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31-year-old conductor Dominik Beykirch has been shaping the artistic profile of the Deutsches Nationaltheater (DNT) and the Staatskapelle Weimar as Chief Conductor of Music Theater since the 2020/2021 season. He joined the tradition-rich house as 2nd Chapel Master back 2015 and has been engaged there as 1st Coordinated Chapel Master since the 2018/2019 season.
In the 2019/2020 season, Dominik Beykirch celebrated great success at the house with the opera Lanzelot by Paul Dessau, which was performed for the first time in 40 years. Opernwelt awarded the production directed by Peter Konwitschny as "Rediscovery of the Year" and at the same time nominated Dominik Beykirch as “Conductor of the Year”. The political opera was also recognized as “Best Rediscovery” at the international Oper! Awards. Furthermore, the elaborate production of Ariadne auf Naxos (director: Martin G. Berger), was awarded the FAUST Prize 2020.
Beykirch's musical direction of new productions such as Engelbert Humperdinck's Hänsel und Gretel, Leonard Bernstein's Candide and Gioachino Rossini's L'italiana in Algeri (director: Tobias Kratzer) or, more recently, Verdi's Aida (director: Andrea Moses) also met with great response from audiences and the specialized press.
In the second half of the 2021/2022 season, Dominik Beykirch will devote himself to two very special projects, Luciano Berio's Recital for Cathy and the excavation of Anton Schweitzer's Singspiel Aurora. In addition, he is leading numerous concerts, for example the Konzertnacht OpenAir and concerts as a guest conductor at the Kölner Philharmonie or with the Brandenburg State Orchestra Frankfurt.
As a guest conductor, Dominik Beykirch has already worked with numerous renowed orchestras, such as the symphony orchestras of the HR, MDR, WDR and SWR, Staatskapelle Dresden, Dresden Philharmonic, Rundfunk-Sinfonieorchester Berlin, Duisburg Philharmonic, Jena Philharmonic, Staatskapelle Halle, Bremen Philharmonic, Philharmonie Zuidnederland (Netherlands), Württembergische Philharmonie Reutlingen, Staatsorchester Rheinische Philharmonie, Philharmonisches Orchester Altenburg-Gera, Bergische Symphoniker, Neue Philharmonie Westfalen, Philharmonie Südwestfalen, Philharmonisches Orchester Erfurt, Hofer Symphoniker, Nürnberger Symphoniker, Kurpfälzisches Kammerorchester and Folkwang-Kammerorchester Essen. Furthermore, he performed at Staatstheater Kassel and in numerous performances at Staatsoperette Dresden. He has also conducted important rehearsals for Markus Poschner, Andres Orozco-Estrada and Christoph Eschenbach, among others, and worked with soloists such as Jens Peter Maintz, Claudio Bohórquez, Danjulo Ishizaka, Jakob Spahn, Sebastian Manz, Wen-Sinn Yang, Nemanja Radulović, Harriet Krijgh, Michael Barenboim and Jan Vogler.
Most recently, the album Clarinet Concertos was released on the label Berlin Classics, on which clarinetist Sebastian Manz interprets the clarinet concerto (1928) by Danish composer Carl Nielsen together with the Deutsche Radio Philharmonie Saarbrücken under the direction of Dominik Beykirch. Beykirch also recorded Prokofiev's Peter and the Wolf for Berlin Classics, leading the Dresden Philharmonic (narrator: Malte Arkona).
His numerous awards include the 2nd prize at the German Conductor Prize 2017, endowed with 10,000 euros, the first prize at the 6th German University Competition for orchestral conducting, as well as sponsorship prizes from the publishing houses Bärenreiter and Breitkopf & Härtel, the Ernst von Schuch Prize and that Rudolf Bräuer grant "for exceptional artistic achievements". Dominik Beykirch was a scholarship holder in the Conductors' Forum of the German Music Council and was on the list of artists “Maestros of Tomorrow” from 2016 to 2019. He is also an alumnus of the Studienstiftung des Deutschen Volkes. In the 2013/14 season, the young conductor was Michael Sanderling's assistant at the Dresden Philharmonic as part of the Hermann Hildebrandt grant.
Dominik Beykirch completed his musical education at the Franz Liszt Music Academy in the conducting class of Prof. Nicolás Pasquet, Prof. Gunter Kahlert and Martin Hoff in Weimar. At the same time, he received enriching artistic impulses from numerous master classes, including with Bernard Haitink, Colin Metters, Jukka-Pekka Saraste and Ton Koopman, among others. Today, he passes on his knowledge as a lecturer of the German Music Council and within the framework of teaching assignment at the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" in Leipzig.
«Wenn Dominik Beykirch nicht sowieso schon ein Publikumsliebling in Weimar wäre – jetzt hätte der 29-jährige Kapellmeister der Staatskapelle, der obendrein das Material in aufwendiger Vorarbeit eingerichtet hat, wohl den letzten Zweifler überzeugt! Atemberaubend wie der den gewaltigen Orchesterapparat zusammenhält, zwischen entfesseltem Losdonnern und kammermusikalischer Rücknahme wechselt, die Sänger stützt und Freude an den zitierenden Passagen in Dessaus Partitur zelebriert.»
«Dirigent Dominik Beykirch hatte nicht nur Chormassen und Dutzende von Solisten unter Kontrolle zu halten, sondern auch vierzehn Bühnenmusiker, einen riesigen Orchesterapparat im Graben [...] Dabei verfiel er nicht in den Fehler, dieses wuchtige Werk auch wuchtig zu interpretieren, im Gegenteil, es waren gerade die intimen Stellen, die besonders beeindruckten, etwa ein Dialog von Lanzelot mit einem traurigen Cello.»
BR-Bayerischer Rundfunk Kultur
“(Beykirch)” drives the music into a kind of hysteria while managing to hold things together in these grotesque finales, which are so fast and yet so secure, both in the orchestra’s playing as well as from all the singers […].”
Uwe Friedrich in „Fazit“
15th October 2016
“Whether Rossini chooses a daring harmonic progression to achieve his desired effect or something unashamedly banal, Beykirch always has his eye on the ball. He has studied every change of mood, elegantly prepares the transitions, and underlines them with diverse colours and perceptive details from the orchestra. While relishing this music, he never forgets that Italian opera of this era is also always a vehicle for the singers.”
“One could hear the Staatskapelle Weimar’s enjoyment of this score under the excellent direction of their second Kapellmeister, Dominik Beykirch.”
“In his first opera, the young Kapellmeister Dominik Beykirch did a brilliant job in all respects, enabling the Staatskapelle Weimar to bridge the gap between stage and orchestra pit to achieve fantastic joint music-making. Beykirch certainly has a firm grasp of tempi and tonal relations, and is a real team player.”
Roland H. Dippel
Die Deutsche Bühne
16th October 2016
“Credit is due to the evening’s second debut performer, the conductor Dominik Beykirch, for the HR-Symphony Orchestra’s muted yet finely nuanced accompaniment of the cellist […] His directions are highly precise yet pleasantly supple. One understands exactly his intentions regarding orchestral tone. The opening performance of Stravinsky’s “Pulcinella Suite” was a stunning interpretation, combining rhythmical delicacy with virtuosic ease and distinctive colouring.”
Frankfurter Neue Presse
19th November 2016
In the media kit you will find high-resolution print photos available free of charge as well as my curriculum vitae in Word format. I would be delighted to receive a copy of any review or article.