Angelika Kirchschlager

Introduction

Austrian Mezzo Soprano, Angelika Kirchschlager, divides her time between recitals and opera in Europe, North America and the Far East. She is acclaimed as one of the foremost interpreters of the operas of Richard Strauss and Mozart. For the Vienna State Opera her roles include Dorabella, Octavian and Clairon (Capriccio). For the Royal Opera House her roles include Melisande (Pelleas et Melisande), Sophie (Sophie’s Choice), Hänsel (Hänsel und Gretel) and Octavian. 

She has a wide discography on the Sony Masterworks label which have won numerous awards including a Grammy. Her latest releases include a disc of Liszt Songs with Julius Drake, Hugo Wolf and Schumann lieder with Helmut Deutsch, an operetta arias and duets “My heart alone” with Simon Keenlyside and Handel arias with the Basel Chamber Orchestra and Laurence Cummings.

This is for information only and should not be reproduced. Please contact Mary Donald for a full biography and for performance details.

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News & Features

Repertoire

 

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PRESS ARTICLES

Angelika Kirchschlager - An Austrian great arrives in Britten
Click here to read Jessica Duchan's interview with Angelika Kirchschlager ahead of her Aldeburgh Festival debut
The Independent / 3 June 2011

Click here to read italian interview with Angelika Kirchschlager ahead of La Scala recital
La Republica / May 2011

Von der Kunst, loslassen zu können
Angelika Kirchschlager. Im Theater an de Wien singt die österreichische Mezzosopranisten die Titelpartie in Benjamin Brittens packender Kammeroper "The Rape of Lucretia".
Peter Blaha / Bühne Magazine / February 2011
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CD Reviews

BRITTEN: The Rape of Lucretia
Aldeburgh Festival Ensemble, Oliver Knussen (conductor)
Virgin Classics


"The most problematic of Britten’s operas seems all the more repellent the better it is performed. I have rarely been […] as gripped and moved as by Angelika Kirchschlager […]. In the concert hall, her sopranoish timbre seemed light, but here her Lucretia is a gripping portrait."
Hugh Canning / Sunday Times Culture / 3 February 2013


"This is a remarkable recording. A powerful performance on record may make you feel as though you are in the theatre or even witnessing events, but very seldom do have the sensation of being physically situated amongst the cast […]. The performers are outstanding. […] Angelika Kirchschlager is deeply moving as Lucretia: plus truly impeccable diction from all."  
Opera Now / Francis Muzzu / February 2013


"There are no weaknesses there, either. [...] the protagonists in the drama are presented in all their contradictions - from Angelika Kirchschlager’s Lucretia by turns sensuously honeyed and harrowingly moving […] this performance is surely the best of recent times, redemptive in a way that the work itself can never be."  
The Guardian, January 2013


"A deeply affecting experience that ought to win the opera many new admirers.[...] The singers, too, are first rate. [...] Angelika Kirchschlager gives a subtle, wonderfully lyrical portrayal of the title role, encompassing Lucretia's honest fidelity, vulnerability, torment and self-destructive anguish with moving conviction."
BBC reviews, Graham Rogers, 6 February 2013


"Angelika Kirchschlager is a moving and noble Lucretia."
Sinfinimusic, Warwick Thompson, February 2013


LISZT

Complete Songs, Vol 2
Hyperion CDA 67934

"Anglika Kirchschlager's live recitals have demonstrated her affinity for the songs of Franz Liszt and her ability to span the theatrical and meditative extremes of his artistic range.  A studio recording inevitably lacks some of the freewheeling, spontaneous spirit of the mezzo's work in the concert hall, but she compensates with polish and beauty of tone"
Opera News / November 2012
To read full review please click here

'If the well-worn phrase 'equally at home on the operatic and Lieder stages' applies to anyone, it is surely to Kirchschlager. Her extraordinary dramatic gifts are displayed in the two longest songs here, Jeanne d'Arc au bucher and Die drei Zigeuner. Sung here is the last of Liszt's three versions for voice and piano (1875) of Dumas's depiction of St Joan's final moments at the stake. Kirchschlager deftly protrays the pschological progression of the three verses from despair, through terror, to prayerful acceptance.'
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Patrick Rucker / International Record Review / July 2012

"Kirchschlager is exquisite and intensely dramatic by turns"
Tim Ashley, The Guardian, 13 July 2012


'Kirchschlager's rich resonant mezzo finds beauties everywhere on this disc, from heights of drama to intimacies of reflection, and at every turn Drake is with her... Liszt responds with true wonder to Goethe's famous Uber allen Gipfeln and Kirchschlager is a match for them both with her control of line and verbal colouring.'
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Roger Nichols / BBC Music Magazine / August 2012
 

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Press

Recital: 1 July 2013

Kulturhaus Eppan, Italy

Click here to read regional Südtirol press review C F Pichler, Dolomiten, July 2013

Mozart & Haydn: 2 June 2013

Academy of Ancient Music, Kaisersaal Wurzburg

"Eigentliche Highlights waren indes die Konzert-Arien" Frank Upke, Main Post, 3 June 2013
"Ein besonderes Erlebnis war die Begegnung mit der Mezzospranisten Angelika Kirchschlager." Klaus Linsenmeyer, FNweb, 4 June 2013

Stravinsky: Oedipus Rex, 13 March 2013

BBC Philharmonic Orchestra/Gruber, Bridgewater Hall, Manchester

"the arrival of his wife/mother Jocasta in Act Two, in the form of the Austrian mezzo Angelika Kirchschlager in a sparkling gold gown, raised the stakes. She brought heightened drama with her singing, body language and stage presence."
Philip Radcliffe, The Arts Desk, 14 March 2013

La voix humaine / February 2013

Theater an der Wien

"„La voix humaine“ von Francis Poulenc [...] Um hier die Spannung über eine Dreiviertelstunde zu halten, braucht es schon einen Emotions-Hydranten wie Angelika Kirchschlager. Eine Darstellerin, die Gesang nicht als reine Produktion von Schönklang betrachtet, sondern primär als Gefühlsvehikel; die den Mut zum fahlen, fast erstickten Piano ebenso hat wie zum hysterischen Ausbruch. Kurz, der die ganze Palette an Ausdrucksmitteln zu Gebote steht, um diesem Nervenbündel in seiner existenziellen Krise eine glaubwürdige Stimme geben zu können – alleine auf der Bühne, schutzlos diesen Emotionen und Poulencs hochexpressiver Musik ausgeliefert."  Die Presse / 20 February 2013 / Helmar Dumbs
"Ein aufwühlender Monolog, den Angelika Kirchschlager zu gestalten versteht. Mit zurückgenommener Gestik, ohne Requisiten. Die „menschliche Stimme“ steht im Mittelpunkt."  Kurier / 20 February 2013

Hugo Wolf: Spanisches Liederbuch - February 2013

Alice Tully Hall

"The Austrian mezzo-soprano obviously savours the poetry, focuses emotion with natural vigour, conveys whimsy, charm and pain with apt precision. Most important, perhaps, she avoids exaggeration at every quirky turn. And, yes, she sings beautifully."

ft.com, Martin Bernheimer, 4 February 2013
Ian Bostridge and Angelika Kirchschlager sang beautifully on Sunday afternoon at Alice Tully Hall. [...] Both singers are big names who rarely appear on opera stages this side of the Atlantic, and the reputations of their voices - Mr. Bostridge's cleareyed tenor, Ms. Kirchschlager's richly hued mezzo - would have been sufficient to draw a capacity crowd to their recital of Hugo Wolf songs, presented as part of Lincoln Center's Great Performers series.
But more important, they are just that: artists who in concert deliver performances so vivid that they create an impression of spontaneous communication with the audience. [...]
In Ms. Kirchschlager's rendition of "Mühvoll Komm ich und Beladen" ("In Toil I Come, and Laden"), her downward sloping lines over dense harmonies gave physical weight to the text. On the word "beladen" she flattened her voice into a moan.
The texts of the secular songs that followed revisited the familiar topic of love's power to cause ecstasy, agony and embarrassment. Here Ms. Kirchschlager and Mr. Bostridge, who alternated throughout the program, slipped into character even as they passed each other on their way to and from the piano. They exchanged sulking, I-dare-you glances; Ms. Kirchschlager flicked the skirt of her long, flowing dress as if she were a flamenco dancer.
The musicians seemed to be engaged in a three-way game of tease, where the piano most often had the last laugh. In "Trau Nicht der Liebe" ("Trust Not Love"), which Ms. Kirchschlager delivered with a wait-for-it elasticity of tempo, her final threat to make her beloved weep sounded dead serious, except for the mocking retort in the piano.
The encore finally brought Ms. Kirchschlager and Mr. Bostridge together in a duet, Schumann's "Liebhabers Ständchen" ("Lover's Serenade"), which fully exploited their scorching chemistry.

New York Times / 6 February 2013 / Corinna da Fonseca-Wollheim

Hugo Wolf: Spanisches Liederbuch - January 2013

Wigmore Hall

"Kirchschlager [...] began by summoning up the green sap of spring in a robust ramble through Mörike’s Auf eine Wanderung. Wolf soon turned to the poet’s shadowy side, bidding farewells to love in Lebe wohl and Das verlassne Magdlein, both heavy with a Wagnerian chromaticism in which both Kirchschlager and Drake revelled.
The trick — or one of them — with Wolf is to grasp the full expanse of the song’s grand design while cherishing the essential miniaturism of its detail. This was Kirchschlager’s great strength: she’d reveal the long hill-top view while also drawing us close to the wing-beat of a single bee."
The Times, Hilary Finch, January 2013
"Hugo Wolf doesn't get better than this. Part of Julius Drake's ongoing exploration of the Goethe and Mörike Songbooks, the evening found two of the great Wolf interpreters, Dietrich Henschel and Angelika Kirchschlager, in a programme that reminded us of the composer's interest in extreme emotions, even psychopathology. [...] Kirchschlager's voice has grown in weight and opulence; at times, such as the suddenly violent climax of Das Verlassene Mädgelein, she let the sound out at full throttle to thrilling effect. Elsewhere, for example in Im Frühling, you were left spellbound by the sheer beauty of her sense of line." The Guardian, Tim Ashley, 8 January 2013

Concert: 07 July 2012

The English Concert, Wigmore Hall

'Kirchschlager blended beautifully with the contrapuntal woodwind lines in the first aria, ‘The maidens come’, before her recitative-like prayer descended to a rich, contemplative warmth for the entreaty, “After ther liff grant them/ A place eternally to sing”. In the long central carol,‘Tomorrow shall be my dancing day’, players (flutes, oboes and cello) and singer mastered the intricate series of canonical devices and increasingly intense dissonances, with lucidity and precision, the at times unblended instrumental timbres underpinning Bostridge’s beautifully decorated cantilena lines.' Claire Seymour, Opera Today, 11 July 2012
"(Il Combattimento di Tancredi) Yet the dominant mode of this madrigal is solemn rather than martial, and it was here that Angelika Kirchschlager, who shared the narration with Bostridge dominated with her rich and centred mezzo, giving a miniature masterclass in the expressive shading of words as Monteverdi's drama reached its ever more poignant later pages." Martin Kettle, The Guardian, 7 July 2012

Recordings