"Johannes Weisser is in himself a musical highlight. His distinctive, powerful baritone resonates in the auditorium and adds a special weight to the musical expression.” Hilde Halvorsrød, Scenekunst
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Ingar Bergby, Conductor
Hanne Tømta, Stage Director
Hanne Tømta, Stage Director
Ingar Bergby, Conductor
Hanne Tømta, Stage Director
Don Pizarro Fidelio with Freiburger Barockorchester, Dillon in Mazzoli’s The Listeners at the Norwegian National Opera, Siegfried in Schumann’s Genoveva* and Bach's Mass in B Minor with Helsinki Baroque Orchestra, Carl Nielsen's The Train Letters, Mahler’s Rücker Lieder, Bach’s Christmas Oratorio with Copenhagen Philharmonic, Handel’s Messiah with Belgian National Orchestra at Bozar, Brussels. [* - cancelled]
Don Pizarro Fidelio with Stavanger Symphony Orchestra, Detlev Glanert’s orchestral version of Brahms Vier ernste Gesänge with Tampere Philharmonic Orchestra, Far Hänsel und Gretel for Oslo Opera, Beethoven’s Missa Solemnis with the Royal Liverpool Philharmonic, MDR Musiksommer festival and Dresden Musikfestspiele, Haydn's Stabat Mater with Kammerorchester Basel, Mr. Flint Billy Budd in Oslo, Re di Scozia in Händel’s Ariodante for Drottningholm Theatre, Don Giovanni with Freiburger Barockorchester, in Seoul, Oslo, Paris, Don Pizarro Fidelio for La Monnaie Brussels, Philharmonie de Paris, Festspielhaus Baden-Baden, Bach's St Matthew Passion with Orchestre National de France and Akademie für Alte Musik Berlin, Mahler’s Des Knaben Wunderhorn with Oslo Philharmonic Orchestra, Mahler’s Kindertotenlieder with Norwegian Radio Orchestra, Schumann’s Dichterliebe and Grieg’s Vinje Songs in various recitals and for Eppaner Lied Festival.
Johannes Weisser is in itself a musical highlight. ... His distinctive powerful baritone hovers in the stage room and adds a special weight to the musical expression.
Weisser was a tremendous Giovanni, commanding the stage throughout, both vocally and dramatically. There’s a youthfulness to the tone that I find absolutely engaging and ideal for the part. He brought out a handsome seductiveness in the serenade (...) with an impeccable legato and ornamentation that enhanced the line. The champagne aria was dispatched with extrovert ease without compromising on the beauty of the tone. So much of Giovanni’s character is created in the recitatives and here Weisser really used the text fully to illustrate the character, thereby giving him the impact to carry the show.
Johannes Weisser propose une interprétation vocale du Roi, dont la pulsion dramatique dans les récitatifs et les outrages latents (mais habilement intégrés) dans ses coloratures exigeantes s'unissent avec un ton doux et sincère que le baryton norvégien maîtrise sur toute la tessiture.
