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08 November 2013
"["].. Don't be put off by the title: this is wonderful music, and all the words indicate is that the pieces can be used in church or court.""The Observer, 12-7-2015
The lyrical tenor Markus Miesenberger received his education as a singer in Vienna with KS Robert Holl, KS Artur Korn and Sebastian Vittucci as well as in the fields violin and baroque viola with Ernst Kovacic and Michi Gaigg in Salzburg, Linz and Vienna.
Appearances as a concert and lied singer, in operas and as a musician led the artist through Austria, to important European music centres in Germany, France, Spain, Italy, the Netherlands, Belgium, Poland, Czech Republic, Slovakia, Switzerland, to Israel, to Mexico and to many more. Thus, it was and is beside regular appearances at the Viennese music association and at the Viennese concert hall to guest with numerous festivals (Instituto Nacional de Bellas Artes Mexico City, Festival Oude Muziek Utrecht, MA Festival Brugge, Salzburger Festspiele, Styriarte, Carinthischer Sommer, Schubertiaden Schwarzenberg and Dürnstein, Brucknerfest Linz, Handel Festival Halle, Internationales Musikfest Hamburg, Musica antiqua of the bavarian broadcast Nürnberg, National forum of music Wroclaw, Settimana Musica Sacra di Monreale, Misteria Paschalia Krakow). He sings under the baton of famous conductors like Christian Thielemann, Pierre Andre Valade, Ralf Weikert, Andrés Orozco-Estrada, Jeffrey Kahane, Gunar Letzbor, Michi Gaigg and Rubén Dubrovsky with Staatskapelle Dresden, Vienna and Hamburg Symphonic Orchestra, Ars Antiqua Austria, L’Orfeo Baroque Orchestra, Bach Consort Vienna, Wroclaw Baroque Orchestra and Slovac Philharmonic Orchestra. There is also a strong artistic connection in the field of lied to his former teacher Robert Holl and the pianists David Lutz und Sir András Schiff.
On the opera stage Markus Miesenberger is to be experienced above all in roles of the Mozart’s and Haydn’s field, with baroque opera, with opera of the 20th century and with contemporary music. Engagements led him to the Neue Oper Wien, to the Theater an der Wien, to the Landestheater Linz, to the municipal theatre Bolzano and to the Tirol festival. He sang Ferrando in Mozart’s Cosi fan tutte at Opernfestspiele Bad Hersfeld, 2018 and 2019 Jack O’Brian in Kurt Weills Aufstieg und Fall der Stadt Mahagonny at Laeiszhalle Hamburg and Balthasar Zorn in Richard Wagners Die Meistersinger von Nürnberg with Staatskapelle Dresden under the baton of Christian Thielemann at Osterfestspiele Salzburg, also released on CD, and 2020 at Semperoper Dresden.
In 2011 he won the Franz Joseph Aumann Prize for new discoveries and innovative interpretation of baroque music at the international H.I.F. Biber competition.
Numerous CD productions and radio broadcasts also form a central focus of his artistic career, currently Arias for Silvio Garghetti with Neue Wiener Hofkapelle, Kriegsgeschichten and Liebesabenteuer with music from G.D. Speer with Ars Antiqua Austria (PANCLASSICS) and Psalms for Sacri Concentus 1681 (Challenge Classics).
Franz von Biber, he might as well be called 'the Jimi Hendrix of the 17th century'. His virtuosity on violin was unprecedented, and he combined this with a passion for experimentation which is just as remarkable. With his violin skills, Biber's social status quickly improved. After working as the 'musician in residence' for the bishop of Olmütz, he consecutively worked for the archbishop of Salzburg and, as a kapellmeister, for Emperor Leopold I. Biber was a religious man, and it can't be a coincidence both his daughters (he also had two sons) lived in a monastery. Biber composed both instrumental als vocal music. The pinnacles of his body of works are undoubtedly his Rosary Sonatas and his Missa Salisburgensis. The former shows Biber's virtuosity as a compositional art; the latter shows, with its enourmous instrumentation, the capabilities of Biber as a grandiose composer.
["].. Don't be put off by the title: this is wonderful music, and all the words indicate is that the pieces can be used in church or court."
The Observer, 12-7-2015
Profanum are based primarily on the Italian church sonata form and, like other similar string settings of the period, are moderately complex yet beautiful works abundant in rich chromaticism, harmonic diversity, and textural intricacy.I’ve been a fan of Ars Antiqua Austria and its illustrious director, Gunar Letzbor, for many years
Classics Today, 24-11-2014
["].. The music of Heinrich Ignaz Franz von Biber is quite popular among violinits and string ensembles as well as audiences. However, as Gunar Letzbor rightly points out in his liner-notes, the interest is a little one-sided: it is the Rosary (of Mystery) Sonatas in particular which attract performances."
Music Web International, 29-9-2014
niet echt postief
Gunar Letzbor and his Ars Antiqua Austria are among pre-eminent artists in bringing to life the Austrian and Bohemian music of the 17th century. This disc leaves us in no doubt about their disciplined ensemble playing and their feeling for lively characterisation.
BBC Music Magazine, 01-4-2014
Biber would like it.
Fono Forum, 01-4-2014
These performance gets right to the heart of the music in all its complexity and really brings it to life (...)
Early Music Review, 01-4-2014
Performing with taste and refinement, the players transform each sonata into a kind of wordless mini-drama, revealing many fine interior details.
The recording is clean and vibrant, with enough background resonance to give the music a sense of space.
The Strad, 01-4-2014
(...) the musical invention is fantastical and wayward, chromatically adventurous in ways that are more oftrn associated with the 20th century than the 17th. Intoxicating stuff.
The Irish Times, 03-1-2014