"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
Represented by
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Eivind Gullberg Jensen, Conductor
Sofia Adrian Jupither, Stage Director
Eivind Gullberg Jensen, Conductor
Sofia Adrian Jupither, Stage Director
Eivind Gullberg Jensen, Conductor
Sofia Adrian Jupither, Stage Director
Kai-Uwe Jirka, Conductor
Kai-Uwe Jirka, Conductor
Johannes Gustavsson, Conductor
Sofia Adrian Jupither, Stage Director
Missa Solemnis concerts with B’Rock Orchestra Belgium and René Jacobs at the Musikfest Bremen and the Beethoven Festival in Bonn, Don Pizarro in Beethoven’s Fidelio at Staatstheater Wiesbaden, a world Premiere of Bent Sørensen's new opera Asle og Alida at the Bergen National Opera and also at the Royal Danish Opera; Schumann's Genoveva with Le Cercle de l'Harmonie and Jeremie Rhorer.
Giorgio Germont in Verdi’s La traviata with the Norwegian National Opera; returns with Messiah to Brussels and Stavanger, also at the Wiener Konzertverein; Beethoven's Missa Solemnis in Aix-en-Provence during the Easter Festival, St. John's Passion in Amsterdam Concertgebouw with Trever Pinnock; Dr. Falke in a new production of Johann Stauss’ Die Fledermaus at Bergen National Opera.
Véloce et expressif, le baryton Johannes Weisser détonne parmi la distribution. Prêt à en découdre, remonté de véhémence, le chanteur apporte un souffle d’énergie radical en première ligne des solistes. En dialogue avec ses acolytes, il réussit à dessiner sa ligne vocale avec de belles vibrations sombres, appuyées et variantes, dans un charisme remarqué.
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.
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 is in itself a musical highlight. ... His distinctive powerful baritone hovers in the stage room and adds a special weight to the musical expression.
