Richard Wagner | Siegfried
Sunday 18. Nov. 2018, 4.00 pm - 9.00 pm
General Music Director of Hamburg
Kent Nagano is renowned for interpretations of clarity, elegance and intelligence. He is equally at home in music of the classical, romantic and contemporary eras, introducing concert and opera audiences throughout the world to new and rediscovered music and offering fresh insights into established repertoire. He has been Music Director of the Orchestre symphonique de Montréal since September 2006 where his contract has been extended until 2020. In September 2013, he became Artistic Advisor and Principal Guest Conductor of the Gothenburg Symphony Orchestra. In September 2015, he took up the position of General Music Director of the Hamburg State Opera and Chief Conductor of the Philharmonic State Orchestra. With his Hamburg orchestra he went on South America Tour in the beginning of season 2016/17, with concerts e.g. in Buenos Aires, Sao Paolo and Bogotá. On 13 January 2017 Kent Nagano conducted the world premiere of a new oratorio by Jörg Widmann as the very first concert with the Philharmonic State Orchestra in the Elbphilharmonie in Hamburg on the occasion of the inauguration festivities of the new hall. Since then the traditional Philharmonic Concerts take place in the new Elbphilharmonie. In February 2017 he stood at the rostrum of the orchestra for the premiere of Alban Berg’s “Lulu”. Kent Nagano started his first season with the premiere of Berlioz‘ “Les Troyens”, the world premiere of Toshio Hosokawas “Stilles Meer” followed in January 2016. Messiaen’s symphony “Turangalîla” choreographed by John Neumeier was premiered in early July 2016.
With the Orchestre symphonique de Montréal Kent Nagano went on US tour in March 2016. A milestone at the helm of the OSM was the inauguration of the orchestra’s new concert hall “La Maison Symphonique” in September 2011. Highlights with the orchestra include the complete cycles of Beethoven and Mahler symphonies, Schoenberg's “Gurrelieder”, concert versions of Wagner's “Tannhäuser”, “Tristan und Isolde”, “Das Rheingold”, Honegger’s “Jeanne d’Arc au Bûcher”, Messiaen's “Saint François d'Assise”, and concert series featuring the works of Dutilleux (2010-11) and Boulez (2011-12). Nagano has taken the orchestra on a coast-to-coast tour of Canada and also to tours to Japan, South Korea, Europe and South America. In October 2014 they embarked on their second tour to Japan. Their recordings together include Mahler’s “Orchestral Songs” with Christian Gerhaher, Beethoven’s Piano Concertos Nos. 4 & 5 and a complete recording of all the Symphonies by Beethoven of which the album “Ideals of the French Revolution” with Symphony No. 5 won a Juno award. In March 2015 Kent Nagano conducted the North American Premiere of “L’Aiglon”, a rare opera of Honegger and Ibert. This production was recorded and released by Decca and has won an ECHO Klassik 2016. “Danse Macabre” followed as second production with Decca, with works by Dukas, Dvořák, Mussorgsky, Balakirev, Saint-Saens and Ives in October 2016.
At the Bayerische Staatsoper, where he was General Music Director from 2006 to 2013, Kent Nagano commissioned new operas such as “Babylon” by Jörg Widmann, Das “Gehege” by Wolfgang Rihm and “Alice in Wonderland” by Unsuk Chin. New productions have included Mussorgsky’s “Boris Godunov” and “Khovanshchina”, “Idomeneo”, “Eugene Onegin”, “Ariadne auf Naxos” and “Die Schweigsame Frau”, “Les Dialogues des Carmélites”, “St François d’Assise”, “Wozzeck”, George Benjamin’s “Written on Skin” and “Der Ring des Nibelungen”. With the Bayerisches Staatsorchester Nagano has toured throughout Europe and in Japan and together they have recorded Bruckner Symphonies No. 4, 7 and 8. In January 2014, Kent Nagano returned to the Bayerische Staatsoper to conduct a revival of Widmann’s “Babylon”.
As a much sought after guest conductor, Nagano has worked with most of the world’s finest orchestras, just as the Bavarian Radio Symphony Orchestra, Munich Philharmonics, London Symphony Orchestra, BBC Symphony Orchestra, Tonhalle Orchestra Zurich, WDR Symphony Orchestra, Concerto Köln, Finnish Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rom and at Wiener Festwochen. Since 2014 he is forming his own festival as part of the AUDI Sommerkonzerte, called Vorsprung-Festival. He has an ongoing relationship with Sony Classical and has also recorded for Erato, Teldec, Pentatone and Deutsche Grammophon as well as Harmonia Mundi, winning Grammy awards for his recordings of Busoni’s “Doktor Faust” with Opéra National de Lyon, “Peter and the Wolf” with the Russian National Orchestra and Saariaho’s “L’amour de Loin” with the Deutsches Symphonieorchester Berlin.
A very important period in Nagano’s career was his time as Artistic Director and Chief Conductor of the Deutsches Symphonie-Orchester Berlin, from 2000-2006. He performed Schönberg’s “Moses und Aron” with the orchestra (in collaboration with Los Angeles Opera), and took them to the Salzburg Festival to perform both Zemlinsky’s “Der König Kandaules” and Schreker’s “Die Gezeichneten”, as well as to the Festspielhaus Baden-Baden with “Parsifal” and “Lohengrin” in productions by Nikolaus Lehnhoff. Recordings with the Deutsches Symphonie-Orchester Berlin for Harmonia Mundi include repertoire as diverse as Bernstein’s Mass, Bruckner’s Symphonies Nos. 3 & 6, Beethoven’s “Christus am Ölberge”, Wolf Lieder, Mahler’s Symphony No. 8 and Schönberg’s “Die Jakobsleiter” and “Friede auf Erden”, as well as Brahms’s Symphony No. 4 and Schönberg’s “Variationen für Orchester” Op. 31. In June 2006, at the end of his tenure with the orchestra, Kent Nagano was given the title Honorary Conductor by members of the orchestra, only the second recipient of this honour in their 60-year history. To this day he has a close friendship to the orchestra.
Kent Nagano became the first Music Director of Los Angeles Opera in 2003 having already held the position of Principal Conductor for two years. His work in other opera houses has included Shostakovich’s “The Nose” (Staatsoper Berlin), Rimsky Korsakov’s “The Golden Cockerel” (Châtelet, Paris), Hindemith’s “Cardillac” (Opéra national de Paris), “Dialogues des Carmélites” (Metropolitan Opera) and at the Salzburg Festival “Les Contes d’Hoffmann”, Zemlinsky’s “Der Koenig Kandaules”, Schreker’s “Die Gezeichneten” and the world premiere of Saariaho’s “L’amour de loin”. Other world premieres include Bernstein’s “A White House Cantata” and operas by Peter Eötvös (“Three Sisters”), and John Adams (“The Death of Klinghoffer” and “El Niño”).
Born in California, Nagano maintains close connections with his home state and was Music Director of the Berkeley Symphony Orchestra from 1978-2008. His early professional years were spent in Boston, working in the opera house and as assistant conductor to Seiji Ozawa at the Boston Symphony Orchestra. He played a key role in the world premiere of Messiaen’s opera “Saint François d’Assise” at the request of the composer, who became a mentor and bequeathed his piano to the conductor. Nagano’s success in America led to European appointments: Music Director of Opéra National de Lyon (1988-1998) and Music Director of the Hallé Orchestra (1991-2000).
photo: Benjamin Ealovega
Andreas Schager studied at the University for Music in Vienna (Prof. Walter Moore) and with Heidrun Franz Vetter in Berlin. Whilst still studying, he made his operatic debut as Ferrando in "Così fan tutte" at the Schlosstheater Schönbrunn.
In summer 2009, Schager made a very significant step in his career, moving to a more dramatic repertoire. He made his highly regarded debut at the Tiroler Festspiele Erl as David in Richard Wagner's “Die Meistersinger von Nürnberg”.
Since then, he performed the roles of Florestan (Fidelio), Max (Der Freischütz), Rienzi (Rienzi), Tristan/Tristan und Isolde, and Siegfried in both “Götterdämmerung” and “Siegfried”. Further engagements led him to renowned houses such as Deutsche Oper and Staatsoper Berlin, Teatro Real Madrid, Hamburgische Staatsoper, Teatro dell'Opera Rome, and Teatro alla Scala Milan. In concert, Schager sang the tenor part in Mahler's “Das Lied von der Erde” (Hamburg NDR) and Beethoven's 9thSymphony in Ravenna, Bonn, Tokyo, and Berlin.
His appearances as Siegfried (Götterdämmerung) at Staatsoper Berlin, at BBC Proms 2013 in London, and at the Teatro alla Scala under Daniel Barenboim were highly acclaimed by press and audience and resulted in his international breakthrough.
Recent highlights were Apollo in “Daphne” in Cleveland and at the Lincoln Center in New York, Tristan at the Opera di Roma under Daniele Gatti, “Gurrelieder” with Philippe Jordan in Paris, Erik (Fliegender Holländer) at the Hamburg and Berlin State Operas as well as at the Bayreuth Festival 2016, “Tannhäuser” in Antwerp, Siegmund in Leipzig, and the new staging of “Fidelio” at Staatsoper Berlin under Daniel Barenboim.
Current and future projects include Tamino (Die Zauberflöte) as well as the new staging of “Parsifal” at Staatsoper Berlin (Daniel Barenboim), Tristan in Rome, and Siegfried in Toronto, Leipzig, and Wiesbaden. Moreover, Andreas Schager has been invited to sing the title role of "Parsifal" at the Bayreuth Festival in 2017, 2018, and 2019.
Further important debuts in New York, Dresden, Paris, and Vienna are planned for the following seasons.
photo: David Jerusalem
Kirchenmusik und Musikerziehung am Augsburger Leopold-Mozart Konservatorium, Gesangsstudium bei Leonore Kirschstein
Stipendiat des Richard Wagner Verbandes, Förderpreis der Hamburgischen Staatsoper, Ernennung zum Hamburger Kammersänger (2017)
Bezug zur Staatsoper:
Ensemblemitglied der Staatsoper Hamburg seit 1991/92
Mime (Siegfried), Mime/Loge (Das Rheingold), Herodes (Salome), Knusperhexe (Hänsel und Gretel), Hauptmann/Andres (Wozzeck), Monostatos/1. Geharnischter (Die Zauberflöte), Maler/Prinz/Marquis/Kammerdiener (Lulu), Dr. Cajus (Falstaff), Tichon (Katja Kabanova), Truffaldino (Die Liebe zu den drei Orangen), Valzacchi (Der Rosenkavalier), David (Die Meistersinger von Nürnberg), Junger Mann (Moses und Aron), Steuermann (Der fliegende Holländer), Peter Iwanow (Zar und Zimmermann), Pedrillo (Die Entführung aus dem Serail), Walther von der Vogelweide (Tannhäuser), Goro (Madame Butterfly), Graf Elemer (Arabella), Raoul de St. Brioche (Die lustige Witwe), Novagerio (Palestrina), Orontes (Flavius Bertaridus), Asasello (Der Meister und Margarita), Tanzmeister (Ariadne auf Naxos), Graf von Kent (Lear), Reverend Adams (Peter Grimes), L´Aumonier (Dialogues des Carmélites), Aegisth (Elektra), Fedotik (Tri Sestri), Sylvester von Schaumburg (Mathis der Maler), u.a.
Hamburgische Staatsoper, Staatsoper Unter den Linden Berlin, La Monnaie, Gan Teatro del Liceu, Königliche Oper von Kopenhagen, Teatro alla Scala, Salzburger Festspiele, Theater an der Wien, Budapester Staatsoper, Teatro Municipal in Sao Paulo, Wagner Festival Budapest, Theater Dortmund, Staatstheater Braunschweig, Staatsoper Budapest, u.a.
Zusammenarbeit mit Regisseuren:
Harry Kupfer, Willy Decker, Claus Guth, Mario Martone, Achim Freyer, Géza M. Tóth, Livia Sabag, Roger Vontobel, Stefan Herheim, Karoline Gruber, Vincent Boussard, Jochen Biganzoli, u.a.
Zusammenarbeit mit Dirigenten:
Adam Fischer, Bertrand de Billy, Claudio Abbado, Kent Nagano, Semyon Bychkov, Horst Stein, Christian Thielemann, Ingo Metzmacher, Michael Boder, Kirill Petrenko, Simone Young, Daniel Barenboim, u.a.
John Lundgren is a dramatic baritone and versatile singer. He combines his powerful voice with an exquisite, theatrical understanding of the dramatic, operatic repertoire. Among his signature roles you find some notorious Wagner roles such as “The Flying Dutchman” and Kurwenal and often also the evil characters – the bad guys of the operatic literature – like Scarpia in “Tosca” and Pizarro in “Fidelio”.
John Lundgren is born and raised in Sweden. While still attending The Opera Academy in Copenhagen he quite extraordinarily joined the soloist-ensemble at The Royal Theatre, Copenhagen. His debut here was as Schaunard in “La Bohème”, conducted by Dietfried Bernet.
John has portrayed several of the most important, dramatic baritone characters at his “home stage” in Copenhagen such as Paolo Albioni in “Simon Boccanegra”, Heerrufer in “Lohengrin”, Conte di Luna in “Il Trovatore”, Enrico Ashton in “Lucia di Lammermoor”, Giorgio Germont in “La Traviata”, Posa in “Don Carlo”, and Amonasro singing together with Roberto Alagna at the prestigious opening production of “Aida” at the new opera house in Copenhagen. Moreover, John has made his debut in as diverse roles as Escamillo in “Carmen”, Scarpia in “Tosca”, Berg’s “Wozzeck”, Tarquinius in Britten’s “The Rape of Lucretia” and Kurwenal in “Tristan und Isolde”.
In 2006 John Lundgren sang the title role in “Nabucco” at the big Theater Hedeland outdoor arena. During 2007 he sang Don Pizarro in Beethoven’s “Fidelio” with Jonathan Miller as stage director at The Danish National Opera. He returned to this opera house in 2008 to make his debut in the title role of Wagner’s “Der Fliegende Holländer” with tremendous success. And he was invited to sing this role again at Teatro Pérez Galdós in Las Palmas in 2010. Further-more, John Lundgren made his Tokyo Opera debut as Scarpia in 2009. 2011, he sang Carlo Gérard in Keith Warner’s “Andrea Chenier” production at Bregenzer Festspiele. John sang the part of Jack Rance in Christof Loy’s production at the Royal Opera Stockholm of “La Fanciulla del West” together with Nina Stemme as Minnie. Recently he made successful debuts as Wotan in “Die Walküre” at Bayreuther Festspiele and sang his first complete “Ring-Cycle” as Wotan/Wanderer at the Royal Opera Stockholm with Nina Stemme as Brünhilde.
Contemporary opera is also an important part of John’s repertoire. In 2005 he sang the demanding part of Prospero in “The Tempest” by Thomas Adès conducted by the composer himself. He also appeared at the Drottningholm-production of “Cecilia and the Monkey King”, by Reine Jönsson, where he sang nothing less than four different roles. 2015 he starred as Devlin together with Nina Stemme in “Notorious” at the Gothenborg Opera.
Current and future engagements include a.o. his debut as Simone in “Eine Florentinische Tragödie” in Amsterdam, Alberich in the “Ring-Cycle” in Munich, “Tosca” in Stockholm as well as Wotan/Wanderer in the “Ring-Cycle” at the Royal Opera House Covent Garden.
In 2006 John Lundgren received the prestigious Birgit Nilsson Prize for being one of the few Scandinavian-born dramatic baritones of his generation. In 2010, he was honoured “Ridder af Dannebrogordenen” (Knight of Dannebrog) by HM The Queen of Denmark.
Find further information about John Lundgren here.
photo: Moklos Szabo
Don Pizarro (Fidelio), Dr. Schön (Lulu), Wozzeck (Wozzeck), Peter (Hänsel und Gretel), Dr. Kolenaty (Vec Makropulos), 4 Bösewichter (Les Contes d´Hoffmann), Musiklehrer (Ariadne auf Naxos), Faninal (Der Rosenkavalier), Orest (Elektra), Alberich (Der Ring des Nibelungen), Amfortas/Klingsor (Parsifal), Kurwenal (Tristan und Isolde), et al.
Wiener Staatsoper, Opéra National de Paris, Royal Opera House Covent Garden, Teatro alla Scala, Metropolitan Opera, Salzburger Festspiele, Staatsoper Unter den Linden Berlin, Hamburgische Staatsoper, Semperoper Dresden, Oper Frankfurt, Oper Leipzig, Aalto Theater Essen, Volksoper Wien, Theater an der Wien, Gran Teatre del Liceu, Teatro Real in Madrid, Opéra National de Lyon, Teatro Regio Turin, San Francisco Opera, Santa Fe Festival, Dallas Opera, Opera of Philadelphia, et al.
photo: Lukas Beck
Alexander Roslavets graduated from the vocal department of the St. Petersburg Rimsky-Korsakov State Conservatory in 2014 where he studied under Professor Nikolai Okhotnikov.
While studying at the Conservatory he was a soloist of the Rimsky-Korsakov St. Petersburg State Conservatory theatre where he appeared on stage as Malyuta Skuratov in “The Tsar's Bride” by Rimsky-Korsakov and sang at the numerous festivals and concerts. In July 2013/14 he took part at the open-air opera festivals in Saint Petersburg where he sang the parts of Mephistopheles in the opera “Faust” by Ch. Gounod and King Dodon in the opera “The Golden Cockerel” by Nikolai Rimsky-Korsakov conducted by Fabio Mastrangelo. In April 2014 he made his debut on the stage of the Mikhailovsky Theatre as Tom in “Un ballo in maschera” by Verdi.
In the seasons 2014/15-2015/16 he was an artist of the Young Artist Program of the Bolshoi Theatre of Russia. In 2015 he made his debut on the stage of the Bolshoi performing the part of Marchese d'Obigny in “La Traviata” by Verdi under the baton of Tugan Sokhiev.
In November 2015, he debuted on the stage of the Bolshoi theatre of Belarus singing Don Basilio in “Il Barbiere di Siviglia” by Rossini.
In June 2016 he performed the part of Duke of Cornwall in the World Premier of S. Slonimsky`s King Lear on the stage of the Tchaikovsky Concert Hall conducted by Vladimir Jurowsky.
In July 2016 he covered the part of Mephistopheles in the new production of “La damnation de Faust” staged by Peter Stein in the Bolshoi. He sung the part of Brander in the premiere conducted by Tugan Sokhiev.
In October 2016 he joined the ensemble of the Hamburg State Opera.
Alexander took part in several international competitions among which in 2014 the 42nd Russian National Vocal Graduates Competition in St. Petersburg where he won the Grand Prix and the 1st International Christmas Vocal Competition in Minsk where he was awarded a special prize. In 2015 he took part in the 10th International competition of E. Obraztsova in St. Petersburg where he was awarded a diploma and he won the first prize in the 7th International Competition of Opera Singers «Saint-Petersburg». In 2016 he won the second prize in the 6th Galina Vishnevskaya International Opera Singers Competition in Moscow and the Grand Prix and the Audience Prize in the II International Eva Marton Competition in Budapest. He is the laureate of the Special Foundation of the President of Belarus, which supports young talents.
photo: Jörn Kipping
German mezzo-soprano Doris Soffel first studied violin at the Munich Academy of Music, then singing with Marianne Schech. She made her debut at the Bayreuth Youth Festival, singing the leading role in Wagner´s Liebesverbot. Wolfgang Windgassen engaged her at the Stuttgart opera ensemble. During the following years she could build up a broad repertoire, including protagonist roles like Carmen, Eboli (Don Carlo) and Octavian (Der Rosenkavalier).
With her success at Covent Garden as Sesto in Mozart’s “La clemenza di Tito” 1983 and as Orlofsky in “Die Fledermaus” (conductor Domingo) 1984 her world career was launched. Sawallisch gave her a lasting guest contract at the Bavarian State Opera, Munich. Since then she has made regular appearances in all important opera houses and concert halls of the world. In the 1980ies Doris Soffel became the only German mezzo-soprano with a world career in coloratura roles (bel canto-operas like “L´Italiana in Algeri” and “La Cenerentola” by Rossini as well as Donizetti and Bellini operas). Her cooperation with Joan Sutherland and Richard Bonynge has been well documented. In French repertoire she conquered the International audience not only as Carmen, but also with roles like Charlotte in Massenet’s “Werther” (with Alfredo Kraus) and Marguerite (Berlioz Damnation de Faust). Her exceptional musicality and vocal flexibility also led to cooperation with contemporary composers like Reimann, Henze and Penderecki. She had successes at world premieres, e.g. at the Munich Opera Festival in 1986 as Kassandra in Reimann’s “Troades”.
With a combination of passion, creativity and great voice, demonstrated already in the Italian and French roles, Doris Soffel grew into one of the most significant Wagner- and Strauss singers of our time. Her early successes as Fricka (Rheingold and Walküre) with Solti in Bayreuth and her Waltraute (Götterdämmerung) with Mehta were confirmed later, at Carsen’s Cologne-Ring, at Audi’s Amsterdam Ring, at the Dresden Ring and in 2010 at La Scala with Barenboim and at Deutsche Oper Berlin with Rattle. Her Kundry (Parsifal) with Thielemann and her Ortrud (Lohengrin) with Luisi are legendary. Doris Soffels artistic curiosity has also brought her in recent years to the Slavic repertoire: Marfa (Mussorgski’s “Khovanschina”), Jezibaba (Dvorak’s “Rusalka”), Kabanicha (Janacek’s “Katia Kabanova”) and The Countess (Pique Dame).
Today, with her strong vocal expressive power, with her charisma and with stunning acting performances, she creates strong Strauss roles like die Amme in “Frau ohne Schatten” (debut in Los Angeles 2004), Herodias (Salome) and Klytämnestra (Elektra).
Doris Soffel has sung with legendary conductors such as von Karajan, Celebidache, Solti, Giulini, Sawallisch, Maazel, Mehta, Sinopoli, as well as Thielemann, Jordan, Luisi, Nagano, Rattle and Barenboim. Working from the beginning of her career with such significant stage directors as Rennert, Ponnelle, Friedrich, Lehnhoff and Kupfer had a great formative influence on her artistry and today she works with directors like Konwitschny, Carsen, Herheim, Zambello and Tscherniakov.
Doris Soffel also has an impressive career as concert- and Lied-singer, main focus on Mahler, Brahms and Strauss. A discography (more than 60 CDs) as well as many DVD productions and Youtube performances testify to her versatility and the beauty of her voice. She is German “Kammersängerin” and in 2001 she was awarded with the Royal Swedish Northern Star Order for her important artistic contributions to Swedish music life.
Future plans include Herodias (Salome) at Teatro Regio di Torino, Erda (Das Rheingold) at Hamburg State Opera, Adelaide (Arabella) at Bayerische Staatsoper and The Old Baroness (Vanessa) at Glyndebourne Festival.
Doris Soffel is married and has one daughter. She lives in Berlin.
photo: Boris Streubel
American dramatic soprano Lise Lindstrom appears in leading roles in opera houses that include the Metropolitan Opera, New York, San Francisco Opera, Royal Opera House, Covent Garden, Deutsche Oper Berlin, Wiener Staatsoper, San Diego Opera and Arena di Verona, among many others.
Highlights of recent seasons include her debuts with Teatro alla Scala, the Metropolitan Opera and Dallas Opera as Turandot; “Salome” with the Wiener Staatsoper, “Tosca” with Glimmerglass Opera, Elisabeth and Venus (Tannhäuser) with the Greek National Opera, Senta (Der fliegende Holländer) with San Francisco Opera, “Turandot” at the Palau de les Arts Valencia, and Magda (The Consul) with Arizona Opera.
In 2016/17 Lise performed Brünnhilde with Opera Australia in her first full “Ring Cycle” for which she won a Green Room Award. She made another role debut as Die Färberin in Strauss “Die Frau ohne Schatten” in a new production with the Staatsoper Hamburg under the baton of Kent Nagano, and joined the Japan Philharmonic Orchestra under Pietari Inkinen as Brünnhilde in excerpts from “Siegfried” and “Götterdämmerung”. As Turandot, she made house debuts with the Deutsche Oper Am Rhein and China National Centre for the Performing Arts in Beijing, and returned to the Royal Opera House Covent Garden as Turandot.
Opera highlights during the 2017/18 season include Marie in Berg “Wozzeck” at the Theater an der Wien, the title roles in Strauss’ “Salome” and Puccini’s “Turandot” at the Wiener Staatsoper, Brünnhilde at the Staatsoper Hamburg and “Turandot” at San Diego Opera.
Recent concert performances include the final scene of “Salome” with the San Francisco Symphony Orchestra under Michael Tilson Thomas; Strauss’ “Vier letzte Lieder” in San Francisco; a concert of Wagner at the Glimmerglass Festival; Verdi’s “Requiem” at the Washington National Cathedral; “Salome” with the Bournemouth Symphony Orchestra; the Orchestre National de Lyon and the Detroit Symphony, and “Turandot” with the Simón Bolívar Youth Orchestra of Venezuela.
Concert highlights of the 2017/18 season include “Turandot” with the Seoul Philharmonic Orchestra and Myung-Whun Chung, Mahler Symphony No. 8 with the Swedish Radio Symphony Orchestra and Daniel Harding and Beethoven Symphony No. 9 with the Dallas Symphony Orchestra and Jaap van Zweden.
Born and raised in California, Lise Lindstrom was introduced to music by her mother, a singer and music teacher. She earned her Bachelor of Arts degree at San Francisco State University and Master of Music degree at San Francisco Conservatory of Music.
University of Prishtina
Audience Prize and the 3rd prize at the first ever Glyndebourne Opera Cup (2018), first prize of the Riccardo Zandonai Competition (2015), first prize in the Spiros Argiris Sarzana Festival Competition in Italy (2014), Young Artist fellowship at the Deutsche Oper Berlin (2014-2016), member of the Young Singers Project at the Salzburger Festspiele (2016)
Adina (L’elisir d’amore), Pamina (Die Zauberflöte), Violetta (La Traviata), Liù (Turandot), Gretel (Hänsel and Gretel), Musetta (La Bohème), Crobyle (Thaïs), Kätchen (Werther), Frasquita (Carmen), Anna (Nabucco), Shepherd (Tannhäuser), Bianca (La Rondine), Frantik und Grasshopper (Cunning Little Vixen), Countess Ceprano (Rigoletto), et al.
Deutsche Oper Berlin, Semperoper Dresden, Grand Théâtre de Genève, Aalto-Teater Essen, Philharmonie Essen, et al.
Cooperation with conductors:
Tomáš Netopil, Friedrich Haider, Roberto Rizzi Brignoli, Axel Kober, Patrick Fournillier, Donald Runnicles, Nicholas Carter, et al.
photo: Hamza Saad