Anna Prohaska


Anna Prohaska made her debuts at the Komische Oper at the age of 17, the Deutsche Staatsoper Berlin at 23 and the Berliner Philharmoniker at 24. Awards include the Echo Klassik, the Daphne Preis and the Schneider-Schott-Preis.  Anna is currently a “Junge Wilde” artist at the Konzerthaus in Dortmund.

At the Salzburg Festival her appearances have included Zerlina and Despina, and concerts with the Cleveland Orchestra, the NHK Symphony Orchestra and the Wiener Philharmoniker.  For the Bayerische Staatsoper she has sung Blonde and Inanna (Babylon), and for the Teatro alla Scala Milan she has sung Zerlina, a role she repeated for the company’s tour to the Bolshoi Theatre in Moscow. For the Theater an der Wien she has sung Marzelline (Fidelio) and Anne Trulove, and for the Royal Opera House in London Constance (Dialogues des carmélites)

She is a member of the ensemble of the Deutsche Staatsoper Berlin where her roles have included Pamina, Anne Trulove, Susanna, Sophie, Blonde, Zerlina, Despina, Poppea (Handel’s Agrippina), Oscar, and Frasquita with conductors such as Daniel Barenboim, Sir Simon Rattle, Philippe Jordan, Ingo Metzmacher and René Jacobs.  

As both a modern and early music specialist Anna’s wide-ranging repertoire includes Jörg Widmann’s Babylon, composed for her and premiered at the Bayerische Staatsoper, Wolfgang Rihm’s Samothrake, dedicated to her and premiered with the Leipzig Gewandhaus Orchestra, and Rihm’s Mnemosyne with the Berliner Philharmoniker and Claudio Abbado.  On the early music scene, Anna performs regularly with Nikolaus Harnoncourt, the Academy of Ancient Music, and the Akademie für Alte Musik Berlin.

Appearances on the concert platform include the Wiener Philharmoniker (Boulez), the Berliner Philharmoniker (Rattle, Harding and Abbado), the Symphonieorchester des Bayerischen Rundfunks (Jansons, Harding and Labadie), the London Symphony Orchestra (Rattle), Lucerne Festival Orchestra (Abbado), Simón Bolívar Symphony Orchestra of Venezuela (Abbado), Los Angeles Philharmonic (Dudamel) and the Boston Symphony (von Dohnanyi). In recital she appears in Schwarzenberg, Salzburg, Edinburgh, Lucerne, Berlin, Vienna, London and Amsterdam, where her pianists include Eric Schneider, Maurizio Pollini and Daniel Barenboim.

Recordings include Pergolesi’s Stabat Mater with Bernarda Fink for Harmonia Mundi, and two DVD releases for Accentus Music: Berg’s Lulu Suite with the Simón Bolívar  Youth Orchestra of Venezuela and Claudio Abbado; and Mozart’s Requiem with the Lucerne Festival Orchestra and Claudio Abbado. Her first solo album, Sirène, was released in 2011 on the Deutsche Grammophon label.  Her second album, The Enchanted Forest, re-launched the Archiv label and Anna toured the programme in London, Vienna, Frankfurt, Berlin, Essen and Munich.

Anna’s most recent recording, released in June 2014 by Deutsche Grammophon, is entitled Behind the Lines.  This recital programme marks the 100th anniversary of the outbreak of the First World War and focuses on the people involved in the Great War and their lives.  The programme was premiered by the Radialsystem Berlin and in the anniversary year tours London, Berlin, Vienna, Dortmund, Cologne and Munich, and the Edinburgh and Salzburg festivals.

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

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News & Features


J. Massenet 
Werther: Sophie
Manon: Pousette
H. Purcell
Dido und Aeneas: Belinda
C. W. Gluck 
Orféo ed Euridice: Euridice 
W. A. Mozart 
Die Zauberflöte:  Pamina
La Clemenza di Tito: Servilia
Entführung aus dem Serail: Blondchen
Le Nozze di Figaro: Susanna
Don Giovanni: Zerlina 
Cosi fan tutte: Despina
G. Bizet 
Carmen: Frasquita
G. F. Händel
Giulio Cesare: Cleopatra
Jephtha: Iphis
J. P. Rameau 
Hippolyte et Aricie:  Amour
G. Verdi 
Don Carlo: Tebaldo
Un Ballo in Maschera: Oscar
G. Donizetti 
L'elisier d'amore: Giannetta
M. Mussorgsky 
Boris Godunov:  Xenia
K. Weill 
Dreigroschenoper:  Polly
A Schönberg 
Moses und Aron: 1. Solostimme / 1. Nackte Jungfrau
C. Mello 
Destino das Oito: Susy


J. S. Bach 
Kantaten und Arien
A Berg 
Der Wein
H. v. Bingen 
"O virga ac diadema"
"O euchari in leta vita"
"Et ideo"
"Cum erubuerint"
"Deus enim rorem"
"O rubor sanguinis"
"O vos felices"
G. Carissimi 
Historia d'Ezechia
G. Crumb 
Ancient Voices of Children
C. D. v. Dittersdorf 
Giob: "Aria der Sarah"
A Eberl 
Kantate "Bey Mozarts Grabe"
G. Fauré 
C. Franck 
"Panis Angelicus"
G. F. Händel 
Neun Deutsche Arien
Solomon (Queen of Sheba)
Joshua (Achsah)
Saul (Michal)
Alexander's Feast
div. Kantaten und Arien
J. Haydn 
Kleine Orgelmesse: "Benedictus"
Schöpfung (Gabriel, Eva)
C. Ives 
The Unanswered Question (Trompetenstimme)
L. Janácek 
Kinderreime (1. Sopran)
G. Ligeti 
F. Liszt 
Via Crucis
G. Mahler 
Sinfonie Nr. 4
C. Monteverdi 
Laudate Dominum
W .A. Mozart 
Laudate Dominum F-Dur
Kantate "Exsultate Jubilate" 
G. B. Pergolesi 
Stabat Mater
H. Purcell 
The Blessed Virgin's Expostulation
"In the black dismal dungeon of despair"
A Schönberg 
Die Jakobsleiter (Der Sterbende, Die Seele)
Streichquartett Nr. 2 (Sopranstimme)
L. Spohr 
Des Heilands letzte Stunden
G. Ph. Telemann 
Kantaten aus dem Harmonischen Gottesdienst
A Vivaldi 
Motetto "In furore iustissimae irae"
B. A. Zimmermann 
Solokantate "Omnia Tempus Habent"

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Media Player


  • IVES
    Anna Prohaska performs at the Deutscher Bundestag


Salzburg Festival, SALZBURG

MOZART 'Le nozze di Figaro'

Condutor: Dan Ettinger
Director: Sven-Eric Bechtolf

Il Conte Almaviva: Luca Pisaroni
La Contessa Almaviva: Anett Fritsch
Cherubino: Margarita Gritskova
Marvellina: Liliana Nikiteanu
Bartolo: Carlos Chausson
Basilio: Paul Schweinester
Don Curzio: Franz Supper
Antonio: Erik Anstine

Wiener Philharmoniker

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Recital: Ophelia Sings 21 April 2015

Concertgebouw Amsterdam

"Ms Prohaska, waif-like in a loose-fitting gold-coloured dress, her tumbling locks half-tamed by a matching flower, embodied both Ophelia’s utter wretchedness and the chilling fragmentation of her psyche. She did so without resorting to craziness clichés and almost entirely by means of the arsenal of vocal expression at her disposal: from pointed sung-speech to floaty pianos to operatic outbursts. For a lyric soprano, her voice is full-bodied, from the effortless lower range to the penetrating top. In full technical control, she charged every phrase with a current of energy in constant modulation. The audience hung on her every sharply articulated word."
Jenny Camilleri, Bachtrack, 23 April 2015


Der Freischütz

Deutsche Staatsoper, Berlin

" the soprano Anna Prohaska sang with exquisite delicacy"
To read the full review please click the link below.
New York Times, George Loomis, 22 January 2015
Please click the link to read the review. Der Tagesspeigel, Ulrich Amling, 19 January 2015
Please click the link to read the review. Berliner Morgenpost, Georg Kasch, 20 January 2015

Behind the Lines

Konzerthaus Berlin

Please click on this link to read review: Sybill Mahlke, Der Tagesspiegel, 3 December 2014


Die Entführung aus dem Serail

Opéra Garnier, Paris

"A côté, Anna Prohaska est une Blonde espiègle comme il faut, très convaincante dans les aigus" Toute La Culture, Agathe Poupeney, 25 October 2014
"Anna Prohaska, elle aussi fine musicienne, est une délicieuse Blonde, l’actrice réussissant en outre le délicat pari de faire rire sans jamais n’en faire trop." Il tenero momento, 17 October 2014
"Prohaska allie à merveille les talents d'actrice (la jeune captive qui se rebelle) et l'expression d'un chant à la précision redoutable." / David Verdier / 19 October 2014
"Anna Prohaska, Blonde, est un concentré d’énergie et de sensualité." / François Vincens / 3 November 2014


Behind The Lines

Queen's Hall, Edinburgh International Festival / Eric Schneider, piano

"Putting heart and soul into a brilliantly conceived was the traditionally inspired material, including Quilter’s setting of the funeral song from Shakespeare’s Cymbeline, that served best in revealing her persuasive voice as refreshingly unaffected and possessing a natural gloss." The Scotsman, Carol Main, 19 August 2014
"This recital was a superbly-conceived programme of 25 soldiers' songs taken from her recent Deutsche Grammophon album Behind the Lines....Little wonder Prohaska is being tipped as one of Europe's most exciting young voices." The Herald, Kate Molleson, 19 August 2014
"Prohaska has a rich, full soprano, full of careful inflections and a vibrant middle." Seen and Heard, Simon Thompson, 19 August 2014


Lieber Soldatenanzug als das Gedöns mit der Robe

Anna Prohaska talks to Die Welt about her latest recording 'Behind the Lines'

Click here to read full article Die Welt, 5 July 2014


Behind the Lines

Deutsche Grammophon

"This is a superbly conceived and wonderfully performed collection about war and its emotional impact. ... The imagination and care that has gone into this compilation is exceptional, and the results are totally compelling."
5 stars: Nicholas Kenyon, The Observer, 6 July 2014
"Prohaska has a rich palette of expressive colours to draw on and she sings with effortless confidence through several languages and moods, sensitively partnered by her responsive pianist Schneider. This is a very rewarding disc, both moving and stirring."
5 stars: Rupert Christiansen, The Telegraph, 22 July 2014
"If Anna Prohaska is not already on your list of favorite young singers, add her immediately. The Austrian soprano’s artistic confidence and imaginative verve are on display in Behind the Lines, commemorating the hundredth anniversary of the outbreak of World War I. 

The freshness and clarity of Prohaska’s singing imparts poignancy to each piece, whether boisterous or nostalgic, proud or terrified, which contributes to the overall sense of futility and loss."
Judith Malafronte, Opera News, December 2014


Behind the Lines

Eric Schneider, piano / Wiener Konzerthaus

Wiener Zeitung review - please click the link below Wiener Zeitung, Lena Drazic, 20/06/14
Die Presse review - please click the link below Die Presse, Walter Weidringer, 20 June 2014
Kronen Zeitung review - please click the link below Kronen Zeitung, 20 June 2014


Behind the Lines

Eric Schneider, piano / Wigmore Hall, London

Supported by Eric Schneider’s always conscientious piano accompaniment, she was magnificent, and very penetrating in her top register. ...
What joy, too, to find two artists creating a concept album and recital that actually makes musical and intellectual sense. The 25 songs about the dreams and realities of soldiering often involved big jumps in style: another of Eisler’s firecracker songs, from the Hollywood Liederbook, exploded right after one an exquisite meringue by Roger Quilter, "Fear No More the Heat o' the Sun". But in this year marking the anniversary of the First World War, every juxtaposition, sometimes bridged by songs sharing the same key, made the audience think and feel. Prohaska and Schneider’s most stunning coup was to follow the high romance of Schubert’s "Ellens Gesang", to flowery words by Sir Walter Scott, with the Expressionist screams of a poem by Georg Trakl, belligerently set by a young Wolfgang Rihm."
Geoff Brown, The Arts Desk, 15th June 2014


Anna Prohaska: A soprano on the warpath

Anna Prohaska talks to Neil Fisher about her Covent Garden debut and her latest recital programme 'Behind the Lines'

To read the full article, please click on the link below (subscription required), or here Neil Fisher, The Times, 7 June 2014


Being Beauteous: 1 June 2014

London Symphony Orchestra, Simon Rattle / Barbican Centre, London

"The harp of Bryn Lewis and the cello of that LSO stalwart Jennifer Brown provided a strong, assertive, grounding musical presence, which gave the gloriously clean-toned coloratura soprano of Anna Prohaska her freedom."
Sebastian Scotney, The Arts Desk, 2 June 2014
"Anna Prohaska gave a crystalline account of Henze's 1963 Rimbaud setting Being Beauteous, accompanied by four London Symphony Orchestra cellists and a harpist under Rattle's sympathetic direction."
Martin Kettle, The Guardian, 3 June 2014
"Soprano Anna Prohaska’s voice is beautifully pure, and she performed this monstrously challenging work with an effortless that belied the fact that the notes jump from middle C to nearly two and half octaves above, with very little help with pitching in the accompaniment."
Jack Johnson, Bachtrack, 3 June 2014


Les Dialogues des Carmélites

Simon Rattle / Royal Opera House, Covent Garden

"Anna Prohaska makes a shining debut as Constance"
Erica Jeal, The Guardian, 30th May 2014
"Anna Prohaska sparkles prettily as the naive Constance"

Rupert Christiansen, The Telegraph, 30 May 2014
"outstanding performances from Sally Matthews and Anna Prohaska, the one ardent, the other bubbling with life"
Fiona Maddocks, The Observer, 1 June 2014


Dido & Aeneas: 16 February 2014

MusicAeterna/Teodor Currentzis, Anna Prohaska (Dido), Tobias Berndt (Aeneas), Nuria Rial (Belinda), Philharmonie Berlin

To read the full review in Kulturradio, click the following link: Andreas Göbel, kulturradio
To read full review in Berliner Zeitung click the following link: Peter Uehling, Berliner Zeitung, 17 February 2014

Anna Prohaska on her latest recording, 'Behind the Lines'

Recorded at the Bayerische Rundfunk with Eric Schneider for Deutsche Grammophon

Please click in the following link to hear Anna Prohaska talk about 'Behind the Lines' BR-Klassik February 2014

Interview for Tutti Magazine: 11 June 2013

Paris, France

Click here to read the interview Philippe Banel, Tutti Magazine, 11 June 2013

Beethoven 'Fidelio': 19 March 2013

Theater an der Wien, Vienna

"Anna Prohaska is the one to pull off such a show with both down-to-earth credibility and an ethereal tone that proved particularly pleasing in the quartet", 27 March 2013

CD: Enchanted Forest

Anna Prohaska, Arcangelo, Jonathan Cohen

Please click here for a link to a compilation of press quotes for Enchanted Forest March/April 2013


Babylon / November 2012

Bavarian State Opera

"Finally the true highlight of the opera appears: Babylonian priestess and Tammu-lover Inanna. Or, more precisely, the impossibly charming and enchanting Anna Prohaska, who embodies a rôle so dominant in aesthetic appeal that it seems the whole opera was written around and indeed for her. She descends from above: a tempting upper body in the color of pale-olive clay, statuesque except for a bedazzling brassier; attached to a torso of silver balloons. The titillating appearance makes sense; Inanna represents free love, an offer into which Tammu dips liberally as he hallucinates of the ‘Horror of the Flood’." Seen and Heard, 29 November 2012, Jens F. Laurson

CD: Sirène

Eric Schneider, piano

Click here for review in Frankfurter Allgemeine Sonntagszeitung
Frankfurter Allgemeine Sonntagszeitung
Click here for Crescendo feature, June - August 2011
Crescendo, April 2011
Click here for Berliner Zeitung review Peter Uehling, 20 May 2011
Click here for Aachener Zeitung review Aachener Zeitung, 20 May 2011
Click here for Kultiversum article
Jürgen Kesting, Opernwelt, May 2011
Click here for Deutsche Welle Interview  Deutsche Welle




Anna Prohaska joins Marie-Pierre Langlamet (harp), Ludwig Quandt (cello) and Lara St. John (violin) in a Schubert recital that includes Gesänge des Harfners and Gretchen am Spinnrade.

"the harp’s discretion invites a gloomy intimacy to Ms. Prohaska’s pure, sensitive tellings of despair." CrackCritic / November 2014
Ancalagon Records


Anna Prohaska, soprano
Eric Schneider, piano

Anna Prohaska's debut recording with Deutsche Grammophon
Includes works by Purcell, Dowland, Lawes, Haydn, Schubert, Schumann, Mahler, Wolf, Dvorak, Fauré, Debussy, Bizet, Szymanowski and Honegger.

Deutsche Grammophon

Enchanted Forest

Francesco Cavalli
Georg Friedrich Handel
Claudio Monteverdi
Henry Purcell
Antonio Vivaldi

Anna Prohaska
Jonathan Cohen

International Release: 15 March 2013
Archiv Produktion