Biography
“Conducting the MDR Symphony Orchestra was Karsten Januschke, who already enjoys a very good reputation. The reason why became clear in the “Reiheins” concert. Januschke breathed new life into Dvorak's Symphony 'From the New World'. This is no hyped-up young star ailing about on the podium to push himself into the Best Of list, but rather a great talent working on sophisticated ways of connecting the musical work to musical partners. The enthusiastic final applause was warmly shared by orchestra and conductor together.”Leipziger Volkszeitung on the concert at Gewandhaus Leipzig
Within the space of a few years, Karsten Januschke has made a name for himself in the eld of concerts and opera as a great talent of the younger generation of conductors. Characterised by a natural authority and and expressive conducting technique, his communication with orchestras, soloists and singers is commanding and collegial. The prerequisite for his rehearsals is an in-depth study of the work in hand, and he takes an approach that combines a clear sound concept with great eciency producing concerts and performances of extraordinary emotion and artistic flexibility.
After a production of Tchaikovsky's Mazeppa at the Tiroler Festspiele in July 2024, which was celebrated by both the press and the public, Karsten Januschke will open the 2024/25 season at the Staatstheater Darmstadt with a new production of Bernd Alois Zimmermann's Requiem for a Young Poet paired with Morton Feldman's Rothko Chapel. Following this, he will make his debut at the Komische Oper Berlin with The Magic Flute in a production by Barrie Kosky, and he will conduct a series of performances of The Flying Dutchman at the National Theatre Prague. Additionally, Karsten Januschke will lead the new production of Aribert Reimann's Melusine at the Frankfurt Opera, honoring the composer who passed away in 2024.
In recent years, Karsten Januschke has made notable debuts at the Semperoper Dresden, the New National Theatre Tokyo, and the National Theatre Prague with Don Giovanni, as well as at the Bavarian State Opera, the National Theatre Prague (with Zemlinsky's A Florentine Tragedy) and the Volksoper Vienna. He has received repeat invitations to the Frankfurt Opera (for new productions of Lost Highway by Olga Neuwirth, Handel's Tamerlano, and Oenbach's The Bandits), the Stuttgart State Opera (for Hansel and Gretel and The Marriage of Figaro), Bregenz (Fidelio), and Oper im Steinbruch. In 2021, Oehms Classics released the album Love and Despair featuring bass Andreas Bauer Kanabas and the Latvian Festival Orchestra under the direction of Karsten Januschke.
In symphonic concerts he conducted the world premiere of a work by Farzia Fallah with the Heidelberg Philharmonic Orchestra, as well as the German premiere of a concerto by Katherine Balch with the State Orchestra Darmstadt featuring cellist Maximilian Hornung. Additionally, Karsten Januschke has appeared as a guest conductor in the symphonic realm with ensembles such as the MDR Symphony Orchestra, the DSO Berlin, the Munich Radio Orchestra, the Staatskapelle Halle, the Beethoven Orchestra Bonn, the RSO Vienna, the Budapest Philharmonic, and Ensemble Modern.
A defining period in Karsten Januschke‘s career was spent at the Oper Frankfurt where he was solo repetiteur from 2008 and subsequently became Kapellmeister. He conducted works from every era here, such as Don Carlos, La Traviata, Eugen Onegin or Bartók’s Bluebeard. Mozart‘s works soon emerged as a particular focus and his spirited and energetic renditions, especially of the Da Ponte operas, have conrmed his position as an expert.
Originally from Schleswig-Holstein, Karsten Januschke studied piano and musicology, and completed his conducting studies with Prof. Georg Mark at the Vienna Conservatoire with honours. During this time, he worked at the Vienna State Opera as a solo repetiteur and conductor of children‘s operas, as well as at the
Theater an der Wien and later at the Bayreuth Festival.
Artist Website
www.karstenjanuschke.comRepertoire
Repertoire Oper/Operette
Bartok | Herzog Blaubarts Burg |
Beethoven | Fidelio |
Bizet | Carmen |
Britten | The Turn of the Screw |
Chabrier | L'Étoile |
Chausson | Le Roi Arthus |
Donizetti | L'Elisir d'amore Don Pasquale |
Dvorák | Rusalka |
Fioravanti | La cantatrice villane |
Händel | Tamerlano |
Hermann | Der Mieter |
Hindemith | Sancta Susanna |
Humperndinck | Hänsel und Gretel |
Königskinder | |
Kálmán | Gräfin Mariza |
Die Zirkusprinzessin | |
Krenek | Der Diktator |
Mozart | Bastien und Bastienne |
Le Nozze di Figaro | |
Don Giovanni | |
Così fan Tutte | |
Idomeneo | |
Clemenza di Tito | |
Die Zauberflöte | |
Neuwirth | Lost Highway |
Offenbach | Les Brigands |
Pizzetti | Assassinio nella cattedrale |
Puccini | La Bohème |
Purcell | Dido and Aeneas |
Reimann | Die Gespenstersonate |
Melusine | |
Rossini | La Gazza Ladra |
Rota | Aladdin |
Sallinen | Kullervo |
J. Strauss | Die Fledermaus |
Stravinsky | Mavra |
Tchaikovsky | Eugen Onegin |
Mazeppa | |
Telemann | Pimpinone |
Ullmann | Der zerbrochene Krug |
Verdi | I Masnadieri |
La Traviata | |
Don Carlo | |
Wagner | Der fliegende Holländer |
Zemlinsky | Eine florentinische Tragödie |
Zimmermann | Requiem für einen jungen Dichter |
News
Meaningful representative of the new generation of conductors
We are delighted to welcome Karsten Januschke, who has proven himself to be one of the most distinguished conductors of his generation, in our general management. Most recently, his conducting of Tchaikovsky's Mazeppa at the Tiroler Festspiele in July 2024 was extremely well received by the press and audience and proved him once again to be an artist with passionate and expressive conducting skills.At his guest appearances with the MDR-Sinfonieorchester Leipzig, the Bayerische Staatsoper, the DSO Berlin, the Staatsoper Stuttgart, the Bremer Philharmoniker, the Symphonieorchester Wien and time and again the Oper Frankfurt his conducting has been described as captivating, dramatic and modern.
The 2024/25 season again holds a wide variety of tasks in store for Karsten Januschke. He opens with a new production of Bernd Alois Zimmermann's Requiem für einen jungen Dichter together with Morton Feldman's Rothko Chapel at the Staatstheater Darmstadt.
After his debut at the Komische Oper Berlin with die Zauberflöte in Barry Kosky's production, performances of The Flying Dutchman will follow at the Prager Staatsoper.
Frankfurt audiences can also look forward to the return of the conductor, who will conduct the new production of Aribert Reimann's Melusine at Oper Frankfurt.
Media
ImagesPortraitPhoto: Jürgen Friedel
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Photo: Jürgen Friedel
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Trailer: Don Giovanni Mozart - National Theatre Prague
Trailer: "Die Banditen" Jaques Offenbach - Oper Frankfurt
Press
Bayerischer Rundfunk, Peter Jungblut zur Premiere von Tschaiowskys "Mazeppa" / Tiroler Festspiele Erl / 13.07.2024
"Überwältigend in seiner Wucht. Dirigent Karsten Januschke lässt mit dem Erler Festspielorchester Tschaikowsky wild auflodern, wirft glutheiße Funken. Was bei anderen Komponisten womöglich in hohlen Pathos abrutschen würde, hier passt diese schier versengende Emotionalität."
NMZ, Wolf-Dieter Peter zu Tschaikowskys "Mazeppa" / Tiroler Festspiele Erl / 13.07.2024
"Sternstunde mit Mazeppa. Für diesen dramatisch modern klingenden Tschaikowsky, in dem große Emotionen immer wieder von kalter Unwirklichkeit bis hin zu brutalen Eruptionen abgewürgt wurde, ernteten Januschke und das dementsprechend aufspielende Festspielorchester zu Recht Bravorufe."
concerti, Roland H. Dippel zu Tschaikowskys "Mazeppa" / Tiroler Festspiele Erl / 13.07.2024
"Mit dem ersten Takt gibt Karsten Januschke diese destruktive Spannungsdichte vor, die bis zum Ende nicht nachlässt - mit kongenial kantiger Düsternis. Ein ideales Musiktheater: Januschke und der südafrikanische Regisseur Matthew Wild ziehen an einem Strang."
Frankfurter Allgemeine Zeitung, Doris Kösterecke zum Sinfoniekonzert im Darmstädter Staatstheater / 10.05.2023
"Das Strahlen, mit dem Dirigent Karsten Januschke die Bühne betrat, schien die musikalische Arbeit von allem Staub und aller Routine zu reinigen. Leise und geschmeidig löste sich der Beginn von Schumanns Ouvertüre, Scherzo und Finale aus der Stille. Wie beiläufig, schwerelos, märchenhaft-unwirklich und doch voller Intensität und bis ins Detail organisch durchgeformt, dramaturgisch zwingend, voller emotionaler Wärme und mit spürbar viel Spaß entfalteten sie gemeinsam ein Fest der Klangfarben, das hin bis zum letzten Ton des Abends fesselte."