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Classical concerts featuring
Han Kim

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Upcoming Concerts

Concerts featuring Han Kim in season 2024/25 or later

January 28, 2025
Artistic depiction of the event

Manon

Tue, Jan 28, 2025, 19:00
Carlo Montanaro (Musical Director), Elsa Dreisig (Manon Lescaut), Enea Scala (Der Chevalier Des Grieux), Alexey Bogdanchikov (Lescaut), Tigran Martirossian (Der Graf Des Grieux), Andrew Dickinson (Guillot-Morfontaine), Nicholas Mogg (Von Brétigny), Narea Son (Poussette), Kady Evanyshyn (Javotte), Ida Aldrian (Rosette), Han Kim (Der Wirt), Aaron Godfrey-Mayes (Gardist 1), Keith Klein (Gardist 2), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
January 30, 2025
Artistic depiction of the event

Manon

Thu, Jan 30, 2025, 19:00
Carlo Montanaro (Musical Director), Elsa Dreisig (Manon Lescaut), Enea Scala (Der Chevalier Des Grieux), Alexey Bogdanchikov (Lescaut), Tigran Martirossian (Der Graf Des Grieux), Andrew Dickinson (Guillot-Morfontaine), Nicholas Mogg (Von Brétigny), Narea Son (Poussette), Kady Evanyshyn (Javotte), Ida Aldrian (Rosette), Han Kim (Der Wirt), Aaron Godfrey-Mayes (Gardist 1), Keith Klein (Gardist 2), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
February 2, 2025
Artistic depiction of the event

Manon

Sun, Feb 2, 2025, 19:00
Carlo Montanaro (Musical Director), Elsa Dreisig (Manon Lescaut), Enea Scala (Der Chevalier Des Grieux), Alexey Bogdanchikov (Lescaut), Tigran Martirossian (Der Graf Des Grieux), Andrew Dickinson (Guillot-Morfontaine), Nicholas Mogg (Von Brétigny), Narea Son (Poussette), Kady Evanyshyn (Javotte), Ida Aldrian (Rosette), Han Kim (Der Wirt), Aaron Godfrey-Mayes (Gardist 1), Keith Klein (Gardist 2), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
February 4, 2025
Artistic depiction of the event

Manon

Tue, Feb 4, 2025, 19:00
Carlo Montanaro (Musical Director), Elsa Dreisig (Manon Lescaut), Enea Scala (Der Chevalier Des Grieux), Alexey Bogdanchikov (Lescaut), Tigran Martirossian (Der Graf Des Grieux), Andrew Dickinson (Guillot-Morfontaine), Nicholas Mogg (Von Brétigny), Narea Son (Poussette), Kady Evanyshyn (Javotte), Ida Aldrian (Rosette), Han Kim (Der Wirt), Aaron Godfrey-Mayes (Gardist 1), Keith Klein (Gardist 2), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
February 6, 2025
Artistic depiction of the event

Manon

Thu, Feb 6, 2025, 19:00
Carlo Montanaro (Musical Director), Elsa Dreisig (Manon Lescaut), Enea Scala (Der Chevalier Des Grieux), Alexey Bogdanchikov (Lescaut), Tigran Martirossian (Der Graf Des Grieux), Andrew Dickinson (Guillot-Morfontaine), Nicholas Mogg (Von Brétigny), Narea Son (Poussette), Kady Evanyshyn (Javotte), Ida Aldrian (Rosette), Han Kim (Der Wirt), Aaron Godfrey-Mayes (Gardist 1), Keith Klein (Gardist 2), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity. Director: David Bösch Sets: Patrick Bannwart Costumes: Falko Herold Lighting: Michael Bauer Dramaturgy: Detlef Giese Premiere: 24.01.2021 Supported by the Stiftung zur Förderung der Hamburgischen Staatsoper and Mrs. Else Schnabel
March 21, 2025
Artistic depiction of the event

La Fanciulla del West (The Girl of the West)

Fri, Mar 21, 2025, 19:30
Paolo Carignani (Musical Director), Christian Günther (Chorleitung), Anna Pirozzi (Minnie), Claudio Sgura (Jack Rance), Gregory Kunde (Dick Johnson), Andrew Dickinson (Nick), Han Kim (Ashby), Tigran Martirossian (Sonora), Paul Kaufmann (Trin), Nicholas Mogg (Sid), Charles Rice (Bello), Mziwamadoda Sipho Nodlayiya (Harry), N. N. (Joe), William Desbiens (Happy), Grzegorz Pelutis (Larkens), Mateusz Ługowski (Billy Jackrabbit), Aebh Kelly (Wowkle), David Minseok Kang (Jake Wallace), N. N. (José Castro), N. N. (Postillon), N. N. (Eine Stimme), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
California in 1850: hundreds of thousands have fallen for the gold rush – and some of them also for the barkeeper Minnie, at whose saloon various fortune seekers meet every evening. Among them is Sheriff Jack Rance. Minnie, however, falls in love with the stranger Dick Johnson. It soon turns out that Johnson is a wanted robber: the sheriff wants to see him hang and have Minnie to himself. A round of poker is to decide about Dick’s life: is there yet another trump up Minnie’s sleeve? Puccini certainly held a trump with his Fanciulla, and even considered the piece his best: after world hits such as La Bohème and Madama Butterfly he had reinvented himself with this “spaghetti western”. In La Fanciulla del West, he combined ragtime rhythms, allusions to gospel singing and the music of the native Americans with Italian melodiousness, resulting in a lushly orchestrated broadband sound. This did not fail to affect the audience at the first performance at New York’s Metropolitan Opera in 1910. And yet, compared to Puccini’s major hits, the piece languished in the shadows for a long time – until the musical gold diggers set out to reclaim it… Director: Vincent Boussard Set Designer: Vincent Lemaire Costume Designer: Christian Lacroix Lighting Designer: Guido Levi Premiere: 01.02.2015
March 26, 2025
Artistic depiction of the event

La Fanciulla del West (The Girl of the West)

Wed, Mar 26, 2025, 19:30
Paolo Carignani (Musical Director), Christian Günther (Chorleitung), Anna Pirozzi (Minnie), Claudio Sgura (Jack Rance), Gregory Kunde (Dick Johnson), Andrew Dickinson (Nick), Han Kim (Ashby), Tigran Martirossian (Sonora), Paul Kaufmann (Trin), Nicholas Mogg (Sid), Charles Rice (Bello), Mziwamadoda Sipho Nodlayiya (Harry), N. N. (Joe), William Desbiens (Happy), Grzegorz Pelutis (Larkens), Mateusz Ługowski (Billy Jackrabbit), Aebh Kelly (Wowkle), David Minseok Kang (Jake Wallace), N. N. (José Castro), N. N. (Postillon), N. N. (Eine Stimme), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
California in 1850: hundreds of thousands have fallen for the gold rush – and some of them also for the barkeeper Minnie, at whose saloon various fortune seekers meet every evening. Among them is Sheriff Jack Rance. Minnie, however, falls in love with the stranger Dick Johnson. It soon turns out that Johnson is a wanted robber: the sheriff wants to see him hang and have Minnie to himself. A round of poker is to decide about Dick’s life: is there yet another trump up Minnie’s sleeve? Puccini certainly held a trump with his Fanciulla, and even considered the piece his best: after world hits such as La Bohème and Madama Butterfly he had reinvented himself with this “spaghetti western”. In La Fanciulla del West, he combined ragtime rhythms, allusions to gospel singing and the music of the native Americans with Italian melodiousness, resulting in a lushly orchestrated broadband sound. This did not fail to affect the audience at the first performance at New York’s Metropolitan Opera in 1910. And yet, compared to Puccini’s major hits, the piece languished in the shadows for a long time – until the musical gold diggers set out to reclaim it… Director: Vincent Boussard Set Designer: Vincent Lemaire Costume Designer: Christian Lacroix Lighting Designer: Guido Levi Premiere: 01.02.2015
March 29, 2025
Artistic depiction of the event

La Fanciulla del West (The Girl of the West)

Sat, Mar 29, 2025, 19:30
Paolo Carignani (Musical Director), Christian Günther (Chorleitung), Anna Pirozzi (Minnie), Claudio Sgura (Jack Rance), Gregory Kunde (Dick Johnson), Andrew Dickinson (Nick), Han Kim (Ashby), Tigran Martirossian (Sonora), Paul Kaufmann (Trin), Nicholas Mogg (Sid), Charles Rice (Bello), Mziwamadoda Sipho Nodlayiya (Harry), N. N. (Joe), William Desbiens (Happy), Grzegorz Pelutis (Larkens), Mateusz Ługowski (Billy Jackrabbit), Aebh Kelly (Wowkle), David Minseok Kang (Jake Wallace), N. N. (José Castro), N. N. (Postillon), N. N. (Eine Stimme), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
California in 1850: hundreds of thousands have fallen for the gold rush – and some of them also for the barkeeper Minnie, at whose saloon various fortune seekers meet every evening. Among them is Sheriff Jack Rance. Minnie, however, falls in love with the stranger Dick Johnson. It soon turns out that Johnson is a wanted robber: the sheriff wants to see him hang and have Minnie to himself. A round of poker is to decide about Dick’s life: is there yet another trump up Minnie’s sleeve? Puccini certainly held a trump with his Fanciulla, and even considered the piece his best: after world hits such as La Bohème and Madama Butterfly he had reinvented himself with this “spaghetti western”. In La Fanciulla del West, he combined ragtime rhythms, allusions to gospel singing and the music of the native Americans with Italian melodiousness, resulting in a lushly orchestrated broadband sound. This did not fail to affect the audience at the first performance at New York’s Metropolitan Opera in 1910. And yet, compared to Puccini’s major hits, the piece languished in the shadows for a long time – until the musical gold diggers set out to reclaim it… Director: Vincent Boussard Set Designer: Vincent Lemaire Costume Designer: Christian Lacroix Lighting Designer: Guido Levi Premiere: 01.02.2015
April 4, 2025
Artistic depiction of the event

La Fanciulla del West (The Girl of the West)

Fri, Apr 4, 2025, 19:30
Paolo Carignani (Musical Director), Christian Günther (Chorleitung), Anna Pirozzi (Minnie), Claudio Sgura (Jack Rance), Gregory Kunde (Dick Johnson), Andrew Dickinson (Nick), Han Kim (Ashby), Tigran Martirossian (Sonora), Paul Kaufmann (Trin), Nicholas Mogg (Sid), Charles Rice (Bello), Mziwamadoda Sipho Nodlayiya (Harry), N. N. (Joe), William Desbiens (Happy), Grzegorz Pelutis (Larkens), Mateusz Ługowski (Billy Jackrabbit), Aebh Kelly (Wowkle), David Minseok Kang (Jake Wallace), N. N. (José Castro), N. N. (Postillon), N. N. (Eine Stimme), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
California in 1850: hundreds of thousands have fallen for the gold rush – and some of them also for the barkeeper Minnie, at whose saloon various fortune seekers meet every evening. Among them is Sheriff Jack Rance. Minnie, however, falls in love with the stranger Dick Johnson. It soon turns out that Johnson is a wanted robber: the sheriff wants to see him hang and have Minnie to himself. A round of poker is to decide about Dick’s life: is there yet another trump up Minnie’s sleeve? Puccini certainly held a trump with his Fanciulla, and even considered the piece his best: after world hits such as La Bohème and Madama Butterfly he had reinvented himself with this “spaghetti western”. In La Fanciulla del West, he combined ragtime rhythms, allusions to gospel singing and the music of the native Americans with Italian melodiousness, resulting in a lushly orchestrated broadband sound. This did not fail to affect the audience at the first performance at New York’s Metropolitan Opera in 1910. And yet, compared to Puccini’s major hits, the piece languished in the shadows for a long time – until the musical gold diggers set out to reclaim it… Director: Vincent Boussard Set Designer: Vincent Lemaire Costume Designer: Christian Lacroix Lighting Designer: Guido Levi Premiere: 01.02.2015
April 18, 2025
Artistic depiction of the event

Parsifal

Fri, Apr 18, 2025, 16:00
Patrick Hahn (Musical Director), Christoph Pohl (Amfortas), Han Kim (Titurel), Kwangchul Youn (Gurnemanz), Benjamin Bruns (Parsifal), Mark Stone (Klingsor), Iréne Theorin (Kundry), Hubert Kowalczyk (2. Gralsritter), Yeonjoo Katharina Jang (Blumenmädchen I), Yeonjoo Katharina Jang (1), N. N. (Blumenmädchen I), N. N. (2), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
In his “Parsifal”, Wagner created a complex world of its own. It is complex because it consists of so many heterogeneous elements whose meaning is hard to comprehend, frequently drawing us onto paths leading nowhere. Thus, the many religious signs, symbols and rituals can only be understood as partial elements pointing to a world which must be interpreted as a whole. Elements of Christianity, such as the last supper, the goblet, blood, the spear and dove, or Schopenhauer’s idea that compassion might release man from his egocentricity, as well as Gnostic and Manichean motifs lead to partial interpretative approaches which are unsuitable for “Parsifal” as a whole. A theatrical world, however, can design a fictional cosmos in which all these elements can effectively participate, leaving the audience to interpret its own experiences as it sees fit. Director, Set-, Costume- and Lightdesign: Achim Freyer Artistic Collaboration: Sebastian Bauer Set Design Collaboration: Moritz Nitsche Costume Design Collaboration: Petra Weikert Light Design Collaboration: Sebastian Alphons Video: Jakob Klaffs/Hugo Reis Dramaturgy: Klaus-Peter Kehr Premiere: 16.9.2017
April 21, 2025
Artistic depiction of the event

Parsifal

Mon, Apr 21, 2025, 15:00
Patrick Hahn (Musical Director), Christoph Pohl (Amfortas), Han Kim (Titurel), Kwangchul Youn (Gurnemanz), Benjamin Bruns (Parsifal), Mark Stone (Klingsor), Iréne Theorin (Kundry), N. N. (1. Gralsritter), Hubert Kowalczyk (2. Gralsritter), N. N. (1. Knappe), N. N. (2. Knappe), N. N. (3. Knappe), N. N. (4. Knappe), Yeonjoo Katharina Jang (Blumenmädchen I), Yeonjoo Katharina Jang (1), N. N. (Blumenmädchen I), N. N. (2), N. N. (3), N. N. (Blumenmädchen II), N. N. (1), N. N. (Stimme aus der Höhe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
In his “Parsifal”, Wagner created a complex world of its own. It is complex because it consists of so many heterogeneous elements whose meaning is hard to comprehend, frequently drawing us onto paths leading nowhere. Thus, the many religious signs, symbols and rituals can only be understood as partial elements pointing to a world which must be interpreted as a whole. Elements of Christianity, such as the last supper, the goblet, blood, the spear and dove, or Schopenhauer’s idea that compassion might release man from his egocentricity, as well as Gnostic and Manichean motifs lead to partial interpretative approaches which are unsuitable for “Parsifal” as a whole. A theatrical world, however, can design a fictional cosmos in which all these elements can effectively participate, leaving the audience to interpret its own experiences as it sees fit. Director, Set-, Costume- and Lightdesign: Achim Freyer Artistic Collaboration: Sebastian Bauer Set Design Collaboration: Moritz Nitsche Costume Design Collaboration: Petra Weikert Light Design Collaboration: Sebastian Alphons Video: Jakob Klaffs/Hugo Reis Dramaturgy: Klaus-Peter Kehr Premiere: 16.9.2017
April 27, 2025
Artistic depiction of the event

Parsifal

Sun, Apr 27, 2025, 16:00
Patrick Hahn (Musical Director), Christoph Pohl (Amfortas), Han Kim (Titurel), Kwangchul Youn (Gurnemanz), Benjamin Bruns (Parsifal), Mark Stone (Klingsor), Iréne Theorin (Kundry), N. N. (1. Gralsritter), Hubert Kowalczyk (2. Gralsritter), N. N. (1. Knappe), N. N. (2. Knappe), N. N. (3. Knappe), N. N. (4. Knappe), Yeonjoo Katharina Jang (Blumenmädchen I), Yeonjoo Katharina Jang (1), N. N. (Blumenmädchen I), N. N. (2), N. N. (3), N. N. (Blumenmädchen II), N. N. (1), N. N. (Stimme aus der Höhe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
In his “Parsifal”, Wagner created a complex world of its own. It is complex because it consists of so many heterogeneous elements whose meaning is hard to comprehend, frequently drawing us onto paths leading nowhere. Thus, the many religious signs, symbols and rituals can only be understood as partial elements pointing to a world which must be interpreted as a whole. Elements of Christianity, such as the last supper, the goblet, blood, the spear and dove, or Schopenhauer’s idea that compassion might release man from his egocentricity, as well as Gnostic and Manichean motifs lead to partial interpretative approaches which are unsuitable for “Parsifal” as a whole. A theatrical world, however, can design a fictional cosmos in which all these elements can effectively participate, leaving the audience to interpret its own experiences as it sees fit. Director, Set-, Costume- and Lightdesign: Achim Freyer Artistic Collaboration: Sebastian Bauer Set Design Collaboration: Moritz Nitsche Costume Design Collaboration: Petra Weikert Light Design Collaboration: Sebastian Alphons Video: Jakob Klaffs/Hugo Reis Dramaturgy: Klaus-Peter Kehr Premiere: 16.9.2017
May 4, 2025
Artistic depiction of the event

Parsifal

Sun, May 4, 2025, 16:00
Patrick Hahn (Musical Director), Christoph Pohl (Amfortas), Han Kim (Titurel), Kwangchul Youn (Gurnemanz), Benjamin Bruns (Parsifal), Mark Stone (Klingsor), Iréne Theorin (Kundry), N. N. (1. Gralsritter), Hubert Kowalczyk (2. Gralsritter), N. N. (1. Knappe), N. N. (2. Knappe), N. N. (3. Knappe), N. N. (4. Knappe), Yeonjoo Katharina Jang (Blumenmädchen I), Yeonjoo Katharina Jang (1), N. N. (Blumenmädchen I), N. N. (2), N. N. (3), N. N. (Blumenmädchen II), N. N. (1), N. N. (Stimme aus der Höhe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
In his “Parsifal”, Wagner created a complex world of its own. It is complex because it consists of so many heterogeneous elements whose meaning is hard to comprehend, frequently drawing us onto paths leading nowhere. Thus, the many religious signs, symbols and rituals can only be understood as partial elements pointing to a world which must be interpreted as a whole. Elements of Christianity, such as the last supper, the goblet, blood, the spear and dove, or Schopenhauer’s idea that compassion might release man from his egocentricity, as well as Gnostic and Manichean motifs lead to partial interpretative approaches which are unsuitable for “Parsifal” as a whole. A theatrical world, however, can design a fictional cosmos in which all these elements can effectively participate, leaving the audience to interpret its own experiences as it sees fit. Director, Set-, Costume- and Lightdesign: Achim Freyer Artistic Collaboration: Sebastian Bauer Set Design Collaboration: Moritz Nitsche Costume Design Collaboration: Petra Weikert Light Design Collaboration: Sebastian Alphons Video: Jakob Klaffs/Hugo Reis Dramaturgy: Klaus-Peter Kehr Premiere: 16.9.2017