The Austrian-born Andreas Stoehr is an extremely multi-faceted member of the current generation of conductors, combining the well-rounded experience of a german ‘Kapellmeister’ and the application of recent discoveries in historical performance scholarship. In the last seasons Andreas Stoehr’s musical activities concentrated themselves around Mozart ( “C-minor Mass” at the Royal Opera Stockholm, the premiere of “Cosi fan tutte” at the Opera Leipzig as a first collaboration with stage director Peter Konwitschny and the Gewandhaus Orchestra ), Mahler, Liszt and Schumann. Preceding these projects he conducted regularly in Scandinavia: in fall 2010 he returned to the Royal Opera in Stockholm for Alban Berg’s “Wozzeck” and Handel’s “Serse”.
He also appeared as guest conductor in Leipzig, Graz, Halle and Västeras ( Sweden ).
In 2010, the Vienna Konzerthaus was the venue for Giacomo Meyerbeer’s opera “Emma di Resburgo”, a work from Meyerbeers italian period, which Andreas Stoehr unearthed and brought to performance for the first time since 1824. It was also the first time a Meyerbeer opera has been performed on period instrument, and has been featured on radio broadcasts in Austria ( ORF ) and England ( BBC ). Since 2008 Stoehr has appeared frequently in Scandinavia and returned to Switzerland: premieres of “Lucio Silla” and “The Magic Flute” at the Royal Opera in Copenhagen, his debut at the Royal Opera in Stockholm with Handel’s “Serse” and the premiere of Cavalli’s “La Calisto” in his house debut at the Grand Théâtre in Geneva. From 2001 to 2009, Stoehr conducted a wide repertoire at the Deutsche Oper am Rhein in Dusseldorf, Germany, where he had exceptional critical success with a Monteverdi trilogy (L’Orfeo, Ulysse, Poppea) played on historical instruments. Building on this foundation with productions of Scarlatti, Handel, and Mozart operas played with historical performance practices by the Dusseldorf Symphony, Maestro Stoehr established himself as an ‘original sound’ specialist with resounding success in the press and with the public. Alongside his affinity for the music of the Baroque era stand without question the operas of Mozart (adding “La Clemenza di Tito“ in 2006 and “Lucio Silla” in 2008), Verdi, and at the opposite end of the spectrum, operas of the 20th Century (Bartok, Ravel, Schönberg, Strauss, Zemlinsky). An addition to his repertoire in this direction came in 2007 with a new production of Debussy’s “Pelléas et Mélisande“ for the Deutsche Oper am Rhein. From the beginning, Andreas Stoehr combined the theoretical with the practical, simultaneously studying piano and conducting at the Vienna Music Conservatory and music history at the University of Vienna. During his studies, Maestro Stoehr made his conducting debut in 1985 with Paisiello’s “Barbiere di Siviglia” for the Vienna Chamber Opera, followed by an invitation to conduct their Mozart cycle. In 1985 he was engaged by the Graz Opera, Austria, initially as pianist, then as head coach and conductor. Between 1989 and 1996 Stoehr was guest conductor at the State Opera Prague and devoted himself to his international concert appearances. In 1996 Maestro Stoehr became Music Director of the prestigious Opéra Comique, Paris, where, alongside various Mozart operas, he dedicated himself to standards of the French operatic repertoire, including Bizet’s Carmen,and works by Ravel, Poulenc and Offenbach). An important aspect of his position was establishing a niche for modern opera: under his musical leadership Luciano Chailly’s “La Cantatrice Chauve” and Victor Ullmann’s “Emperor of Alantis” had their French premieres. In a concert project with the Liège Philharmonic Orchestra in 2000, Stoehr conducted Robert Schumann’s complete orchestral works. Parallel to his engagement at the Deutsche Oper am Rhein, Dusseldorf-Duisburg, he started in 2001 as Primary Conductor at the Theater of St. Gallen, Switzerland and remained in this position until 2004. As guest conductor, Maestro Stoehr has appeared with the Vienna Symphony, the Munich Symphony, Ensemble Orchestral de Paris, L’Orchestre National de Lille, Residenz Orchestra den Haag, Orkest van het Oosten, het Brabants Orkest, and with the Rotterdam Philharmonic. Appearances at Festivals include: Styriarte Festival (Austria), Klangbogen (Vienna), Festival de Musique Montreux-Vevey (Switzerland) and guest engagements for opera productions in Lucern (Switzerland), Munich, Nationale Reisoper in Holland, Teatro Massimo di Palermo, the Royal Opera Copenhagen and the Royal Opera Stockholm. A passionate interest of Andreas Stoehr is the discovery and performance of opera scores which have not been heard since their original performances, or which have been considered “lost”. Through his efforts, Schubert’s last opera “Der Graf von Gleichen” was heard for the first time at the styriarte Festival in 1997 in the reconstructed version of Richard Dünser, and in 2007 the Prague version of Christoph Willibalds Gluck’s opera “Ezio”. “Ezio”, with the “Neue Duesseldorfer Hofmusik” orchestra and West German Radio (WDR) appeared in 2007 as a world premiererecording from Coviello Classics. Innovative projects outside the mainstream are also an enrichment for Andreas Stoehr. A theater project in the State Theater in Dusseldorf 2006 combined texts from French sociologist Pierre Bourdieu with music from Bach Cantatas in a theatrical context.