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Georg Friedrich Haas

Composer

Biography

Austrian composer Georg Friedrich Haas made his Royal Opera debut in 2015 when Netia Jones staged a performance of his Second String Quartet and the song cycle ATTHIS in the Linbury Studio Theatre. The 2015/16 Season saw the world premiere of his opera Morgen und Abend by The Royal Opera, a co-commission and co-production between The Royal Opera and Deutsche Oper Berlin.

Haas grew up in the Vorarlberg region in west Austria. He is currently Professor of Music at Columbia University, New York. He first came to prominence in 1996 with his chamber opera Nacht for Bregenz Festival; his operas since have included Die schöne Wunde for Bregenz, Melancholia for Paris Opéra and Bluthaus and Thomas for Schwetzinger SWR Festival.

His instrumental works, including in vain, limited approximations (a concerto for six micro-tonally tuned pianos and orchestra), dark dreams, chants oubliés and his eight string quartets, have been performed by ensembles including the Berlin Philharmonic, Vienna Radio Symphony Orchestra, BBC Scottish Symphony Orchestra, Bavarian Radio Symphony Orchestra, Ensemble Musikfabrik, Klangforum Vienna, the Arditti Quartet and the JACK Quartet. He has received numerous composition awards and was honoured with the Grand Austrian State Prize in 2007. He has been a member of the Austrian Kunstsenat since May 2011.

Videos

News and features

How The Royal Opera has kept opera looking forward for more than three hundred years

How The Royal Opera has kept opera looking forward for more than three hundred years

25 May 2017

The ROH has been home to major opera premieres dating all the way back to our first resident composer Handel – as material from ROH Collections shows.

Exploring Inner Worlds: The operas of Georg Friedrich Haas

Exploring Inner Worlds: The operas of Georg Friedrich Haas

6 November 2015

In his operas, the Austrian composer sensitively explores how people cope in the severest of situations.

Some things are better left unsung: Why composers use speech in opera

Some things are better left unsung: Why composers use speech in opera

2 November 2015

Composers have long explored the gamut of vocal expression from a whisper to a scream.

Photos