…the imposing tenor Rouwen Huther gave a complete interpretation, forthright and deeply involved from the inside out… Bachtrack, 22 July 2017
From the 2018/2019 season onwards, Rouwen Huther is a regular at Staatstheater Wiesbaden singing the Witch in Humperdinck’s Hansel and Gretel, and in new productions, Valzacchi in Strauss’ Der Rosenkavalier, as well as smaller parts in Mozart’s Idomeneo, Strauss’ Salome and Wagner’s Die Meistersinger von Nünrberg. Rouwen Huther has performed at Nationaltheater Mannheim, Oper Leipzig, Staatsoper Unter den Linden Berlin, Staatstheater Wiesbaden, Teatro Comunale Bolzano, Teatro di Luciano Pavarotti Modena, Teatro San Carlo Napoli.
The tenor worked with producers including Nicolas Brieger, András Fricsay, Rosamund Gilmore, Uwe Eric Laufenberg, Bernd Mottl, David Mouchtar-Samorai, Manfred Schweigkofler, Aron Stiehl, Evgeny Titov on a repertoire including Flaut in Britten‘s A Midsummer Night’s Dream, Doktor in Eötvös‘ Tri Sestri, Le Prince in Prokofiew’s L’amour des trois oranges, Erster Jude in Strauss’ Salome, Herman in Tschaikovsky‘s Pikowaja dama, Schweiker von Gundelfingen in Strauss‘ Feuersnot – Strauss parts such as Aegist, Bacchus and Herod are in preparation.
As a concert soloist, Rouwen Huther’s repertoire includes works such as Beethoven’s Symphony N° 9, Berlioz‘ La damnation de Faust, Bruch’s Das Lied von der Glocke, Mahler’s Das Lied von der Erde, Orff’s Carmina Burana, Puccini’s Messa di Gloria.
The German tenor performed under the baton of conductors including Stefan Asbury, Charles Dutoit, Gabriele Ferro, Christopher Franklin, Patrick Lange, Julien Salemkour, Ulf Schirmer, Keri-Lynn Wilson and was accompanied by orchestras including Gewandhausorchester Leipzig, Haydn-Orchester Bozen, Hessisches Staatsorchester, Münchner Rundfunkorchester, Philharmonie Baden-Baden, Staatskapelle Berlin, SWR Sinfonieorchester.
This biography is for information only and should not be reproduced. © Artistainternational, September 2020.
Three questions to Rouwen Huther:
A composer: Richard (whether Strauss or Wagner)
What was your calling to become a singer? I think the quote from Enrico Caruso explains this very clearly: “The accessories of a singer: a large chest, a large mouth, ninety percent memory, ten percent intelligence, a lot of hard work and a certain “something” in the heart.”
To be a singer – in three words: practice, practice, practice.