Soprano

Lydia Teuscher

© Shirley Suarez

Introduction

Lydia Teuscher was born in Freiburg, Germany and studied at the Welsh College of Music and Drama and at the Hochschule für Musik in Mannheim.

Highlights in her 2017/18 season include Haydn’s The Creation with the City of Birmingham Symphony Orchestra and Mirga Gražinytė-Tyla, Bach’s Johannes-Passion with the Academy of Ancient Music and Bernard Labadie, Telemann’s Brockes-Passion with Il Giardino Armonico and Giovanni Antonini and Mahler’s Des Knaben Wunderhorn with the Saito Kinen Orchestra and Nathalie Stutzmann.

In opera, Lydia has sung Pamina Die Zauberflöte at the Salzburg Mozartwoche, Festival d’Aix-en-Provence, the Bolshoi, Bayerische Staatsoper, Munich and Deutsche Staatsoper, Berlin; Susanna Le nozze di Figaro at the Glyndebourne Festival, Dresdner Semperoper, Staatstheater Karlsruhe and at the Hyogo Performing Arts Center in Japan; Hero Béatrice et Bénédict at the Saito Kinen Festival in Japan; Zerlina Don Giovanni for the Bolshoi and Gretel Hänsel und Gretel for the Glyndebourne Festival, Dresdner Semperoper and Saito Kinen Festival.


Contact



Performance Schedule

Repertoire

OPERA REPERTOIRE

J.C. BACH
Lucio Silla (Cecilio)

BERLIOZ
Béatrice et Bénédict (Hero)

HUMPERDINCK
Hänsel und Gretel (Gretel)

LEHAR
Die lustige Witwe (Valencienne)

MOZART
Don Giovanni (Zerlina)
La Finta Giardiniera (Sandrina)
Idomeneo (Ilia)
Le nozze di Figaro (Susanna/Cherubino)
Die Zauberflöte (Pamina)

PFITZNER
Palestrina (Ighino)

WEBER
Der Freischütz (Ännchen)

CONCERT REPERTOIRE

BACH
Magnificat
Mass in B Minor
Matthäus-Passion
Johannes-Passion
Weihnachts-Oratorium

BRAHMS
Ein Deutsches Requiem

HANDEL
Aci, Galatea e Polifemo
Israel in Egypt
Messiah

HAYDN
Die Jahreszeiten
Paukenmesse
Die Schöpfung

MAHLER
Symphony No. 4

MENDELSSOHN
Elijah
A Midsummer Night’s Dream
Lobgesang

MOZART
Coronation Mass
Exsultate Jubilate
Mass in C Minor
Requiem

TELEMANN
Brockes Passion

SCHONBERG
Pierrot lunaire

SCHUMANN
Das Paradies und die Peri (Jungfrau)

VIVALDI
Gloria

Discography

  • 30 Nov 17 TELEMANN: 'Miriways' Akademie für Alte Musik/Bernard Labadie at the Laeiszhalle Hamburg
    More info  

    “Wie kostbarste Perlen klingen Lydia Teuschers Koloraturen, höchst virtuos, in fein dynamischer Abstufung und zugleich mit sanften Krallen wie ein Kammerkätzchen.”
    Guido Müller, IOCO, 07 December 2017

    “Besonders beeindruckend: der kurzfristig für den erkrankten Michael Volle eingesprungene Bariton André Morsch in der Titelrolle, dem man diesen Notfall nicht anhörte. Auch Robin Johannsen in der Hosenrolle des persischen Prinzen Sophi, Annett Fritsch und Lydia Teuscher leisteten in ihren Partien Großartiges, indem sie jede Arie, und sei sie oberflächlich noch so erwartbar konstruiert, mit Überraschungsmomenten aufblühen ließen.”
    Joachim Mischke, Hamburger Abendblatt, 27 November 2017

    “Wie eigentlich in jeder anderen (Barock-)Oper darf ein weiteres vertraktes Liebespaar zur theatralischen Würze der Geschichte nicht fehlen. Ein solches sind Nisibis und Murzah. Lydia Teuscher verkörperte die bezaubernde persische Dame mit purisitischem, virtuos gefährlichem, aber dafür umso schönerem, fein-dynamischem Spitzensopran, dessen Sanftheit so um Murzahs Kopf und Nase wehte, dass sich der eigentich knackige, robuste Tartarenführer in Michael Nagys Bariton von der edlen Seite zeigte, dessen entrüstete, gepresste Wut aus ihm fuhr, als er von den Lügen des Nebenbuhlers erfuhr. Dem lieblich fließenden, springenden Duett stand Zemir so lange mit tatsächlich feuriger List entgegen. Und Anett Fritschs Können, Ausstrahlung, Temperament und Ausdruckskraft der Berechnung und prächtigen, verlogenen, ertappten Verwunderung war dabei exemplarisch für Telemanns Kunst der lautmalerischen und gewieften Einschlägigkeit mit rhythmischer Verlockung und Präsenz. Eine Präsenz, die man sich für Telemann immer wünscht. Auch in Hamburg!”
    Jens Klier, Bachtrack, 25 November 2017

    “Gesangsensemble: Mal anrührend, mal herrlich selbstverliebt. Ähnlich ausgewogen wie die Verteilung der Arien und Rezitative war auch die Auswahl der Sängerinnen und Sänger. André Morsch war kurzfristig eingesprungen und hatte seinen Part in wenigen Tagen gelernt. Er überzeugte als Herrscher Miriways. Robin Johannsen erfüllte ihre Hosenrolle als Sohn des Schahs mit fein geführtem Sopran. Lydia Teuscher gab die anrührende junge Witwe Nisibis, Michael Nagy den unglücklich verliebten Murzah und Mezzosopranistin Anett Fritsch einen herrlich selbstverliebten Fürsten Zemir.”
    Ulrike Henningsen, NDR, 25 November 2017

  • 21 Sep 17 HAYDN: 'The Creation' CBSO/Mirga Graþinytë-Tyla
    Symphony Hall Birmingham
    More info  

    “Lydia Teuscher sounded dewy-fresh in the soprano solos”
    Jon Allison, Telegraph, 22 September 2017

  • 01 May 17 BACH: Luther Kantaten (Deutsche Harmonia Mundi CD)
    More info  

    “Aucun des soloistes n’apparaît en retrait, avec deux mentions spéciales: l’une pour la clarté du timbre due contre-ténor Benno Schachtner, préférables aux altos féminin (notamment à Mélodie Ruvio), l’autre pour la luminosité et l’expression jamais affectée de la soprano Lydia Teuscher.”
    Sylvain Gasser, Diapason, May 2017

  • 28 Apr 17 BRAHMS: Liebeslieder und Quartette
    Nürnberg Meistersinghalle
    More info  

    “der alles mühelos überstrahlende Sopran von Lydia Teuscher”
    Nürnberger Nachrichten

  • 13 Nov 16 Handel & Mozart Opera Arias
    New World Symphony/Bernard Labadie
    More info  

    “Between the orchestral works, German soprano Lydia Teuscher scored impressively in arias by Handel and Mozart. … “Lasccia ch’io pianga” from Rinaldo proved the highlight of her Handel group. This aria is one of Handel’s most noble melodies and the richness of Teuscher’s vocalism and depth of emotion gave full measure to this gem, greatly aided by Labadie’s elegant pacing. She deftly traced the tripling lines of “Mio caro bene” from Rodelinda and her coloratura fireworks in “Qual farfalletta” from Partenope were as light as the swirling butterfly of the text. Turning to Mozart, the concert aria Bella mia fiamma, addio demonstrated Teuscher’s dramatic instincts as she conjured up the anguish of leaving a beloved daughter at the protagonist’s death. Her voice sounded free and clear in Mozart’s multi-register tour de force. … “Ruhe sanft” from the unfinished singspiel Zaide showcased Teuscher’s strong and burnished middle register. That she can also spin a beautiful legato line was strongly evident in the poignant “S’altro che lagrime” from La Clemenza dei Tito.”
    Lawrence Budmen, South Florida Classical Review, 13 November 2016

  • 01 Nov 16 Bach Cantatas
    Les Violons du Roy/Bernard Labadie
    More info  

    “Dès que la voix de Lydia Teuscher est venue rejoindre celle des instruments pour la cantate Falsche Welt, dir trau ich nicht, une nouvelle dimension est apparue.  La soprano allemande chante d’une voix juste, cristalline, mais pleine de charactère et petrue de sentiments.  Plutot que de se laisser emporter par l’émotion, elle la contient et l’incarne, jusque dans le moindre froncement de sourcils, les yeux souvent offerts au public.”
    Josianne Desloges, Le Soleil, 28 October 2016

    “Bernard Labadie nous avait réservé un traitement de choix : le retour de la lumineuse soprano Lydia Teuscher. L’explication technique du « miracle Teuscher » est que l’intégralité du souffle est convertie en voix timbrée. On perçoit l’effet de cette lumière dardante dans les récitatifs, tel le premier de la Cantate BWV 84, le nectar du concert étant la symbiose entre la voix de l’âme (soprano) et le cor anglais dans le duetto final de la BWV 58.”
    Christophe Huss, Le Devoir, 31 October 2016

  • 23 Aug 16 Handel (arr. Mendelssohn) Israel in Ägypten
    King's Consort/Robert King (Vivat CD)
    More info  

    “When Lydia Teuscher’s lyric soprano rises above the staff, it acquires a ‘ping’ that brings to mind the young Kathleen Battle.”
    Fred Cohn, Opera News, September 2016

  • 16 May 16 HAYDN Die Schöpfung
    Sydney Symphony Orchestra/Masaaki Suzuki
    More info  

    “Of the three of them, Lydia Teuscher stood out not only by virtue of her excellent technique but also as she gave emotive depth to the characters of Gabriel in Parts I and II and Eva in Part III in her finely nuanced performance.”
    Von Zoltan Szabo, Bachtrack, 13 May 2016

    “German soprano Lydia Teuscher was purity itself as a radiant Gabriel, effortlessly arpeggiating with an easy top and a natural affinity for the text. On Mighty Pens with its turtledove bassoons was beautifully finessed…. her duet with [Neal] Davies as Adam and Eve was enormous fun, the two singers sharing the odd cheeky look as she pledges wifely obedience and capturing the erotic undertones of the plump fruits with which the Garden of Eden is replete.”
    Limelight Magazine, Clive Paget, 12 May 2016

    “Lydia Teuscher stood out not only by virtue of her excellent technique but also as she gave emotive depth to the characters of Gabriel in Parts I and II and Eva in Part III in her finely nuanced performance.”
    Zoltán Szabó, Bachtrack, 13 Mai 2016

    “Soprano Lydia Teuscher shaped phrases with flexible pure tone and exquisite expressiveness.”
    Peter McCallum, The Sydney Morning Herald, 15th May 2016

  • 11 Feb 16 Mozart Requiem
    Les Violons du Roy/Bernard Labadie
    More info  

    “Le Mozart de Labadie est hymnique, et la Chapelle de Québec le sent et traduit si bien. Il a aussi un zeste de sensualité en plus, surtout quand Lydia Teuscher se met à chanter des sol et des la avec un bonheur qui enivre même le chef, ému par son Et incarnatus est (Messe en ut) crémeux.”
    Christophe Huss, Le Devoir, 11 February 2016

  • 23 Jan 16 Mozart Requiem
    Toronto Symphony Orchestra/Bernard Labadie
    More info  

    “The soloists were well cast, and for ensemble numbers, blended beautifully. The two highlights were bass-baritone Philippe Sly and soprano Lydia Teuscher…Teuscher’s voice was warm and glorious, and came effortlessly.”
    Michael Vincent, The Star, 23 January 2016

    “[The] soloists were uniformly excellent – Lydia Teuscher has a brilliant consoling soprano.”
    Robert Harris,The Globe and Mail, 22 January 2016

    The four soloists were all terrific. Making her local debut was German soprano Lydia Teuscher whose voice is absolutely ideal for the role.
    Michael Johnson, ConcertoNet, January 2016

  • 14 Dec 15 Handel Messiah
    Chicago Symphony Orchestra & St Louis Symphony Orchestra/Bernard Labadie
    More info  
    “Lydia Teuscher…communicates the emotional core of her lyrics. Resplendent in a gold gown, she simply glowed in “Rejoice greatly, O daughter of Zion” and in the recitatives leading up to the chorus’s “Glory to God in the highest.”
    Chuck Lavazzi, KDHX.com, 05 December 2015
    Lydia Teuscher displayed a clear and flexible soprano, handling “Rejoice greatly” impressively at a fast tempo and bringing poised expression to “I know that my redeemer liveth.
    Lawrence A. Johnson, Chicago Classical Review, 11 December 2015
  • 31 Jan 15 Mozart & Bach Arias
    San Francisco SymphonyOrchestra/Paul Goodwin
    More info  

    “Teuscher’s voice is simultaneously agile and lyrical; she sensitively but very precisely shifts from one mood to another. Her high register is delicate, her middle register more darkly hued, and her low notes could sometimes be mistaken for those of a mezzo. Teuscher’s singing reflects the musical tradition she was trained in. Her performance is highly technical, but not in an intrusive way. She is playful and measured, with impeccable diction and only a faint trace of her native German in the Italian of the Figaro aria.”
    Niels Swinkels, San Francisco Classical Voice, 03 February 2015

    INTERVIEW: “In conversation with Lydia Teuscher”
    Sean Martinfield, San Francisco Examiner, 30 January 2015

  • 17 Dec 14 Handel Messiah
    Tafelmusik/Ivars Taurins
    More info  
    “Lydia Teuscher’s brilliant and beautiful soprano provided warmth and clarity to everything she sang.”
    Robert Harris, The Globe Mail, 19 December 2014
  • 26 Oct 13 Handel Aci, Galatea e Polifemo
    Le Concert D'Astree/Emmanuelle Haïm
    More info  
    “In the mingled-sex fashion of the Baroque, Aci was a soprano, Lydia Teuscher, and Galatea a mezzo-soprano, Delphine Galou. Both, in their New York debuts, were excellent. Ms. Teuscher was especially lovely in tone to the top of her range.”
    James Oestreich, New York Times, 27 October 2013
    “Teuscher revealed a sweetly shining soprano which reveled in Aci’s high-lying music. Her warm quick vibrato made a welcome change from the straight-toned voices one sometimes hears in the part … she was particularly winning in “Qui l’augel d1 pianta in pianta,” Aci’s “bird” aria.”
    De Caffarrelli, Parterre.com, 27 October 2013
  • 08 Jun 13 Mozart Le nozze di Figaro
    Glyndebourne Festival Opera
    More info  
    “…a great Cherubino, funny yet touching, from Lydia Teuscher.”

    Tim Ashley, The Guardian, 10 June 2013

    “Lydia Teuscher’s Cherubino is pure joy.”
    Laura Battle, Financial Times, 10 June 2013

    “…but the best performance, by a short head, is Lydia Teuscher as Cherubino. Last year, when I saw Isabel Leonard in the role, I doubted that she would ever be matched, but Teuscher (who played Susannah last year) brings the same air of pure mischief to the part and is a pure delight.”
    William Hartson, The Express, 11 June 2013

  • 29 May 13 Interview with Lydia Teuscher
    Glyndebourne Festival Opera
    More info  
    Lydia Teuscher talks to the LPO about her role as Cherubino in Glyndebourne’s latest production of Mozart’s Le nozze di Figaro.  Follow this link for the full interview.
  • 11 Jun 12 Humperdinck Hänsel und Gretel
    Glyndebourne Live CD
    More info  
    “…Teuscher’s clean, even soprano illuminates Gretel’s essential goodness, while also capturing her youthful freshness — for example, her wild abandon at the thought of the scrumptious pudding soon to be devoured when a jug of cream is discovered in the bare pantry. Teuscher wonderfully conveys the young girl’s tender innocence as she gathers ripe fruit in the forest; her folk-like duet with a smooth clarinet melody supported by light pizzicato strings affirms her naive joy in the beauty and abundance of the natural world. Waking from her dream, in Act 3, Gretel questions, ‘Where am I? Am I awake of dreaming?’; Teuscher introduces a marvellous note of wonder mixed with hesitation, as if young girl has not quite shaken off the otherworldliness of her nocturnal meanderings. And, the siblings’ voices blend mellifluously, whether they are stealing the cream, dancing playfully, or stumbling across the cottage of their dreams — all candies, bonbons, buns and chocolate. Coote and Teuscher entwine artlessly and wondrously in the ‘Evening Prayer’, first in rich homophony and then in dialogue, Gretel’s pure melody aloft supported by Hansel’s chromatically sliding harmonies. Ticciati calls for a firm bass line but reins in the horns and clarinets until the children have finally drifted into their dreamland; the slightest hint of a rubato before the final extended cadence is stirring.”
    Opera Today / Claire Seymour / August 2013