La clemenza di Tito

Marc Minkowski ist künstlerischer Leiter von Les Musiciens du Louvre und des Festivals Ré Majeure. Von 2016 bis Januar 2022 leitete er die Opéra National de Bordeaux und war von 2013 bis 2017 künstlerischer Leiter der Mozartwoche Salzburg. Ausserdem war er von 2018 bis 2022 künstlerischer Berater des Kanazawa Orchesters (Japan). Im Alter von 19 Jahren gründete er Les Musiciens du Louvre, ein Ensemble, das sich aktiv der Wiederbelebung der Barockmusik widmete und mit dem er neben dem französischen Repertoire auch Händel erarbeitete, bevor er sich Mozart, Rossini, Offenbach und Wagner zuwandte. Er ist regelmässiger Gast an den Pariser Bühnen ebenso an der Opéra National de Bordeaux. Weitere Gastengagements führten ihn u.a. nach Salzburg, Genf, Zürich (Il trionfo del tempo e del disinganno, Giulio Cesare, Agrippina, Les Boréades, Fidelio, La Favorite), Berlin, Amsterdam, Theater an der Wien, Wiener Staatsoper, Aix-en-Provence, Londoner Covent Garden sowie an die Mailänder Scala. Dabei arbeitete er u.a. mit Regisseuren wie Laurent Pelly, Olivier Py, Dmitri Tcherniakov, Bob Wilson, Krzysztof Warlikowski, Bartabas, Klaus Michael Grüber und Vincent Huguet. Marc Minkowski wird für Programme mit klassischem und modernem Repertoire auch regelmässig von den wichtigsten Sinfonieorchestern eingeladen, darunter die Staatskapelle Dresden, Berliner Philharmoniker, Mozarteum Orchester Salzburg, Wiener Philharmoniker, Wiener Symphoniker, Bamberger Symphoniker, Mahler Chamber Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Cleveland Orchestra, Chamber Orchestra of Europe, Radio-Sinfonieorchester Stuttgart (SWR), Staatskapelle Berlin oder Orchestra del Maggio Musicale Fiorentino.

Damiano Michieletto studied opera and theatre direction in Milan and literature at the University of his hometown, Venice. In 2003, he won the ESB Theatre Award of the Irish Times at the Wexford Festival for his production of Jaromír Weinberger’s opera "Schwanda the Bagpiper." This was followed by productions for the Rossini Festival in Pesaro, the Teatro Olimpico in Vicenza, and for opera houses in Bologna, Verona, Venice, Naples, Turin, Graz, Geneva, and Leipzig. He directed "Così fan tutte" for the New National Theatre in Tokyo, "Il trittico" and "Idomeneo" for the Theater an der Wien, and at the Zurich Opera House "La scala di seta," "Il corsaro," "Lucia di Lammermoor," "Luisa Miller," and "Poliuto." In 2012, he made his debut at the Salzburg Festival with "La bohème," followed by productions of "Falstaff" and "La Cenerentola." Further engagements have taken him to the Staatsoper Unter den Linden in Berlin, the Paris Opera, the Gran Teatre del Liceu in Barcelona, the Teatro Real in Madrid, the Royal Opera House Covent Garden, the Bolshoi Theatre in Moscow, and the Glyndebourne Festival. In 2022, he created the immersive installation "Archèus. Labirinto Mozart" for the Venice Biennale. His most recent works include "Messiah" at the Komische Oper Berlin, "La fille du régiment" at the Bavarian State Opera in Munich, and the world premiere of Francesco Filidei’s "Il nome della rosa" at La Scala in Milan. In addition to his work as an opera director, Damiano Michieletto is also active in theatre, particularly at the Teatro Stabile del Veneto and the Piccolo Teatro in Milan. He recently released his first film, "Primavera," inspired by Tiziano Scarpa’s novel "Stabat Mater."

Paolo Fantin was born in Castelfranco, Italy, and studied set design at the Accademia di Belle Arti in Venice. He has a close artistic partnership with director Damiano Michieletto, with whom he became a finalist at the Graz Ring Award in 2005 for "Le nozze di Figaro." Their collaborations have since included Britten’s children’s opera "The Little Sweep" in Sicily, "Don Giovanni," "Le nozze di Figaro," and "Così fan tutte" at Teatro La Fenice in Venice, "La bohème" in Salzburg and Shanghai, Puccini’s "Il trittico" in Vienna and Copenhagen, "L’elisir d’amore" in Madrid and Graz, "Un ballo in maschera" and "La scala di seta" in Milan, as well as theatrical productions such as Gogol’s "The Government Inspector" in Italy and "The Threepenny Opera" at the Theater an der Wien. In 2011, together with Carla Teti, he received the prestigious Premio Franco Abbiati for set and costume design for "Sigismondo," "Don Giovanni," and "Madama Butterfly." In 2012, Paolo Fantin made his Salzburg Festival debut with Michieletto’s production of "La bohème," followed by "Falstaff" and "La Cenerentola." Further collaborations include "Idomeneo" at the Theater an der Wien and in Tokyo, "The Rake’s Progress" in Leipzig and Venice, "Samson et Dalila" and "Don Pasquale" in Paris, "Roméo et Juliette" and a Mozart/Da Ponte cycle at La Fenice, Martinů’s "The Greek Passion" in Palermo, "Guillaume Tell" at the Royal Opera House Covent Garden, "La damnation de Faust" in Rome, "Oedipus Rex" at the Frankfurt Opera, "Animal Farm" at Dutch National Opera, and "Madama Butterfly" at Teatro Regio in Turin. At the Zurich Opera House, his designs have been seen in "Lucia di Lammermoor," "Il corsaro," "Luisa Miller," "Poliuto," and "La scala di seta."

Klaus Bruns studied stage and costume design at the Mozarteum in Salzburg. For almost 30 years, he has worked as a costume designer at theatres including those in Stuttgart, Graz, Frankfurt, Zurich, Cologne, and Leipzig, as well as at the Burgtheater in Vienna, the Thalia Theater Hamburg, the Schaubühne and Deutsches Theater Berlin, and the Residenztheater and Kammerspiele in Munich. He has a long-standing collaboration with Karin Henkel. In opera, he has worked with Barrie Kosky, Michael Talke, Andreas Homoki, Olivier Tambosi, Michael Schulz, Harry Kupfer, Götz Friedrich, and Christof Loy, among others, at the three Berlin opera houses, the Nuremberg Opera, Vlaamse Opera Antwerp, the Bavarian State Opera in Munich, the Leipzig Opera, Teatro Regio Turin, Theater an der Wien, the National Theatres in Mannheim and Weimar, the Rossini Opera Festival in Pesaro, and Dutch National Opera in Amsterdam. His collaborations with Barrie Kosky include "Der Ring des Nibelungen" at the Hanover State Opera; "Rusalka," "Moses und Aron," "Eugene Onegin," "Anatevka," and "The Rise and Fall of the City of Mahagonny" at the Komische Oper Berlin; "La fanciulla del West," "Macbeth," "Die Gezeichneten," "Eugene Onegin," "Boris Godunov," and "Manon Lescaut" at the Zurich Opera House; "Prince Igor" at the Opéra Bastille in Paris; "Fiddler on the Roof" at the Lyric Opera of Chicago; and "Agrippina" at the Hamburg State Opera. For the costumes in Kosky’s Bayreuth production of "Die Meistersinger von Nürnberg," Klaus Bruns was named "Costume Designer of the Year" by Opernwelt magazine in 2018. In 2024, he received the Oper! Award for Best Costume Designer for the world premiere of Alexander Raskatov’s "Animal Farm" in Amsterdam.

Ernst Raffelsberger stammt aus Gmunden, Oberösterreich. Er studierte Musikpädagogik und Kirchenmusik an der Hochschule für Musik und darstellende Kunst in Wien (Chorleitung bei Prof. Erwin Ortner) und anschliessend Chordirigieren am Salzburger Mozarteum bei Prof. Walter Hagen-Groll. Von 1983 bis 1986 war er Kapellmeister der Wiener Sängerknaben. In dieser Zeit leitete er das Ensemble in Wien und auf Tourneen durch Europa, Südafrika, Kanada und die USA. Ab 1986 war Ernst Raffelsberger Chordirektor und Kapellmeister am Landestheater Salzburg (Mitwirkung bei der Salzburger Mozartwoche und den Salzburger Festspielen). 1989 wurde er von Donald Runnicles als Chordirektor und Kapellmeister an das Theater in Freiburg/Breisgau berufen. Seit Herbst 1993 ist Ernst Raffelsberger am Opernhaus Zürich als Chordirektor engagiert. Hier hat er inzwischen über 100 Premieren betreut und mit vielen namhaften Dirigenten wie Riccardo Chailly, Christoph von Dohnányi, Vladimir Fedoseyev, Sir John Eliot Gardiner, Daniele Gatti, Bernard Haitink, Nikolaus Harnoncourt, Zubin Mehta und Franz Welser-Möst zusammengearbeitet. Gastspiele mit dem Opernhaus Zürich führten ihn nach Wien, London, Paris und Tokio. Zahlreiche CD- und DVD-Aufnahmen dokumentieren diese Arbeit. Im Sommer 2012 begann zusätzlich seine Tätigkeit als Chordirektor der Salzburger Festspiele. Er ist dort für die Produktionen der Konzertvereinigung Wiener Staatsopernchor verantwortlich. In seiner ersten Festspielsaison kam es u. a. zu einer erfolgreichen Zusammenarbeit mit Riccardo Muti und Sir Simon Rattle.

Kathrin Brunner was born in Zurich. She studied German, Musicology, and French in her hometown and at the Humboldt University in Berlin. After various assistant directorships (including "The Threepenny Opera" at the Lucerne Theater, directed by Vera Nemirova) and dramaturgy internships, she has been a dramaturge at the Zurich Opera House since 2008. There, she has worked with directors such as Achim Freyer ("Moses und Aron"), Harry Kupfer ("Die Meistersinger von Nürnberg", "Tannhäuser"), Stephan Müller, Guy Joosten, Damiano Michieletto, Christof Loy ("La straniera", "Alcina", "I Capuleti e i Montecchi", "Don Pasquale", "La rondine"), Willy Decker ("Il ritorno d’Ulisse in patria", "The Turn of the Screw"), Andreas Homoki ("Wozzeck", "Das Land des Lächelns", "La forza del destino"), Christoph Marthaler ("Il viaggio a Reims", "Orphée et Euridice"), Barrie Kosky ("Die Gezeichneten", "Boris Godunov"), Nadja Loschky, Nina Russi, Jan Essinger, and Jetske Mijnssen ("Idomeneo", "Hippolyte et Aricie", "Platée").
At the 2012 Salzburg Festival, she worked on "La bohème" with Damiano Michieletto. During the COVID-19 pandemic, she co-founded the concert series "Altchemie live" at the Alte Chemie in Uetikon. In 2025, she served as dramaturge for Jetske Mijnssen’s production of Francesco Cavalli’s "La Calisto" at the Festival d’Aix-en-Provence.