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La mezzo-soprano Jillian Tam vient de conclure sa deuxième année en premier cycle d’interprétation vocale à la McGill University de Montréal, sous la direction de Dominique Labelle, dont elle est en outre membre du Schulich Singers Ensemble, mené par Jean-Sebastian Vallée. Élève à la Boston University de Tanglewood en 2018, elle est la plus jeune chanteuse acceptée au sein de l’Atelier Lyrique de la Verbier Festival Academy.
C’est en tant que membre du Chœur d’Enfants de L’Opéra Norvège qu’Eira Huse fait ses premières expériences. Elle se produit dans plusieurs festivals comme Oxford Lieder Festival, Kammeroper Schloss-Rheinsberg et Oslo Grieg Festival.Parmi les rôles interprétés par Eira: Un pâtre/la chatte/L’écureuil à L’Opéra de Lyon/ROH Muscat, 2nd Woman/2nd Witch (Dido and Aeneas) à l’Opéra de Norvège et Lady Capulet (Romeo and Juliet de B. Blacher) à Studio de l’Opéra de Lyon.Elle a chanté avec des musiciens comme Henning Kraggerud et et avec des chefs d’orchestre comme Titus Engel, Oliver John-Ruthven, Clemens Flick, Nicholas Kok et Emmanuelle Calef. Elle a travaillée avec des metteurs en scene comme Georg Quander, Jean de Lacornerie, Andreas Heise et James Bonas.Parmi les engagements à venir le rôle de Didon (Didon et Enée) à Ramme Gård. Madame Huse a aussi composé et interprété l’Opéra de Chambre « Scenes from a Beehive » qui a pour sujet la disparition des abeilles.
La mezzo-soprano Alice Coote est considérée comme l’une des plus grandes artistes de notre temps et s’est imposée comme une star majeure sur les scènes d’opéra et de concert. Elle a interprété des rôles majeurs sur des scènes telles que le Metropolitan Opera, Glyndebourne, le Royal Opera House, le Bayerische Staatsoper, l’Opéra de Paris, le Wiener Staatsoper, le LA Opera, le Lyric Opera of Chicago et le Festival de Salzbourg. Également acclamée sur scène, elle s’est produite avec des orchestres tels que le London Symphony Orchestra, le Boston Symphony Orchestra, le New York Philharmonic, le Chicago Symphony Orchestra, le Kammerphilharmonie Bremen, le Hallé et le Concertgebouw.
La saison 24/25 verra Coote interpréter la Symphonie n° 2 de Mahler avec le London Symphony Orchestra, avant de revenir sur la scène lyrique dans Così fan tutte (Dorabella) du Grand Théâtre de Luxembourg, suivi de deux productions de Semele (Junon) pour le Théâtre des Champs-Elysées et le Royal Ballet and Opera.
Au cours de la saison 23/24, elle a notamment interprété StorgeJephthaau Royal Opera House, la Symphonie n° 3 de Mahler avec Robin Ticciati et le London Philharmonic Orchestra, la Symphonie n° 9 de Beethoven et la Messe en ut mineur avec Dinis Sousa et le Monteverdi Choir and Orchestra, ainsi que la Symphonie n° 3 de Mahler avec Michael Tilson Thomas et le London Symphony Orchestra.
Animée par sa passion pour l’exploration et la remise en question des stéréotypes de genre dans la caractérisation des personnages, Mme Coote est réputée pour ses interprétations de certains des rôles masculins et féminins les plus importants de l’opéra. Elle applique cette même philosophie à son travail sur la scène des récitals, une extension essentielle de la vie musicale de Mme Coote. Engagée dans le développement du public et la redéfinition des barrières entre les genres, Coote a présenté la saison dernière son dernier projet, « The Rebellious Recital » : un récital de chansons comprenant des œuvres de Mahler, David Bowie, Joni Mitchell, Bach et John Lennon au Wigmore Hall.
En 2018, elle a été décorée de l’Ordre de l’Empire britannique pour ses services rendus à la musique.
La mezzo-soprano tchèque Magdalena Kožená s’est fait connaître en 1995 en remportant le Sixième Concours International Mozart à Salzbourg. Depuis lors, elle s’est produite sur les scènes de concert et d’opéra les plus prestigieuses du monde, collaborant avec des chefs d’orchestre de renom tels que Claudio Abbado, Pierre Boulez, Gustavo Dudamel, Sir John Eliot Gardiner et Bernard Haitink. Parmi ses partenaires de récital figurent les pianistes Daniel Barenboim, Mitsuko Uchida et Yefim Bronfman, avec qui elle a enregistré son album Nostalgia en 2021 pour Pentatone. Ses collaborations avec des instruments d’époque incluent des projets avec le Venice Baroque Orchestra et l’Orchestra of the Age of Enlightenment. Les récompenses prestigieuses attribuées à sa vaste discographie comprennent le titre d’Artiste de l’année décerné par Gramophone (2004), l’Echo Klassik, le Record Academy Prize Tokyo et le Diapason d’or. En 2003, elle a été nommée Chevalier de l’Ordre des Arts et des Lettres.
Boasting an unrivalled and multi award-winning discography, mezzo-soprano Anne Sofie von Otter’s versatility has seen her work with legendary artists ranging from the late greats of Carlos Kleiber, Claudio Abbado and Giuseppe Sinopoli to Elvis Costello, Brad Mehldau and Rufus Wainwright III.
An ever-evolving repertoire has played a key role in sustaining Swedish-born von Otter’s international profile, from an early position as the superlative Oktavian (Der Rosenkavalier) of her generation giving performances around the world, including at Bayerische Staatsoper, Opéra National de Paris and The Metropolitan Opera, to her more recent acclaimed creation of Leonora in the world premiere of Thomas Adès’ The Exterminating Angel, performed at both Salzburger Festspiele and the Royal Opera House, Covent Garden. Other recent highlights include Countess Geschwitz in Christoph Marthaler’s production of Lulu at Staatsoper Hamburg, Madame de Croissy (Dialogues des Carmélites) at Théâtre des Champs-Élysées, The Old Lady (Candide) at Komische Oper Berlin in Barrie Kosky’s new production, Geneviève (Pelléas et Mélisande) for Opéra National de Paris, and Leocadia Begbick (Aufstieg und Fall der Stadt Mahagonny) at the Royal Opera House, Covent Garden. Following earlier success at the Salzburger Festspiele as Cornelia (Giulio Cesare), von Otter returned there in the 2019 edition as L’Opinion Publique in Offenbach’s Orphée aux Enfers; as Waltraute (Götterdämmerung), she has appeared under Sir Simon Rattle at Deutsche Oper Berlin, Wiener Staatsoper and the Festival d’Aix-en-Provence; and at Finnish National Opera, she has most recently created the leading role of Charlotte Andergast in the world premiere of Sebastian Fagerlund’s Höstsonaten, based on the iconic Ingmar Bergman film, to unanimous critical acclaim.
Anne Sofie von Otter is one of today’s most recorded artists with an incomparable discography built across a career now spanning more than three decades at the very top of her profession. A lengthy and exclusive relationship with Deutsche Grammophon produced a wealth of acclaimed recordings as well as a collaboration with pop legend Elvis Costello on For the Stars. Her first recording with Naïve Classique, Love Songs, with renowned jazz pianist Brad Mehldau was released in 2010 and her double CD, Douce France, received a Grammy Award in 2015 for Best Classical Solo Vocal Album. Von Otter immortalized many of her operatic characters on disc: Oktavian with Bernard Haitink and the Staatskapelle Dresden and on DVD with Wiener Staatsoper under the late Carlos Kleiber, Cherubino (Le nozze di Figaro) under James Levine, Idomeneo, La clemenza di Tito, Alceste and Orfeo ed Euridice under Sir John Eliot Gardiner, Handel’s Ariodante, Hercules and Giulio Cesare under Marc Minkowski, and Ariadne auf Naxos under the late Giuseppe Sinopoli.
Equally recognized for her exemplary work in both concert and recital, Anne Sofie von Otter’s career has taken her around the globe as a regular presence in the world’s most important venues and her expansive discography of Lieder ranges from classics by Schubert, Schumann, Wolf and Mahler, through lesser known compilations from Cecile Chaminade, Korngold, Peterson-Bergen and Stenhammar. Von Otter was part of two very special events which were streamed worldwide: Das Lied von der Erde with Jonas Kaufmann, the Berliner Philharmoniker and the late Claudio Abbado to commemorate the 100th anniversary of Mahler’s death; and in specially-commissioned new arrangements by Aulis Sallinen of Sibelius’ songs with the Finnish Radio Symphony Orchestra and Hannu Lintu to celebrate the 150th anniversary of the composer’s birth.
Von Otter’s 20/21 season includes returns to the operatic stages of Bayerische Staatsoper as Marcellina in Christof Loy’s highly-regarded production of Le nozze di Figaro conducted by Constantinos Carydis and Ivor Bolton – as well as a special Gala concert as part of their summer Opernfestspiele, also under Carydis – Royal Swedish Opera in a concert performance of Kaija Saariaho’s Passion de Simone with Christian Karlsen, and Malmö Opera for a series of Christmas concerts. Anne Sofie joins Orchestre National de France and Dalia Stasevska for New Year’s concerts in both Paris and Aix-en-Provence, the Swedish Chamber Orchestra and Martin Fröst for a world premiere by Mikael Karlsson, and Drottningholms Barockensemble in Handel’s Solomon. In recital, Anne Sofie continues to perform with long-time collaborator Bengt Forsberg and guitarist Fabian Fredriksson at the Ghent and Naantali Festivals, Musée d’Orsay, and Mogens Dahl. At the 2021 Menuhin Festival Gstaad, von Otter performs her acclaimed Shakespearian programme of words and music alongside Roderick Williams and Julius Drake, and brings her special project “Ich wollt ich wär ein Huhn” to Bamberg’s Lied und Lyrik Festival, featuring music from the Weimar Cabaret era and originally devised together with Barrie Kosky for its premiere at Komische Oper Berlin last season.
Multi-Grammy Award winner and 2018 Olivier Award winner for Outstanding Achievement in Opera, Kansas-born Joyce DiDonato entrances audiences across the globe, and has been proclaimed “perhaps the most potent female singer of her generation” by the New Yorker. With a voice “nothing less than 24-carat gold” according to the Times, Joyce has soared to the top of the industry both as a performer and a fierce advocate for the arts, gaining international prominence in operas by Handel and Mozart, as well as through her wide-ranging, acclaimed discography. She is also widely acclaimed for the bel canto roles of Rossini and Donizetti.
Joyce’s 2020/21 season began with performances of her baroque-inspired programme My Favourite Things with Il Pomo d’Oro in Bayreuth and Valencia, as well as a breathtaking recital for the Met Stars Live in Concert series. Further season highlights will include performances of Joyce’s Songplay programme with Craig Terry in Oviedo, Madrid and Barcelona, and Werther in concert under Donald Runnicles at the Deutsche Oper Berlin. This year Joyce is also delighted to be an Artist Ambassador in partnership with the classical music streaming service, Primephonic.
Joyce was Carnegie Hall’s 19/20 Perspectives Artist with appearances including the Chicago Symphony Orchestra under Muti and Schubert’s Winterreise in recital with Nézet-Séguin and a. The season also held the final tour of her album In War & Peace with Il Pomo d’Oro to South America culminating in Washington DC, and a tour with the Orchestre Métropolitain under Nézet-Séguin.
La mezzo-soprano Okka von der Damerau porte en elle toute l’authenticité des figures qu’elle interprète sur les scènes lyriques (Teatro alla Scala, Wiener Staatsoper, Semperoper Dresden…), grâce à un timbre ample et une diction limpide. Son Prix spécial du jury à l’International Singing Competition for Wagner Voices à Venise en 2006 augurait ses interprétations éclatantes de personnages de la Tétralogie au Festival de Bayreuth, à Amsterdam ou au Bayerische Staatsoper, d’Ortrud dans Lohengrin ou de Brangäne dans Tristan und Isolde. Également magnétique dans les opus de Verdi (Il Trovatore, Un ballo in maschera), elle offre par ailleurs une grande place aux lieder (Mahler, Schönberg, Martin), et aux œuvres symphoniques (Missa Solemnis, Symphonies de Mahler) avec des orchestres de renom.
Susan Graham – hailed as “an artist to treasure” by the New York Times – rose to the highest echelon of international performers within just a few years of her professional debut, mastering an astonishing range of repertoire and genres along the way. Her operatic roles span four centuries, from Monteverdi’s Poppea to Sister Helen Prejean in Jake Heggie’s Dead Man Walking, which was written especially for her. A familiar face at New York’s Metropolitan Opera, she also maintains a strong international presence at such key venues as Paris’s Théâtre du Châtelet, Santa Fe Opera and the Hollywood Bowl. She won a Grammy Award for her collection of Ives songs, and has also been recognized throughout her career as one of the foremost exponents of French vocal music. Although a native of Texas, she was awarded the French government’s prestigious “Chevalier de la Légion d’Honneur,” both for her popularity as a performer in France and in honor of her commitment to French music.
This season, Graham makes her role debut as Herodias in Francisco Negrin’s production of Richard Strauss’s Salome at Houston Grand Opera and reprises her celebrated portrayal of Mrs. Patrick De Rocher, mother of the convicted murderer, in Lyric Opera of Chicago’s company premiere of Dead Man Walking. In concert, she sings Berlioz’s La mort de Cléopâtre and excerpts from Les Troyens with Donald Runnicles and the orchestra of the Deutsche Oper Berlin at the Berlin Musikfest, revisits her signature interpretation of the composer’s Les nuits d’été with the Vancouver Symphony, and headlines the Jacksonville Symphony 2020 Gala. To complete the season, she graces a “Beyond the Aria” concert in Chicago’s Millennium Park and partners with pianist Malcolm Martineau for recitals of Mahler’s Rückert-Lieder in Berkeley’s Cal Performances series and of her Schumann-inspired Frauenliebe und -leben: Variations program in Fort Worth’s Cliburn Concert Series and at New York’s Lincoln Center.
Last season, Graham joined Andris Nelsons and the Boston Symphony for Mahler’s Third Symphony at London’s BBC Proms and in Berlin, Leipzig, Vienna, Lucerne, and Paris. She made her role debut as Humperdinck’s Witch in Hansel and Gretel at LA Opera, hosted “An Evening with Susan Graham” at Dallas’s Meyerson Symphony Center, sang Canteloube’s Chants d’Auvergne with David Robertson and the Sydney Symphony, headlined the Mayshad Foundation’s season-closing gala concert in Marrakech, and returned to Carnegie Hall, first with the Orchestra of St. Luke’s and then with Alec Baldwin and Leonard Slatkin for the Manhattan School of Music’s Centennial Gala Concert. To mark the 150th anniversary of Berlioz’s death, she performed Les nuits d’été with the Houston Symphony and made her New Zealand debut in La mort de Cléopâtre with the New Zealand Symphony under Edo de Waart. Other highlights of recent seasons include starring in Trouble in Tahiti at Lyric Opera of Chicago to honor the Bernstein Centennial, making her title role debut opposite James Morris in Marc Blitzstein’s 1948 opera Regina at Opera Theatre of Saint Louis, and appearing alongside Anna Netrebko, Renée Fleming and a host of other luminaries to celebrate the Metropolitan Opera’s five decades at its Lincoln Center home.
Graham’s earliest operatic successes were in such trouser roles as Cherubino in Mozart’s Le nozze di Figaro. Her technical expertise soon brought mastery of Mozart’s more virtuosic roles, like Sesto in La clemenza di Tito, Idamante in Idomeneo and Cecilio in Lucio Silla, as well as the title roles of Handel’s Ariodante and Xerxes. She went on to triumph in two iconic Richard Strauss mezzo roles, Octavian in Der Rosenkavalier and the Composer in Ariadne auf Naxos. These brought her to prominence on all the world’s major opera stages, including the Met, Lyric Opera of Chicago, San Francisco Opera, Covent Garden, Paris Opera, La Scala, Bavarian State Opera, Vienna State Opera and the Salzburg Festival, among many others. In addition to creating the role of Sister Helen Prejean at San Francisco Opera, she starred in Washington National Opera’s recent revival of Dead Man Walking, making her triumphant role debut as the convict’s mother. She also sang the leading ladies in the Met’s world premieres of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy, and made her Dallas Opera debut as Tina in a new production of The Aspern Papers by Dominick Argento. As Houston Grand Opera’s Lynn Wyatt Great Artist, she starred as Prince Orlofsky in the company’s first staging of Die Fledermaus in 30 years, before heading an all-star cast as Sycorax in the Met’s Baroque pastiche The Enchanted Island and making her rapturously received musical theater debut in a new production of Rodgers & Hammerstein’s The King and I at the Théâtre du Châtelet in Paris.
It was in an early Lyon production of Berlioz’s Béatrice et Bénédict that Graham scored particular raves from the international press, and a triumph in the title role of Massenet’s Chérubin at Covent Garden sealed her operatic stardom. Further invitations to collaborate on French music were forthcoming from many of its preeminent conductors, including Sir Colin Davis, Charles Dutoit, James Levine and Seiji Ozawa. New productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust and Massenet’s Werther were mounted for the mezzo in New York, London, Paris, Chicago, San Francisco and beyond. More recently, she made title role debuts in Offenbach’s comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met’s star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company’s celebrated “Live in HD” series. Graham’s affinity for French repertoire has not been limited to the opera stage, also serving as the foundation for her extensive concert and recital career. Such great cantatas and symphonic song cycles as Berlioz’s La mort de Cléopâtre and Les nuits d’été, Ravel’s Shéhérazade and Chausson’s Poème de l’amour et de la mer provide opportunities for collaborations with the world’s leading orchestras, and she makes regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris and London Symphony Orchestra.
Graham recently expanded her distinguished discography with Nonesuch Records’ DVD/Blu-ray release of William Kentridge’s new treatment of Berg’s Lulu, which captures her celebrated role debut as Countess Geschwitz at the Met. She has also recorded all the works described above, as well as appearing on a series of lauded solo albums, including Virgins, Vixens & Viragos on the Onyx label, featuring songs and arias by composers from Purcell to Sondheim; Un frisson français, a program of French song recorded with pianist Malcolm Martineau, also for Onyx; C’est ça la vie, c’est ça l’amour!, an album of 20th-century operetta rarities on Erato; and La Belle Époque, an award-winning collection of songs by Reynaldo Hahn with pianist Roger Vignoles, from Sony Classical. Among the mezzo’s numerous honors are Musical America’s Vocalist of the Year and an Opera News Award, while Gramophone magazine has dubbed her “America’s favorite mezzo.”
Ekaterina Semenchuk is one of the most sought-after mezzo-sopranos, known for her exceptional range and unparalleled technique. Born in Minsk, she made her stage debut at the Mariinsky Theatre while still studying at the Rimsky-Korsakov Conservatory in St Petersburg, and her career has since seen her perform at all the major houses across the world.
Recognised as one of the world’s most pre-eminent Verdi mezzos, Ekaterina’s signature operatic roles include Azucena Il Trovatore, Eboli Don Carlo, Amneris Aida, and Lady Macbeth Macbeth. Beyond Verdi, she is known for her portrayals of Princess de Bouillon Adriana Lecouvreur, Didon Les Troyens, Santuzza Cavalleria Rusticana, Marina Boris Godunov, Laura La Gioconda, Lyubov Mazeppa, Marfa Khovanshchina, Dalila Samson et Dalila, Giovanna Seymour Anna Bolena, Preziosilla La forza del destino, and the title role in Carmen.
Recent seasons have seen Ekaterina perform at The Metropolitan Opera, Opéra de Paris, Teatro Real Madrid, Bolshoi Theatre, Royal Opera House Covent Garden, Salzburg Festival, New National Theatre Tokyo, San Francisco Opera, Staatsoper Unter den Linden, Teatro di San Carlo di Napoli, Bayerische Staatsoper, Arena di Verona, Baden-Baden Festival, Berliner Philharmonie, and Teatro alla Scala Madrid, among others. In addition to her international career, she retains a strong relationship with the Mariinsky Theatre and Maestro Gergiev.
This season, Ekaterina returns to the Wiener Staatsoper for Anna Bolena, to La Scala for Macbeth, Dresden Semperoper for Carmen, and to the Bayerische Staatsoper in Macbeth and Les Troyens. In recital with pianist Semion Skigin, Ekaterina debuts at Salle Gaveau, Paris, and returns to La Scala, Bozar, and Boulez Saal. Ekaterina makes her long-awaited return to the Wigmore Hall in December 2021.
Adèle Charvet est l’une des mezzo-sopranos françaises les plus recherchées de sa génération, avec une carrière couvrant l’opéra, le concert et le récital au sein des plus grandes institutions européennes. Les saisons récentes l’ont conduite à se produire à l’Opéra Comique, à l’Opéra national du Capitole de Toulouse, à l’Opéra national du Rhin, à l’Opéra royal de Versailles, au Festival de Glyndebourne et au Verbier Festival, ainsi qu’aux BBC Proms et au Théâtre des Champs-Élysées. Son répertoire s’étend de Cherubino (Le nozze di Figaro), Charlotte (Werther) et Ascagne (Les Troyens) à des rôles-titres tels que Carmen et Ariodante, parallèlement à des collaborations régulières avec des ensembles tels que Le Poème Harmonique, Le Consort, I Gemelli et Les Musiciens du Louvre. Au cours de la saison 2025/26, elle a présenté un programme consacré à Joséphine Baker au Théâtre des Champs-Élysées. Adèle Charvet a reçu le Prix Yves Paternot en 2017.