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- Hagen and Alberich in Wagner's Götterdämmerung and Sävel Dikój in Janáček's Kat'a Kabanová, at the Staatsoper Stuttgart;

Hagen in Wagner's Götterdämmerung, Fafner in Siegfried and Das Rheingold, Hunding in Die Walküre, Daland in Der Fliegende Holländer, Gunermanz in Parsifal, König Marke in Tristand und Isolde, Osmin in Mozart's Die Entführung aus dem Serail, Baron von Ochs in Strauss' Der Rosenkavalier, Sarastro in Mozart's Die Zauberflöte and Lucifer in Haendel's The Ressurection, at the Nationaltheater Mannheim;

- Bartolo in Rossini's Il Barbiere di Siviglia and Filippo II in Verdi's Don Carlo, at the Theater Bremen; 

- Der Bauer in Carl Orff's Die Kluge, at the Oper Frankfurt;

- Baron von Ochs in Strauss' Der Rosenkavalier, at the Staatstheater Nürnberg;

- Sarastro in Die Zauberflöte, at the Theater Basel.




The German bass Patrick Zielke completed his singing studies at the Musikhochschule Stuttgart at Dunja Vejzovic and has continued his development with the Austrian baritone Klaus Wallprecht. In addition to his studies, he attended master classes with Francisco Araiza

and Harald Stamm and was a scholarship holder of the Richard Wagner Society Stuttgart. Patrick Zielke is a prize winner at the Ernst Haefliger Competition and Richard Wagner Competition.


In 2013, he was still 17 when he integrated the ensemble of Theater Bremen, being the youngest bass in this theatre. Patrick Zielke’s first role in Bremen was Daland in Wagner’s Der Fliegende Holländer. Then, other roles have followed, such as Kothner in Wagner’s Die Meistersinger von Nürnberg, Bartolo in Rossini’s Il Barbiere di Siviglia and Dulcamara in Donizetti’s L'Elisir d'Amore. He was very acclaimed by critics for his Role debut as Gurnemanz in Wagner’s Parsifal and as the title role in Puccini’s Gianni Schicchi.


At the beginning of the 2017/18 season, Patrick Zielke switched of permanent position, becoming a member of the ensemble of Nationaltheater Mannheim, where he made debuts such as Baron von Ochs in Strauss’ Der Rosenkavalier, Rocco in Beethoven’s Fidelio and Landgraf in Wagner’s Tannhäuser. In this same season, he came back to the Theater Bremen, as invited, to sing Boris Timofeevich Ismailov in Shostakovich’s Lady Macbeth of Mtsensk.


Patrick Zielke’s 18/19 season was marked by important house debuts: at the Oper Frankfurt, as Peneios in Strauss’ Daphne, and at the Staatsoper Stuttgart, as König Treff in Prokofiev’s L’Amour des Trois Oranges.


In the seasons 19/20 and 20/21, Zielke sang again the Baron von Ochs in Mannheim and Bremen, he debuted at the Staatstheater Nürnberg with this same role, he debuted as Sarastro in Die Zauberflöte at the Theater Basel and sang König Marke in Tristan und Isolde, Daland in Der Fliegende Holländer, Gurnemanz in Parsifal, Osmin in Die Entführung aus dem Serail, Hagen in Götterdämmerung and Jupiter and Pluton in Rameau’s Hippolyte et Aricie, at the Nationaltheater Mannheim.


In the season 21-22, he sang again Sarastro in Basel and Mannheim; and Könige Marke, Oberlin in Rihm’s Jakob Lenz, Daland, Baron von Ochs, Gunermanz and Osmin in Mannheim. In July 2022, Zielke sang in the whole tetralogy of Wagner’s Der Ring von Nibelungen, produced by the Nationaltheater Mannheim, performing as Fafner in Das Rheingold and Siegfried, Hunding in Die Walküre and Hagen in Götterdämmerung.


The full season 22-23, started to Patrick Zielke at the Theater Bremen as Filippo II in Verdi’s Don Carlo, then Bartolo in Il Barbiere di Siviglia. In Stuttgart, he will perform as Hagen and Alberich in Götterdämmerung and Sävel Dikój in Janáček's Kat'a Kabanová. At the Oper Frankfurt, he will sing Der Bauer in Carl Orff’s Die Kluge. In Mannheim, he will finish his season as Lucifer in Haendel’s The Resurrection.


For his performance as Baron von Ochs at the Theater Bremen, the bass was awarded of the Faust-Preis 2020, as best singer and actor.


"Patrick Zielke pulls off a masterly performance as Alberich and Hagen in one person. He is able to embody the richness of timbre and the robust power of these elementary figures in an excellent way. This is evident not only in the demonic design of the B flat minor chord, but above all in the jump from B flat to F and the tone sequences B flat, E flat and E flat. Fafner's timpani rhythm on C sharp and F seems threatening. They point very consistently to Hagen as a symbolic person who holds all the strings in his hands."
Alexander Walter - Online Merker

"Patrick Zielke is a robust all-round bass player, who makes the suffering of the lonely Philipp sound with vehemence and vitality, but at the same time an intelligent interpreter, so that the broken features of the king by no means escape him."

Detlef Brandenburg - Die Deutsche Bühne

"The singers themselves also make the performance a nationwide event that one wishes for many visitors. First and foremost Patrick Zielke in his debut role as Philipp II, who - also with a beautiful sound - shows a moving study of loneliness and power."
Ute Schalz-Laurenze - Neue Musikzeitung


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