Peter Lodahl © Mathias Løvgreen Bojesen
Peter Lodahl © Mathias Løvgreen Bojesen
TENOR

Peter Lodahl

Representation: World

BIOGRAPHY

Danish tenor Peter Lodahl studied at the Royal Academy of Music in Aarhus and at the Royal Opera Academy in Copenhagen. Upon completion of his vocal education he took on his first engagement at the Kiel Opera House in Northern Germany where his first roles included Decio in Vivaldi’s Ottone in villa, Don Ottavio in Don Giovanni, Lord Percy in Anna Bolena, Rinuccio in Dianni Schicchi, Cassio in Otello and Don Alfredo in Eduard Künneke’s Lady Hamilton.

He then moved on to the Komische Oper in Berlin to further expand his repertory with roles such as Tamino in Die Zauberflöte, Belmonte in Die Entführung aus dem Serail, Ferrando in Così fan tutte, Alfredo in La Traviata, Lenski in Eugene Onegin and Rodolfo in La Bohème.

He received the nomination for the “Young Artist Of The Year” award by the opera magazine Opernwelt and less than two years later he joined the ensemble of the opera company of his home country, the Royal Danish Opera, where he won over audiences and critics alike as Don Ottavio (Don Giovanni), Ferrando (Così fan tutte), Tamino (Die Zauberflöte), Edgardo (Lucia di Lammermoor), Alfredo (La Traviata), Duke (Rigoletto), Romeo (Roméo et Juliette), Alfred (Die Fledermaus), Fenton (Falstaff), Rodolfo (La Bohème) and An Artist / A Negro in Lulu.

Further successes include Nerone in Monteverdi’s L’incoronazione di Poppea with the Royal Swedish Opera Stockholm, Tamino at the Berlin State Opera, Don Ottavio at Hamburg’s State Opera, Ein Jüngling in Richard Strauss’s Die Frau ohne Schatten with Den Norske Opera in Oslo, Fenton in Verdi’s Falstaff at the Göteborg Opera as well as the title role in Mozart’s Mitridate at the Drottningholms Slottsteater.

On the concert podium he appeared in Stuttgart’s Liederhalle with soprano Diana Damrau and he enjoys a frequent collaboration with
 conductors such as Giancarlo Andretta, Michael Boder, Anthony Bramall, Frans Brüggen, Dan Ettinger, Simon Gaudenz, Paul Goodwin, Michael Hofstetter, Manfred Honeck, Konrad Junghänel, Patrick Lange, Shao-Chia Lü, Kazushi Ono, Pier Giorgio Morandi, Günter Neuhold, Marc Piollet, Christoph Poppen, Markus Poschner, Carlo Rizzi, Henrik Schäfer, Michael Schønwandt, Peter Schreier, Andreas Spering, Carl St. Clair, Andreas Stoehr and Arnold Östman. 


Being a versatile concert soloist, Peter Lodahl’s concert repertory includes Bach’s Christmas Oratorio, St John and St Matthew Passion, a wide selection of Cantatas, Mozart’s Reuqiem, Missa Brevis and Mass in C minor, Handel’s Messiah, Jephta and Joshua, Haydn’s Creation and The Seasons as well as his Missa in tempore belli and Stabat Mater, Mendelssohn’s Die erste Walpurgisnacht, Beethoven’s Symphony No. 9, Mahler’s Las Lied von der Erde and Bartok’s Cantata Profana.

He further appeared at New York’s Alice Tully Hall in Stravinsky’s Pulcinella, in Mozart’s Requiem with Stavanger Symphony Orchestra, Bach’s St John Pasison with Aalborg Symphony Orchestra and in concert with the German Radio Philharmonic Orchestra in Frankfurt and Kaiserslautern.

Peter gave his debut with Théâtre de la Monnaie in Brussels performing Leukippos in Strauss’s Daphne besides taking part in productions of Der Rosenkavalier and Les vêpres siciliennes in Copenhagen, followed by a New Year’s Concert with the Danish National Symphony Orchestra and another concert featuring Donizetti’s seldom performed Requiem with the Copenhagen Philharmonic.

After appearing as Lenski in Tchaikovsky’s Eugene Onegin at the Copenhagen Opera Festival, Peter Lodahl’s engagements in the season 2015/2016 included a new production of Wagner’s Das Liebesverbot at Madrid’s Teatro Real, his highly-acclaimed rendering of the role of Jay Gatsby in the European Premiere of Harbison's "The Great Gatsby" at Dresden’s Semperoper, as well as a new production of Strauss’s Daphne at the Hamburg State Opera. In Hamburg, Peter furthermore appeared as Artist/Negro in Berg’s Lulu and went on performing Das Liebesverbot at the Teatro Colón in Buenos Aires. Particularly noteworthy is his rendering of the title role in Enjott Schneider’s Marco Polo, a newly composed opera sung in Chinese and explicitly written for the two opera houses in Guangzhou and Beijing.

These appearances were further completed by several concert projects including the world premiere of Thomas Agerfeldt Olesen’s Juleoratorium with the Århus Sinfonietta and Verdi’s Messa da Requiem with the Noord Nederlands Orkest. In the frame of the Grafenegg Academy 2018 Peter performed the role of “Der Offizier” in a semi-staged version of Ernst Krenek’s one-act opera Der Diktator opposite Christopher Maltman in the title role.

Without doubt one the most challenging and exciting projects is represented by Christian Jost’s world premiere of Dichterliebe recomposed at the Konzerthaus Berlin based on Schumann’s famous song cycle, with the composer himself conducting the Berlin-based Horenstein Ensemble. A recording of the concert has recently been released by Deutsche Grammophon.

During the past season Peter took part in a new production of Puccini’s La Bohème in Bern and starred as King Eric in a new production of Peter Heise’s seldom performed Danish opera Drot og marsk in Copenhagen.

Besides a revival of Berg’s Lulu in Hamburg, the current season 2019/2020 will see him singing Rodolfo in a coproduction between Østerbro Theatre and the Copenhagen Opera Festival. In concert, Peter will further appear as soloist in Jost’s Dichterliebe recomposed at the Konzerthaus Dortmund and on tour in China. For the inauguration of the new concert hall in the Japanese town of Takaski, Peter will take over the tenor part in Beethoven’s Symphony No. 9 and appear in a recital along with the soprano Akiko Nakajima.

Currently still General Manager of the Copenhagen Opera Festival which he has successfully led over the last years, Peter will take over his new position as General Manager of the Copenhagen Philharmonic Orchestra as per September 2019.

2019 | 2020

This biography is to be reproduced without any changes, omissions or additions, unless expressly authorized by artist management.

DISCOGRAPHY

Album Cover

Robert Schumann & Christian Jost: Dicherliebe
Peter Lodahl, Daniel Heide, Stella Doufexis
Horenstein Ensemble
Label: DGG | 2019

More on www.deutschegrammophon.com

Album Cover

Richard Wagner: Das Liebesverbot
DVD
Manuela Uhl, Christopher Maltman, Peter Lodahl, Ilker Arcayürek, David Jerusalem, Ante Jerkunica, Isaac Galán, Maria Hinojosa et al.
Orquesta y Coro Titulares del Teatro Real
Conductor: Ivor Bolton
Director: Kasper Holten
Label: Opus Arte | 2017

More on www.opusarte.com

Album Cover

John Frandsen: Requiem
Teitur, Sine Bundgaard, Andrea Pellegrini, Peter Lodahl, Halvor F. Melien, Klaudia Kidon, Astrid Kastensson Navarro-Alonso
Danish National Symphony Orchestra | Danish National Concert Choir, Danish National Girls Choir
Conductor: Henrik Vagn Christensen
Label: Dacapo | 2014

More on www.dacapo-records.dk

Album Cover

Richard Wagner: Tannhäuser
DVD
Stig Andersen, Tina Kiberg, Susanne Resmark, Stephen Milling, Tommi Hakala, Peter Lodahl, Kjeld Christoffersen, Peter Arnoldsson et al.
Royal Danish Orchestra | Royal Danish Opera Chorus
Conductor: Friedemann Layer
Director: Kasper Holten
Label: Decca | 2011

More on www.amazon.de

VIDEOS

CALENDAR

Alban Berg: Lulu

Barbara Hannigan, Lulu
Anne Sofie von Otter, Gräfin Geschwitz
Jochen Schmeckenbecher, Dr. Schön | Jack
Charles Workman, Alwa
Ivan Ludlow, Ein Tierbändiger | Ein Athlet
Sergei Leiferkus, Schigolch
Peter Lodahl, Der Maler | Der Neger
Dietmar Kerschbaum, Der Prinz | Kammerdiener | Marquis
Martin Pawlowsky, Der Medizinalrat Dr. Goll | Polizist | Der Professor
Denis Velev, Theaterdirektor
Marc Bodnar, Auguste Artinelli
Liliana Benini, Bianetta Gazil
Begona Quinones, Madeleine de Marelle
Sasha Rau, Ludmilla Steinherz
Sylvana Seddig, Kadéga di Santa Croce

Veronika Eberle, Eine Violinistin
Bendix Dethleffsen, Ein Pianist

Kent Nagano, conductor
Christoph Marthaler, director
Anna Viebrock, stage and costume designer
Martin Gebhardt, light designer
Malte Ubenauf, dramaturgy

Philharmonisches Staatsorchester Hamburg

Anyone who loves Lulu is killed by that love. To men, Lulu is the instrument satisfying their sexual desires, yet irritatingly, she remains autonomous and intact throughout, which makes her seem even more attractive. Attractive because her libidinous rules are in seductive contrast with the moral mainstream. Everything she does, she does with her body, and men experience ecstatic happiness, ecstatic aggression, ecstatic death. Lulu fuels this mechanism. “If people have killed themselves for my sake, that does not diminish my value.” Both battlefields – love and money – are threatened by bad speculation. On the stock market shares are traded, rising and falling just like the value of erotic attraction. The final crash drags Lulu down with it. 

Awarded with the German Theatre Price DER FAUST 2017 and named „production of the year“ by the journal Opernwelt.
 

FURTHER INFORMATION & TICKETS

Alban Berg: Lulu

Barbara Hannigan, Lulu
Anne Sofie von Otter, Gräfin Geschwitz
Jochen Schmeckenbecher, Dr. Schön | Jack
Charles Workman, Alwa
Ivan Ludlow, Ein Tierbändiger | Ein Athlet
Sergei Leiferkus, Schigolch
Peter Lodahl, Der Maler | Der Neger
Dietmar Kerschbaum, Der Prinz | Kammerdiener | Marquis
Martin Pawlowsky, Der Medizinalrat Dr. Goll | Polizist | Der Professor
Denis Velev, Theaterdirektor
Marc Bodnar, Auguste Artinelli
Liliana Benini, Bianetta Gazil
Begona Quinones, Madeleine de Marelle
Sasha Rau, Ludmilla Steinherz
Sylvana Seddig, Kadéga di Santa Croce

Veronika Eberle, Eine Violinistin
Bendix Dethleffsen, Ein Pianist

Kent Nagano, conductor
Christoph Marthaler, director
Anna Viebrock, stage and costume designer
Martin Gebhardt, light designer
Malte Ubenauf, dramaturgy

Philharmonisches Staatsorchester Hamburg

Anyone who loves Lulu is killed by that love. To men, Lulu is the instrument satisfying their sexual desires, yet irritatingly, she remains autonomous and intact throughout, which makes her seem even more attractive. Attractive because her libidinous rules are in seductive contrast with the moral mainstream. Everything she does, she does with her body, and men experience ecstatic happiness, ecstatic aggression, ecstatic death. Lulu fuels this mechanism. “If people have killed themselves for my sake, that does not diminish my value.” Both battlefields – love and money – are threatened by bad speculation. On the stock market shares are traded, rising and falling just like the value of erotic attraction. The final crash drags Lulu down with it. 

Awarded with the German Theatre Price DER FAUST 2017 and named „production of the year“ by the journal Opernwelt.
 

FURTHER INFORMATION & TICKETS

Alban Berg: Lulu

Barbara Hannigan, Lulu
Anne Sofie von Otter, Gräfin Geschwitz
Jochen Schmeckenbecher, Dr. Schön | Jack
Charles Workman, Alwa
Ivan Ludlow, Ein Tierbändiger | Ein Athlet
Sergei Leiferkus, Schigolch
Peter Lodahl, Der Maler | Der Neger
Dietmar Kerschbaum, Der Prinz | Kammerdiener | Marquis
Martin Pawlowsky, Der Medizinalrat Dr. Goll | Polizist | Der Professor
Denis Velev, Theaterdirektor
Marc Bodnar, Auguste Artinelli
Liliana Benini, Bianetta Gazil
Begona Quinones, Madeleine de Marelle
Sasha Rau, Ludmilla Steinherz
Sylvana Seddig, Kadéga di Santa Croce

Veronika Eberle, Eine Violinistin
Bendix Dethleffsen, Ein Pianist

Kent Nagano, conductor
Christoph Marthaler, director
Anna Viebrock, stage and costume designer
Martin Gebhardt, light designer
Malte Ubenauf, dramaturgy

Philharmonisches Staatsorchester Hamburg

Anyone who loves Lulu is killed by that love. To men, Lulu is the instrument satisfying their sexual desires, yet irritatingly, she remains autonomous and intact throughout, which makes her seem even more attractive. Attractive because her libidinous rules are in seductive contrast with the moral mainstream. Everything she does, she does with her body, and men experience ecstatic happiness, ecstatic aggression, ecstatic death. Lulu fuels this mechanism. “If people have killed themselves for my sake, that does not diminish my value.” Both battlefields – love and money – are threatened by bad speculation. On the stock market shares are traded, rising and falling just like the value of erotic attraction. The final crash drags Lulu down with it. 

Awarded with the German Theatre Price DER FAUST 2017 and named „production of the year“ by the journal Opernwelt.
 

FURTHER INFORMATION & TICKETS

Alban Berg: Lulu

Barbara Hannigan, Lulu
Anne Sofie von Otter, Gräfin Geschwitz
Jochen Schmeckenbecher, Dr. Schön | Jack
Charles Workman, Alwa
Ivan Ludlow, Ein Tierbändiger | Ein Athlet
Sergei Leiferkus, Schigolch
Peter Lodahl, Der Maler | Der Neger
Dietmar Kerschbaum, Der Prinz | Kammerdiener | Marquis
Martin Pawlowsky, Der Medizinalrat Dr. Goll | Polizist | Der Professor
Denis Velev, Theaterdirektor
Marc Bodnar, Auguste Artinelli
Liliana Benini, Bianetta Gazil
Begona Quinones, Madeleine de Marelle
Sasha Rau, Ludmilla Steinherz
Sylvana Seddig, Kadéga di Santa Croce

Veronika Eberle, Eine Violinistin
Bendix Dethleffsen, Ein Pianist

Kent Nagano, conductor
Christoph Marthaler, director
Anna Viebrock, stage and costume designer
Martin Gebhardt, light designer
Malte Ubenauf, dramaturgy

Philharmonisches Staatsorchester Hamburg

Anyone who loves Lulu is killed by that love. To men, Lulu is the instrument satisfying their sexual desires, yet irritatingly, she remains autonomous and intact throughout, which makes her seem even more attractive. Attractive because her libidinous rules are in seductive contrast with the moral mainstream. Everything she does, she does with her body, and men experience ecstatic happiness, ecstatic aggression, ecstatic death. Lulu fuels this mechanism. “If people have killed themselves for my sake, that does not diminish my value.” Both battlefields – love and money – are threatened by bad speculation. On the stock market shares are traded, rising and falling just like the value of erotic attraction. The final crash drags Lulu down with it. 

Awarded with the German Theatre Price DER FAUST 2017 and named „production of the year“ by the journal Opernwelt.
 

FURTHER INFORMATION & TICKETS
 

CONTACT

Representation: World

IN FOCUS

PETER LODAHL with Peter Heises dänischer Nationaloper Drot og Marsk in Kopenhagen
23Mar2019
PETER LODAHL with Peter Heises dänischer Nationaloper Drot og Marsk in Kopenhagen

Peter Lodahl embodies the historical figure of King Eric V of Denmark, also known as “Glipping”, in a Peter Heises dänischer Nationaloper Drot og Marsk in Kopenhagen

READ ARTICLE
PETER LODAHL as Rodolfo in Bern
24Nov2018
PETER LODAHL as Rodolfo in Bern

Peter Lodahl sings Puccini’s Rodolfo in a new production at the Bern Theatre.

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PETER LODAHL as Marco Polo in Guangzhou and Beijing
04May2018
PETER LODAHL as Marco Polo in Guangzhou and Beijing

Danish tenor Peter Lodahl sings the title role in Enjott Schneider’s opera Marco Polo which has its world premiere at Guangzhou Opera House and then moves on to the Tianqiao Performing Arts Center in Beijing.

READ ARTICLE