a picture, painting with the music in my head, always gives me great, unique pleasure. Herbert Lippert - painter, opera singer, Kammersänger, Grammy Award winner, Universalartist My galleries My art My events & exhibitions My current works ABOUT THE ARTIST Kammersänger Herbert Lippert combines singing and painting like no other artist to create a unique, universal symbiosis. As a tenor, the Grammy award-winning artist delights his audience and conjures up images in their minds with his voice. In his oil paintings, you can feel the artist's extraordinary talent and his deep connection to music in every brushstroke. Herbert Lippert is a Universalartist virtuoso who bridges the gap between music and painting in a unique and enriching way. THE TENOR With an archive of more than 300 recordings, Herbert Lippert has made a name for himself alongside world-famous conductors and orchestras. These extensive recordings show a singer who is passionate about both the classics and the composers of the 20th century. As a longtime ensemble member of the Vienna State Opera, he has repeatedly demonstrated his masterful interpretations, ranging from Richard Wagner's drama to Benjamin Britten's modern sensibility. THE PAINTER The artistic creativity of the painter Herbert Lippert extends to the most diverse areas of the visual arts, ranging from abstract painting to landscapes and portraits. The predominantly oil on canvas paintings, dubbed post-figurative impressionist style, are characterized by a variety of colors, textures and styles and reveal his artistic sensibility. The combination of Herbert Lippert's vocal talent and ability to create visual works of art is unique and demonstrates an admirable versatility as an artist. MY GALLERIES ABOUT THE ARTIST The Artist My Galleries Exhibition Klosterneuburg Abbey Gallery Exhibition Klosterneuburg Abbey Erlkönig Cycle Oil on canvas Gallery Kreta Cycle Watercolor on paper Gallery Blickwinkel Opera Cycle Oil on canvas Gallery Schubert and more Cycle Oil on canvas Gallery Winterliches Salzkammergut Cycle Watercolor on Paper Gallery Emperor Maximilian and Art Cycle Oil on Canvas Gallery Sankt Florian Cycle Watercolor on Paper Gallery 3xMahler Cycle Oil on Canvas Gallery Single Paintings Oil on Sheet Gallery Single Paintings Watercolor on Paper Gallery Winterreise Cycle Watercolor on Paper Gallery O-Mia Composers Cycle Watercolor on canvas Gallery Winterreise Cycle Oil on canvas Gallery My galleries My latest paintings Is hope the sister of fear Oil on canvas from the exhibition "Is hope the sister of fear" Evening Oil on canvas from the exhibition "Is hope the sister of fear" Moment Oil on canvas from the exhibition "Is hope the sister of fear" Forgotten years Oil on canvas from the exhibition "Is hope the sister of fear" After the conversation Oil on canvas from the exhibition "Is hope the sister of fear" From the lies Oil on canvas from the exhibition "Is hope the sister of fear" Recognize me Oil on canvas from the exhibition "Is hope the sister of fear" Café an der Ringstrasse Oil on canvas Brother Fire Oil on canvas Picture The fine gentleman Oil on canvas For the sake of your love Oil on canvas Picture Rotunda to the World Exhibition 1973 Oil on canvas Sister Mother Earth Oil on canvas Picture My pictures Subscribe to my newsletter, so you don't miss any news - events, news and new paintings! Your e-mail address Subscribe Thank you for subscribing! Contact - Inquiries The Artist The Art The Digital Art The Music The Events & Exhibitions Current Works Imprint Privacy Policy T&C Herbert Lippert Universalartist mail: hl@herbertlippert.com FOLLOW ME: NEWSLETTER FACEBOOK INSTAGRAM SPOTIFY

Music - My recordings as a tenor from the concert halls and opera houses My music portfolio Discover here a select excerpt from my complete recordings with the most famous conductors and sound bodies of the most famous opera houses of the world - like the Vienna State Opera - of our time. Listen to the most intimate recordings and the most acoustically valuable concert halls in the world, like the Vienna Musikverein or the Berlin Philharmonie. For the time being I can offer you a sophisticated playlist for the different summer seasons. In the next months I will provide you with more attractive playlists. The newsletter will inform you as soon as a new playlist is available for you. Sign up HERE. My added Spotify channel also offers you a wide selection of songs, albums and recordings that have been created around the globe in the last decades. I'm happy if you subscribe to my channel and dream musically in my playlist. My Playlists My Spotify Channel SPOTIFY - MY CHANNEL Music - Questions and Answers

The operetta Marcel Prawy not only paved the way for my development as a heldentenor, but he also kindled a deep passion for operetta in me that continues to this day. A true witness to the 20th century, Prawy experienced its dramatic twists and turns as well as its everlasting musical beauty. He also used his enthusiasm for operetta, coupled with an almost inexhaustible knowledge, to bring forgotten operetta composers and their works back into the limelight - not only honoring their music and skills, but also shedding light on their suffering during the dark times of forced emigration in the 1930s and 1940s. My numerous musical encounters with Marcel Prawy, documented by the many letters he wrote to me with anecdotes, advice, unforgettable comments and recommendations, remain unforgettable to me. My friendly relationship with the Vienna Philharmonic made it possible for me to create my own ensemble, "Herbert Lippert and his Philharmonic Friends". Our aim was to revive the era of the silver and golden operetta. In our programs, we created a fascinating dialogue between unknown operetta songs and well-known melodies, resulting in a wonderful fusion of tradition and modernity. "OMIA - Operetta Made In Austria", a documentary-historical, multimedia and innovative project that unites young musicians and established singers, stands as a continuation of these efforts. It is a living testimony to my undiminished love of operetta and a commitment to the cultural diversity and historical depth of this genre. The beginnings The great conductors Training as a tenor & painter The time of change The first engagements The operetta The Mozart tenor Development to Universalartist All opera houses & stages

Painting and the change to Universalartist For many years, my life was dominated by singing and my passion for opera, as well as the stress of numerous performances. But my second talent, painting, also kept pushing itself to the fore, demanding its own stage. It was under the aegis of Dominique Meyer, the director of the Vienna State Opera, that I was given the unique opportunity to present the fusion of my musical and painterly talents to a wide audience in the Gustav Mahler Saal for the first time. The project of singing Franz Schubert's "Winterreise" and showing 24 paintings - oil on canvas - at the same time marked the birth of Herbert Lippert, Universalartist. With 160,000 visitors, the exhibition became a media highlight and a sensational success. I was the first artist in the 125-year history of the Vienna State Opera to be given the honor of presenting my artworks to an astonished audience. This was followed by two further exhibitions at the Vienna State Opera: "3 x Mahler", an exhibition in which I interpreted songs by Gustav Mahler through 14 large-format paintings (oil on canvas), and "Blickwinkel Oper - Ära Dominique Meyer", my comprehensive retrospective of our time together, which was also shown in large-format oil paintings in the Gustav Mahler Saal. These exhibitions attracted a total of 500,000 visitors, who devoted themselves intensively and with great enthusiasm to the combination of singing and painting. Other stops on my artistic journey included not only exhibitions in Innsbruck as part of the Austrian Music Theater Prize at the House of Music and in Steyr at Lamberg Castle during the Steyr Music Festival, but also an extensive show as part of the Upper Austrian Provincial Exhibition. In addition, several extraordinarily interesting exhibitions dedicated to the 1873 World Exhibition in Vienna were held at Palais Hansen Vienna, as well as a harmonious exhibition on the complete cycle "Is Hope the Sister of Fear" in the Sala terrena of Klosterneuburg Abbey. The beginnings The great conductors Training as a tenor & painter The time of change The first engagements The operetta The Mozart tenor Development to Universalartist All opera houses & stages

The time of change The most striking and probably most formative singing challenge of my entire career at the Vienna State Opera unfolded during the tenure of Dominique Meyer and his General Music Director Franz Welser-Möst. The desire for an artistic change was kindled in me a decade ago by my esteemed friend and mentor Marcel Prawy. Despite my initial reluctance and the warnings associated with the change from lyric tenor to Wagnerian Heldentenor, Prawy's insistent words could not let me go in the end. My debut as a heldentenor was the opening of the new directorate under Dominique Meyer with Paul Hindemith's opera "Cardillac". I was deeply grateful to return to the Vienna State Opera after a decade, especially when I was entrusted with the role of the "Officer". It was a truly heroic leap into the unknown to be back on this stage, combined with great joy, but also not without risks. But accepting the challenge was inevitable for me. As a result, my switch to the heldentenor repertoire proved to be a success. Dominique Meyer quickly recognized me as the ideal house and heldentenor. I was thus granted the opportunity to perform in extraordinary and grandiose roles until his departure from the Vienna State Opera. I embodied "Bacchus" in Richard Strauss' "Ariadne auf Naxos", "Paul" in "Die tote Stadt" by Erich W. Korngold, the title role in Richard Wagner's "Lohengrin", "Peter Grimes" by Benjamin Britten, "Jim Mahoney" in "Aufstieg und Fall der Stadt Mahagonny" by Kurt Weill, "Loge" in Wagner's "Rheingold", "Erik" in "Der fliegende Holländer", "Siegmund" in "Die Walküre", the Tambourmajor in Alban Berg's "Wozzeck" and "Alwa" in "Lulu", also by Alban Berg. The beginnings The great conductors Training as a tenor & painter The time of change The first engagements The operetta The Mozart tenor Development to Universalartist All opera houses & stages

The great conductors I I have had the extraordinary privilege and honor of collaborating with some of the most outstanding conductors of my time. My musical journey began under the patronage of Wolfgang Sawallisch and Sir Georg Solti, who were not only my first patrons but also formative figures in my career. I traveled to countries such as Japan and America with Wolfgang Sawallisch. In his role as chief conductor of the NHK Symphony Orchestra in Tokyo and the Philadelphia Symphony Orchestra in Philadelphia, he chose me, Herbert Lippert, the young tenor, for lyrical concert roles such as Joseph Haydn's "The Creation" and "The Seasons", as well as for important Mozart works such as the Requiem in D minor. Particularly noteworthy is our collaboration on Mendelssohn Bartholdy's "Elijah", with which I accompanied him worldwide. As General Director of the Bavarian State Opera, he also used me in outstanding roles such as the "Steuermann" in "Der fliegende Holländer" and the "Jüngling" in "Die Frau ohne Schatten", and took me to the great stages of the world, including Munich and Tokyo. A deep and personal connection developed between me and Sir Georg Solti, which was reflected in a father-son relationship. Together with my opera colleague and friend René Pape, we became his favorite singers in many productions. This partnership brought me the greatest recognition of my career - a Grammy Award for the best portrayal of "David" in our joint recording of Richard Wagner's "Die Meistersinger von Nürnberg" with the Chicago Symphony Orchestra. Working with Riccardo Muti and the Vienna Philharmonic on the occasion of the 125th anniversary of the Vienna Musikverein, intimate concerts with Nikolaus Harnoncourt and the Concentus Musicus as well as the Arnold Schoenberg Choir, recording my first solo CD with Leopold Hager and the Munich Radio Orchestra, experiencing the music of Gustav Mahler with Franz Welser-Möst and the Gustav Mahler Youth Orchestra, rediscovering Anton Bruckner with Herbert Blomstedt and the NDR Symphony Orchestra, exploring Italian music with Giuseppe Sinopoli and the Orchestra Santa Cecilia in Rome, immersing myself in the masterpieces of Viennese classical music with Carlo Maria Giulini and the Bavarian Radio Orchestra, and exploring the work of Franz Schmidt with Fabio Luisi and the Leipzig Gewandhaus Orchestra - all these experiences have enriched my career and my musical understanding in invaluable ways. I have had the good fortune and honor to work with other great conductors of my time such as Thomas Ades, Niksa Bareza, Jiří Bělohlávek, Rudolf Bibl, Erich Binder, Michael Boder, Pierre Boulez, Semyon Bychkov, Nicholas Carter, Riccardo Chailly, Myung-Whun Chung, James Conlon, Dennis Russell Davies, Christoph von Dohnányi, Marc Elder, Christoph Eschenbach, Alfred Eschwé, Vladimir Fedoseyev, Gabriele Ferro, Adám Fischer, Iván Fischer, Mikko Franck, Helmut Froschauer, Rafael Frühbeck de Burgos, Daniele Gatti, Michael Gielen, Wolfgang Gönnenwein, Sascha Goetzel, Ennoch zu Guttenberg, Michael Güttler, Hartmut Haenchen, Michael Halász, Thomas Hengelbrock, Philippe Herreweghe, Michael Hofstetter, Heinz Holliger, Heinz Hollreiser, Christopher Hogwood, Marek Janowski, Mariss Jansons, Graeme Jenkins, Michail Jurowski, Carlos Kalmar, Bernhard Klee, Peter Keuschnig, Berislav Klobučar, Patrick Lange, Alain Lombard, Charles Mackerras, Susanna Mälkki, Sir Neville Marriner, Ernst Märzendorfer, Kurt Masur, Zubin Mehta, Cornelius Meister, Ingo Metzmacher, Kent Nagano, Günter Neuhold, Gianandrea Noseda, Andrés Orozco-Estrada, Seiji Ozawa, Antonio Pappano, Roberto Paternostro, Trevor Pinnock, Gerrit Prießnitz, Sir Simon Rattle, Julius Rudel, Helmuth Rilling, Donald Runnicles, Ulf Schirmer, Peter Schneider, Michael Schønwandt, Stefan Soltesz, Horst Stein, Pinchas Steinberg, Jeffrey Tate, Ernst Theis, Christian Thielemann, Marcello Viotti, Hans Vonk, Sebastian Weigle, Ralf Weikert, Bruno Weil, Johannes Wildner, Simone Young, Lothar Zagrosek and Alberto Zedda. I have a lifelong personal and artistic friendship with many of them. The beginnings The great conductors Training as a tenor & painter The time of change The first engagements The operetta The Mozart tenor Development to Universalartist All opera houses & stages

The beginnings At the start of my career as a polymathic artist, it was my grandfather's virtuoso organ playing that laid the foundation. With childlike devotion and concentrated attention, I spent many hours at his side on the church pew while he accompanied the liturgical masses with his organ. This early fascination with music led to an unshakeable decision to become an artist myself, which marked the start of my career at the renowned Wiener Sängerknaben . I quickly became a celebrated soloist at this venerable institution and had the extraordinary privilege of studying under the aegis of the renowned Ferdinand Grossmann. As a soprano soloist, I was able to set musical milestones in the now legendary recordings of Wiener Sängerknaben under the direction of Nikolaus Harnoncourt and the Concentus Musicus for the Bach cantata edition, as well as in the role of the "Shepherd" in "Tannhäuser" under Sir Georg Solti with the Vienna Philharmonic Orchestra. No less impressive was my solo of Franz Schubert's "Heidenröslein" in front of Her Royal Highness Queen Elizabeth II during the successful tour of England of Wiener Sängerknaben. In addition, the Sunday performances with the Vienna Hofmusikkapelle in the magnificent Vienna Hofburg were among the outstanding events in the history of Wiener Sängerknaben, in which we acted as musical cultural ambassadors of the Republic of Austria. The beginnings Training as a tenor & painter The first engagements The Mozart tenor The great conductors The time of change The operetta Development to Universalartist All opera houses & stages

Training as a tenor and painter After completing my formative years at Wiener Sängerknaben , I was drawn back to Upper Austria. There, at my grammar school, I met an exceptionally creative and innovative art teacher, through whose influence my previously hidden talent for painting was discovered and encouraged - a path that led me to my first professional exhibitions. At the same time, my musical passion received similarly intensive encouragement, which culminated in my performance of George Gershwin's piano concerto "Rhapsody in Blue" at my A-levels at the music education secondary school in Grieskirchen. I then continued my studies at the University of Music and Performing Arts and the Academy of Fine Arts, the renowned "Angewandte" in Vienna. Here I deepened my singing skills under the guidance of the chamber singer Hilde Rössl-Majdan and refined my painting skills with Adolf Frohner and as an "extraordinary" with Oswald Oberhuber. This period was characterized by an intensive student life in which music and painting interacted fruitfully. As a pianist, singer, guitarist and cabaret artist, I gained extensive stage experience in Vienna and during the summer months at the picturesque Attersee. I financed my studies by working as an educator at Wiener Sängerknaben, followed by my first "real" engagement as a tenor in the ORF radio choir. This was followed by appearances as a professional choir singer at the Vienna Musikverein, at the ORF, in Viennese concert halls and in Vienna's renowned theaters and opera houses. I soon awoke a burning desire to devote myself fully to the world of singing and being a soloist. But before I could pursue this dream, I still had a "bread and butter" job to do: I studied music education with outstanding professors such as Heinz Kratochwil, Erwin Ortner and Uwe Harrer and returned to Upper Austria as a teacher for a while after graduating. The beginnings The great conductors Training as a tenor & painter The time of change The first engagements The operetta The Mozart tenor Development to Universalartist All opera houses & stages

The first engagements My professional career began as a music school teacher, but this phase was short-lived. A lucky coincidence and a spontaneous audition paved the way for me to join the opera studio of the Vienna State Opera, where I was immediately offered an engagement. Both Egon Seefehlner, the director of the Vienna State Opera at the time, and Gerda Scheyrer, the head of the opera studio and herself a Kammersängerin, were impressed by my vocal performance. This opportunity marked my entry into professional singing life as a young tenor. Artistic triumphs were not long in coming. I gained my first engagements beyond the borders of the Vienna State Opera, for example at the Operetta Festival in Bad Ischl, where I worked under the direction of the then 93-year-old artistic director Prof. Eduard Macku, who cultivated personal acquaintances with greats such as Franz Lehár, Emmerich Kálmán and Robert Stolz. In the operetta "Sissy" by Fritz Kreisler, I was able to take my first "steps" as Prince Thurn und Taxis alongside Alfons Haider in the role of the "Emperor" and the chamber actress Marianne Schönauer. My first permanent position as a lyric tenor took me to the Stadttheater Lübeck. The entire Lippert family moved to the north of Germany with great enthusiasm. There I quickly developed from a lyric tenor to a versatile artist who moved daily in the most diverse musical spheres of opera and operetta - from character tenor to buffo tenor to lyric tenor. Mastering this diversity and discovering new facets of my ability every day was a real challenge and an incredible adventure. The beginnings The great conductors Training as a tenor & painter The time of change The first engagements The operetta The Mozart tenor Development to Universalartist All opera houses & stages

The Mozart tenor In those challenging times, the Bregenz City Theater was looking for a lyric tenor for Mozart's opera "Così fan tutte". Just one day after the premiere, I was surprisingly offered the role of "Tamino" in "Die Zauberflöte" at the Vienna State Opera. Some members of the management had attended the performance, primarily to assess a soprano, but in the end it was the tenor who aroused their interest and was hired. Shortly afterwards, a month later, I found myself on the prestigious stage of the Vienna State Opera, an experience that remains indelibly etched in my memory. Never before had I sung the role of Tamino, let alone in such a prestigious opera house. My deepest thanks go in particular to the prompter István Cserján, or rather the maestro suggeritore, who guided me through the role with sensitivity. His support was decisive in the Vienna State Opera finding a new Mozart tenor in me - a "successor to Anton Dermota and Waldemar Kmentt", as the newspaper reviews put it. The comparison with these legendary tenors of the Vienna State Opera filled me with incredible euphoria and joy. These feelings were intensified when Eberhard Waechter, the director of the Vienna State Opera at the time, offered me a contract as a Mozart tenor. I went on to perform roles such as "Don Ottavio" in "Don Giovanni", "Belmonte" in "Die Entführung aus dem Serail" and other "Taminos" in "Die Zauberflöte", as well as appearing in operas by Richard Strauss such as "Arabella" and "Capriccio". Working with outstanding tenor colleagues such as José Carreras, Gösta Winbergh, Plácido Domingo, Ben Heppner, Peter Seiffert and Luciano Pavarotti became a wonderful normality. The musical highlights of my early years at the Staatsoper also included personal encounters with the great conductors such as Horst Stein and Heinrich Hollreiser, as well as with the established Kammersänger of the house. My career continued to take me to engagements and performances at the world's most prestigious opera houses, including the Bavarian State Opera in Munich, the Royal Opera House Covent Garden, La Scala in Milan, the Palais Garnier and the Opéra Bastille in Paris, the Teatro Colón in Buenos Aires, the Salzburg Festival and many others. The beginnings The great conductors Training as a tenor & painter The time of change The first engagements The operetta The Mozart tenor Development to Universalartist All opera houses & stages

My Galleries & Pictures