Christianne Stotijn


Mezzo-soprano Christianne Stotijn, a native of Delft, completed her solo violin studies in 2000, after which she followed an intensive vocal course with Udo Reinemann at the Amsterdam Conservatory. She furthered her vocal studies with Jard van Nes, Noelle Barker and Dame Janet Baker. Over the years Christianne has won numerous awards, including the prestigious ECHO Rising Stars Award 2005/2006, the Borletti-Buitoni Trust Award in 2005, and the Nederlands Muziekprijs in 2008. Additionally she was selected as BBC New Generation Artist in 2007.

Christianne Stotijn is a passionate interpreter of art songs. Accompanied by pianists Joseph Breinl and Julius Drake, with whom she has a longstanding duo partnership, she performs regularly in the world’s leading concert venues, including the Wigmore Hall in London, the Amsterdam Concertgebouw’s Main Hall and Recital Hall, Vienna’s Musikverein and Konzerthaus, Carnegie Hall in New York, Théâtre des Champs-Elysées and Théâtre du Châtelet in Paris, the Salzburg Mozarteum, the Palais de Beaux-Arts in Brussels, Kennedy Center in Washington and Atlanta’s Spivey Hall. Christianne made her Berlin Philharmonie debut in a performance of Schoenberg’s Das Buch der Hängenden Gärten, accompanied by pianist Mitsuko Uchida.

The conductor Bernard Haitink has had a profound influence on Christianne Stotijn’s career. After successful performances of Mahler’s Ruckert Lieder with the Orchestre National de France and the Concertgebouw Orchestra, Haitink invited her to perform Mahler’s Symphony No. 2 at the BBC Proms, Beethoven’s Symphony No. 9 at the Lucerne Festival, the Ruckert Lieder with the Chicago Symphony Orchestra, the Matthäus-Passion with the Boston Symphony Orchestra and Das Lied von der Erde with the London Symphony Orchestra.

Christianne has also worked with world-class conductors such as Claudio Abbado, Vladimir Jurowski, Ivan Fischer, Gustavo Dudamel, Yannick Nézet-Séguin, Jaap van Zweden, Marc Minkowski, René Jacobs, Charles Dutoit and Andris Nelsons, and orchestras including the Berliner Philharmoniker, London Symphony Orchestra, Royal Concertgebouw Orchestra, Orchestre National de France, Rotterdam Philharmonic Orchestra, London Philharmonic Orchestra, Chicago Symphony Orchestra, Boston Symphony Orchestra and the Symphonieorchester des Bayerischen Rundfunks.

Christianne Stotijn also appears regularly on the stage. She has sung the role of Pauline in Pique Dame at the Paris Opera, Ottavia in Poppea at the Nederlandse Opera and Cornelia in Giulio Cesare at the Théâtre de la Monnaie in Brussels and De Nederlandse Opera. Christianne sang the title role in Tamerlano at the Royal Opera House in Covent Garden, and Ottavia in Poppea at the Teatro Campoamor in Oviedo and the Teatro Arriaga in Bilbao. She has worked with opera directors including Graham Vick, Emilio Sagi, Pierre Audi and Ursel and Karl-Ernst Herrmann.

Christianne Stotijn released several recordings on the Onyx label. In 2010 her recording of Tchaikovsky songs received the BBC Music Magazine Award. For the MDG label Christianne recorded a work close to her heart: Die Weise von Liebe und Tod des Cornets Christoph Rilke by Frank Martin. This recording earned her the ECHO Award ‘Liedeinspielung des Jahres 2008’. Christianne  recently signed with Warner Classics, and releases her first album for them - If the Owl Calls Again -in November 2014.

Please contact Sophie Dand for an up-to-date biography.

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News & Features






Miroir de Peine



Sieben frühen Lieder



Les Nuits d’ Été

La Mort de Cléopatre

Romeo et Juliette



Alto Rhapsody 






Poème de l’amour et de la Mer



Sea Pictures



Fünf Neapolitanische Lieder



The Neruda Songs



Lieder eines fahrenden Gesellen

Rückert Lieder

Lieder aus dem Knaben Wunderhorn

Das Klagende Lied

Symphony 2, 3 and 8

Das Lied von der Erde



Songs and Dances of Death



Ivan the Terrible Alexander Nevsky





Gurrelieder ( Waldtaube)



Lieder orchestrated



Marina Tsvetaeva Songs op.143



Lieder orchestrated



Spaces of Blank



Wesendonck Lieder

Tristan und Isolde (Brangäne)



Lieder orchestrated



Maurice Maeterlinck Lieder        





St Matthew Passion

St. John Passion



L’Enfance du Christ



Le Miroir de Jésus









Dream of Gerontius



















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Media Player


  • Christianne Stotijn - Borletti Buitoni documentary



Wigmore Hall, LONDON

SMETANA Der Fischer (Rybár) for reciter, harmonium, harp and strings
DVORAK Love Songs Op. 83 (arranged for voice and strings) (arr. David Matthews)
DVORAK Piano Quintet No. 2 in A major Op. 81

Hasselt Culture Centre, HASSELT

PROKOFIEV 'Ivan the Terrible'

Conductor: Martyn Brabbins

Actor: Jan Decleir
Actor: Stefaan Degand

Royal Flemish Philharmonic
Octopus Symphonic Choir
Choeur de Chambre de Namur

Koningin Elisabethzaal, ANTWERP

PROKOFIEV 'Ivan the Terrible'

Conductor: Martyn Brabbins

Actor: Jan Decleir
Actor: Stefaan Degand

Royal Flemish Philharmonic
Octopus Symphonic Choir
Choeur de Chambre de Namur

Koningin Elisabethzaal, ANTWERP

PROKOFIEV 'Ivan the Terrible'

Conductor: Martyn Brabbins

Actor: Jan Decleir
Actor: Stefaan Degand

Royal Flemish Philharmonic
Octopus Symphonic Choir
Choeur de Chambre de Namur

Concertgebouw Brugge, BRUGES

PROKOFIEV 'Ivan the Terrible'

Conductor: Martyn Brabbins

Actor: Jan Decleir
Actor: Stefaan Degand

Royal Flemish Philharmonic
Octopus Symphonic Choir
Choeur de Chambre de Namur

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The Demon

La Monnaie, Brussels

The outstanding gallery of low registered voices in this production would not be complete without...the deep voluminous mezzo of Christianne Stotijn. In her role of Angel she showed herself as formidable opponent of Demon.  Olga de Kort, Bachtrack, 28 January 2016

Mahler 3

Seattle Symphony Orchestra

Ludovic Morlot

As the soloist, mezzo Christianne Stotijn impressed with the warmth of her voice…
Thomas May, Bachtrack, 19 June 2015
Dutch mezzo-soprano Christianne Stotijn brought her rich voice to a setting of Friedrich Nietzsche’s “Midnight Song” in the fourth...
Philippa Kiraly, The Seattle Times, 19 June 2015

If the Owl Calls Again

Warner Classics CD

Christianne Stotijn’s voice is hauntingly beautiful…you’ll surely be struck by her warm tone and nuanced delivery of poetry...A personal favourite is the ‘Kaddish’ from Ravel’s Deux Mélodies Hébraïques. Here, Stotijn’s singing is truly magnificent and moving, and her delivery of the Hebrew is both grief-stricken and otherworldly. It’s a treat to hear Stotijn sing in her native Dutch in the three Fant de Kanter songs, particularly the unaccompanied ‘Abboen’. Various instruments perform throughout, including flute, double bass, viola, and duduk, working to evoke the image of the splendid owl, as Stotijn set out to achieve. A superb album.
Alexandra Mathew, Readings, 24 June 2015
…the varied sonorities and idioms, and Stotijn’s range of colour and emotional intensity, preclude any whiff of monotony.

Stotijn also proves herself something of a linguistic virtuoso, whether singing in idiomatic French, English or (in two neo-Straussian songs by Joseph Marx) German, or intoning the contemporary Dutch composer Fant de Kanter’s Aramaic and Yiddish prayers with keening urgency. 

In the Mussorgsky Stotijn finds a child-like purity of tone, without affectation – a nicely judged touch of breathiness, too, for the flustered boy’s ‘Evening Prayer’. She is simple and sincere in Martin’s ‘Christmas Song’, adorned by chaste flute melismas, and by turns ardent and movingly intimate in the three Bridge songs, where the copper glow of her mezzo is complemented by the dusky-toned viola. 
Gramophone Editor's Choice, July 2015

Recitals with Julius Drake

Toronto & Montreal

Her Russian is excellent and her voice roams widely; it can narrow to a sorrowful point and as suddenly bloom in throaty contralto range. In high range it is exceptionally clear and calm...Stotijn adds interior movements to her phrasing, like a dance inside a single syllable, and it’s wonderfully suited to these lines...

Lev Bratishenko, Musical Toronto, 14 April 2015
One of the very few truly superb recitalists in front of the public today, mezzo Stotijn offers a beautiful voice with consummate musical intelligence and exemplary communicative power in her recitals.  La Scena Musicale, 17 April 2015

Thomas Adès


New York Philharmonic Orchestra

Christianne Stotijn, in magnificent voice... David Allen, The New York Times, 13 April 2015
...and the mezzo-soprano Christianne Stotijn exerted dauntless pathos as his varied victims.  Martin Bernheimer, Financial Times, 15 March 2015


Boston Handel & Haydn Society

Symphony Hall Boston

Christianne Stotijn’s voice was substantial and rich in its variety of color... her deep mahogany sound cut deep with a solid iron strength, a voice that seemed to come from another time, spanning generations, timeless in its maturity. Samuel Kjellberg, The Boston Music Intelligencer, 7 March 2015
Mezzo-soprano Christianne Stotijn had weight and warmth as an angel and made a nasty Jezebel... Jeffrey Gantz, Boston Globe, 8 March 2015

Mahler 2

Swedish Radio Symphony Orchestra / Harding

BBC Proms

The hushed voices of the Swedish Radio Choir and the Philharmonia Chorus were so well blended that their impact was enhanced: an image of vast panoramas and repose, from which Christianne Stotijn's voice rose with dignity.
Anne Ozorio, Opera Today, 31 August 2014

Gustav Mahler

Das Lied von der Erde

London Symphony Orchestra, conducted by Daniel Harding, Barbican

"...“The Farewell” has the mezzo and orchestra lead the audience on a journey from the darkest despair to the sublimation of life into the beauty of nature, and Stotijn engaged totally with the text’s character. With an admirable range of colours in her voice, by the last, repeated “Ewig” (“forever”) Stotijn’s total commitment and dramatic intensity had completely won me over." George Slater-Walker, Bachtrack, 22 November 2013

Tom Ades

BBC Prom - Totentanz

Royal Albert Hall

"He [Simon Keenlyside] was almost outdone however by Christianne Stotijn, whose still-growing range of vocal colours and power created a constantly metamorphosing play of sound and character."  The Arts Desk, 18 July 2013
"It makes huge demands on the baritone and mezzo-soprano who must carry the drama and hold their own against the percussion-heavy orchestra, but in Simon Keenlyside and Christianne Stotijn Tom Ades had struck gold: both made utterly convincing sense of their daunting melodic lines, often in grotesque duet: Keenlyside’s suggesting giant inexorability, and Stotijn’s a nightmarish torment." Michael Church, The Independent, 18 July 2013
"Stotijn found a remarkable range of colours and moods to convey the various human ‘voices’, complemented by an ever-changing orchestral landscape - for example, lyrical gesturing from the violins accompanies the Pope’s submission" Opera Today, 19 July 2013

BBC Music Magazine, May 2013


Wagner and Berg

Wesendonck Lieder, Berg Four Songs

Ojai Festival, USA

"Meanwhile the most effective performance by Stotijn was of Berg's neglected Four Songs, Opus 2."

LA Times, June 2012

"Another popular performer brought the audience to its feet in the second half of the morning concert, when mezzo-soprano Christianne Stotijn delivered a group of "Cabaret Songs" set in rousing period mode by William Bolcom, with lyrics by the late Arnold Weinstein."

Ventura Star, June 2012

"The mezzo-soprano Christianne Stotijn sang the Wagner songs with glowing voice and deep sensitivity, supported by the excellent Norwegian Chamber Orchestra and Mr. Tonnesen."

The New York Times, June 2012


Songs and Dances of Death

Amsterdam Sinfonietta

"This allowed for the real star of the evening, mezzo-soprano Christianne Stotijn to become the focal point. Stotijn is an incredible singer: her voice is clear, warm and powerful and her stage presence is mesmerizing. But what made this performance memorable was her understanding and execution of the songs. In the first song, ‘Lullaby’, Stotijn demonstrated the different characters, the mother and Death, with intonation and body language, and she continued this throughout the song cycle. This meant that even for someone who does not understand a word of Russian, it is entirely clear what the songs mean and what is going on. Mussorgsky’s figure of Death has many different faces; he is seductive, soothing, aggressive, even joyful – and all of these elements were present in Stotijn’s performance.", April 2012


Tristan und Isolde - Brangane

City of Birmingham Symphony Orchestra

"Christianne Stotijn was Brangäne, carefully characterised, with lovely inflections in the voice that chimed with the dilemma in which she is after all instrumental in creating."

ClassicalSource, March 2012


Recital with Mark Padmore and Julius Drake

Wigmore Hall, London

"Christianne Stotijn was a suitably seductive Zefka, and Julius Drake provided superbly dramatic accompaniment. Stotijn began the evening with a heartfelt performance of Schumann’s Liederkreis Op. 39, at times recalling Janet Baker in her directness and sensitivity."

OMH review, October 2011


Recital with Julius Drake

Wigmore Hall, London

"Stotijn kept a commanding presence even – especially – when singing quietly, a quality that made ‘Hamlet’s dialogue with his conscience’ completely captivating...“None but the lonely heart”, Tchaikovsky's most popular song, was beautifully performed, stretching its sense of longing, while the powerfully wrought “Why?” doubled back on itself with a strangely ruminative coda. “My Genius, My Angel, My Friend” found her eschewing all vibrato for a striking closing verse, while in the glorious “Whither the day reigns”, Stotijn cast off all inhibitions, filling the hall with song. Her exuberance extended to the first of two Tchaikovsky encores, “The Cuckoo”. Here she charmingly inhabited the characters, introduced in an amusing synopsis by Julius Drake, while “How fair this spot” found her indulging us in a self-proclaimed favourite of the composer.", February 2011


Edinburgh Festival Recital with Joseph Breinl

Edinburgh International Festival

"Triumph she did. Christianne Stotijn’s was a benchmark Queen’s Hall recital from which Handel was excluded and the morning was devoted to a compelling combination of Strauss and Schoenberg...Stotijn’s soft-edged but always luminous, deeply-felt singing had sprinkled beauty, and the finest sense of phrasing and colour, on everything she touched, each line shot through with the gleaming responsiveness of Joseph Breinl’s piano playing.These qualities also distinguished the succinct passion of the 15 songs that form Schoenberg’s momentous Book of the Hanging Gardens, not least because Breinl’s accompaniments, particularly the postlude to the 14th song, were models of articulacy. Among the encores, Strauss’s Morgen had surely been hopefully awaited by the audience. It was exquisitely sustained.
Star rating: *****"

heraldscotland, August 2010
"In music where the composer's own emotional turmoil is never far away, Stotijn and Breinl brought engaging integrity to these meaningful settings.", August 2010


'Tchaikovsky Romances' CD with Julius Drake

Julius Drake


"Vocal: Christianne Stotijn & Julius Drake

Tchaikovsky: Romances (Onyx)

The Dutch mezzo-soprano is best known for her interpretation of Mahler, both in recital and in highly-acclaimed performances conducted by Bernard Haitink, whose protégé she has been. Christianne Stotjin was a BBC New Generation Artist and recipient of a Borletti Buitoni Trust Award (2005).

'Christianne Stotijn is that artist in a thousand whose personality shines through everything she does."

Bristol Magazine, April 2010, BBC Music Magazine Awards


Das lied von der Erde

London Symphony Orchestra, conducted by Haitink

"This Mahler performance was yet another chance for Haitink to work with his protégée, the Dutch mezzo Christianne Stotijn...As The Lonely One in Autumn she sat rapt, visualising the scene until imagination was fleshed out in the simplest of song. And she was minutely sensitive to each orchestral soloist: her duetting with the principal flute, threading each word through the melodic line, created a muted and sensuous yearning in the final Abschied that will remain long in the memory."

The Times, October 2009, London Symphony Orchestra / Bernard Haitink


Symphony no. 2

London Philharmonic Orchestra, conducted by Vladimir Jurowski

"The one touch of transcendence came at the start of Urlicht, which Christianne Stotijn sang with clairvoyant grace."
Financial Times, September 2009
"The protracted pace of Jurowski's fourth movement allowed the mezzo soloist, Christianne Stotijn, to linger rapturously over Urlicht"

Evening Standard, September 2009
"Then, with the Scherzo's final gong-stroke still vibrating on the air, mezzo-soprano Christianne Stotijn's voice stole in with a folk poem about heaven. This was a brilliant stroke, which suggested that the murky, trivial aspects of life and the transcendent are separated by only a hair's breadth – an idea of which Mahler would surely have approved."

Telegraph, September 2009



If the Owl Calls Again

Christianne Stotijn (mezzo-soprano) 
Joseph Breinl (piano)
Tamestit (viola)
Rick Stotijn, Toon Fret, Olivier Boekhoorn and the Oxalys Ensemble

From works by Martin, Ravel and Mussorgsky, to a world premiere by Dutch composer Fant de Kanter
Warner Classics

Tchaikovsky Romances

Christianne Stotijn performs Tchaikovsky songs, accompanied by Julius Drake.

Catalogue No: ONYX4034

BBC Music Magazine Award Winning CD.