Fredegunda

Fredegunda . . …………..Dora Pavlíková, Soprano
Galsuinde . . . .. . . . . . . . . . . Bianca Koch, Soprano
Bazina. . . . . . . . . . . . . . . . . Katja Stuber, Soprano
Chilperich .. . . . . .. . . . . . . Tomi Wendt, Baritone
Sigibert . .. . . . . . . . Michael Kranebitter, Baritone
Hermenegild .. . . . .. . . Tomo Matsubara, Tenor
Landerich . .. . . . . . .. . . . . . Tobias Haaks, Tenor
Neue Hofkapelle München, Christoph Hammer


Regarded in his day as equal to Handel and Telemann, Reinhard Keiser composed more than one hundred operas, of which Fredegunda, which premiered at Hamburg’s famous Gänsmarkt Theatre in 1715, was one of his most popular.

It explores the politically volatile relationships between the sixth century Frankish king, Chilperich, whose ambitious mistress Fredegunda is prepared to use magic to become his queen, although Chilperich is betrothed to Princess Galsuinde and Fredegunda also has a secret relationship with Langerich.

This important and entertaining German Baroque opera abounds in melodious, often ravishingly orchestrated, music.

“Keiser was active in Hamburg and this opera therefore gives us a peek at what was going on outside of Italy, France, and England at the time. He mixes serious and comic situations and comes up with something very different from either opera seria or the French tragédies lyriques of Lully and Rameau. Arias tend to be brief and flavourful… orchestration is vivid and punchy.” Classics Today