Dorothea Röschmann

Introduction

Born in Flensburg, Germany, Dorothea Röschmann made a critically acclaimed début at the 1995 Salzburg Festival as Susanna with Harnoncourt and has returned to the Festival many times to sing Donna Elvira, Countess Almaviva, Ilia, Servilia, Nannetta, Pamina and Vitellia, with conductors such as Abbado, Harding, Mackerras and von Dohnányi. In the 2014 festival she sang in Fierrabras with Ingo Metzmacher.

At the Metropolitan Opera she has sung Susanna, Pamina, Elvira and Ilia with Levine and, at the Royal Opera House, Covent Garden her roles have included Pamina and Fiordiligi with Sir Colin Davis and Countess Almaviva with Sir Antonio Pappano. At La Scala, Milan she has sung the Countess and has also sung Donna Elvira with the company at the Bolshoi with Barenboim. At the Vienna Staatsoper she has appeared as the Countess and Susanna also as Marschallin with Sir Simon Rattle. At the Bayerische Staatsoper, Munich she has sung Zerlina, Susanna, Ännchen, Marzelline, Anne Trulove and Rodelinda. She is also closely associated with the Deutsche Staatsoper, Berlin, where her roles include Ännchen with Mehta; Nannetta with Abbado; Eva, Elsa, Pamina, Fiordiligi, Susanna, Zerlina, Micäela, Donna Elvira and the Countess with Barenboim. She has also appeared at La Monnaie, Brussels as Norina and at the Bastille, Paris as the Countess and as Pamina.  

In the 2013/14 season she sang the title role in Theodora at Carnegie Hall, Vier letzte lieder with Daniel Barenboim / Berliner Staatskapelle and Zubin Mehta / Palau de les Arts. Countess Rosina Almaviva in Wiener Staatsoper’s Le nozze di Figaro tour to Oman. Faustszenen with Daniel Harding / Berlin Philharmonic, and The Fairy Queen with Harnoncourt / Concentus Musicus Wien at the Salzburg Festival.

This season’s highlights include Vier letzte lieder with Daniel Harding / Filarmonica della Scala and Yannick Nézet-Séguin / Rotterdam Philharmonic Orchestra, Berg Sieben frühe lieder with Marc Albrecht / Rundfunk Sinfonieorchester Berlin. Agathe (Der Freuschütz) at the Deutsche Staatsoper Berlin, Die Schöpfung with Daniel Harding / Swedish Radio Symphony Orchestra, Dido in Dido and Aeneas at Carnegie Hall with Les Violons du Roy and a U.S recital tour with Mitsuko Uchida.

Her many recital appearances include New York’s Carnegie Hall, London’s Wigmore Hall, Amsterdam’s Het Concertgebouw, Vienna’s  Konzerthaus and venues in Antwerp, Lisbon, Madrid, Cologne, Brussels, Oslo and at the Edinburgh, Munich, and Schwarzenberg Festivals.  In 2013 she sang with Daniel Barenboim at the Schiller Theater in Berlin and with Mitsuko Uchida at the Lucerne Festival.

Her recordings include Countess Almaviva with Harnoncourt; Pamina and Nannetta with Abbado; Puccini's 'Suor Angelica' with Pappano; Strauss’ ‘Four Last Songs’ with Nézet-Séguin; Brahms’ ‘Requiem’ with Rattle (winner of a Grammy and Gramophone Award); Mahler’s Symphony No.4 with Harding; Handel's 'Neun Deutsche Arien' with the Akademie für Alte Musik Berlin; 'Messiah' with McCreesh; Pergolesi’s ‘Stabat Mater’ with David Daniels and Fabio Biondi and a disc of Schumann songs with Ian Bostridge and Graham Johnson. This November Sony Classical will release Dorothea’s debut recital CD, ‘Portraits’. 

For an up-to-date biography, please contact Henry Lindsay

Read More >

Media Player

Video

  • SMETANA
    O welch ein Schmerz!

Audio

Schedule

Load More

Press

Schubert

Fierrabras

Salzburg Festival

Unter den Solisten sind Benjamin Bernheim als Eginhard mit kraftvollem Tenor und schönem Timbre sowie Dorothea Röschmann als Florinda mit großer Ausstrahlung und dramatischer Stimme die besten.  Kurier
Julia Kleiter als Emma, Dorothea Röschmann als Florinda, Markus Werba als Roland, dazu der profunde Georg Zeppenfeld als Kaiser Karl und Peter Kálmán als Gegenspieler Boland - gesungen wird durchwegs tadellos und charakterkonform.  Ernst P. Strobl, Salzburg Nachrichten, 14th August 2014
Dorothea Röschmann begeisterte als Florinda  Kleine Zeitung

Recital 8th June 2014

Wigmore Hall

'Few living singers can navigate this territory better than Dorothea Röschmann' ... 'Röschmann outlined, with enormous subtlety, Liszt's emotional complexities and brought ravishing colour to Strauss' ... 'The consummate artistry of both singer and pianist that made this recital such joy, and pain, to behold.' Guy Dammann, The Guardian, 11th June 2014

Strauss

Vier Letzte Lieder

Berlin Staatskapelle, Berlin Philharmonie

Dorothea Röschmann’s voice has luminosity and great expression of maturity, matching these songs of farewell…The anxious, melancholy mood, parting from summer into “September” she met delicately with heartfelt conclusion…Dorothea Röschmann sung the last song with harmonious nuances of melancholy, creating a dreamy transfiguration; and formulated the final question of death with anxious foreboding. Bernd Hoppe, Opera Lounge, 24th March 2014

HANDEL

Theodora

The English Concert/Bicket at Carnegie Hall, New York

"Dorothea Röschmann as the title character, Sara Connolly in the mezzo role of Irene, countertenor David Daniels as Didymus, tenor Kurt Streit as his friend Septimmius and Neal Davies, bass-baritone, as Valens - were uniformly outstanding, more musically and emotionally expressive than any comparable cast on record." ... "Röschmann's soprano is rich, quasi-mezzo in color, closer to the sound of Lorraine Hunt Lieberson's characterization than Dawn Upshaw's and she combined the virtues of both those singers. She had emotional and aesthetic gravity, an inherent sense of faith and determination, and she sang with clear, elegant phrasing." George Grella, New York Classical Review, February 03, 2014
"The performance of the title rôle by soprano Dorothea Röschmann was a monumental achievement." ... "Ms. Röschmann’s performance enabled the listener to see Theodora as a woman, not an archetype; and a woman for whom love and faith render the greatest tortures mere tests of her soul." Joseph Newsome, Voix des arts, February 2014
The soprano Dorothea Röschmann offered a deeply committed and affecting performance in the title role, her lustrous voice intimate and passionate by turns as she conveyed the humiliated woman’s pain in “With darkness deep as is my woe." Vivien Schweitzer, The New York Times, February 03, 2014

Recital - August 2013

Kultur und Kongresszentrum, Lucerne Festival

"Der Höhepunkt kam am Schluss: In Schumanns Zyklus «Frauenliebe und Leben» für Mezzosopran oder Alt verschmolzen Stimme, Wortlaut und Klavierklang vollkommen."
Fritz Schaub, Neue Luzerner Zeitung

MOZART

Le nozze di Figaro

Los Angeles Philharmonic/Duidamel at Walt Disney Concert Hall

In two great arias, Mozart makes it easy for any competent soprano to portray the Countess as a sympathetic wronged woman. Röschmann went deeper. The great Countess of our time, she was here a formidable figure of magnificence. Mark Swed, LA Times, 20 May 2013
In this consistently strong cast, it is Dorothea Roschmann, however, who commands our attention as Countess Almaviva. Her performance captures perfectly the sadness of this proud woman trapped in a loveless marriage to a philandering husband. Her lamenting aria, "Dove sono" was heartbreakingly poignant and dulcetly pure of tone. Jim Farber, Press Telegram, 21 May 2013

Recital - April 2013

Wigmore Hall, London

Röschmann's Rückert Lieder, meanwhile proved intensely spiritual rather than world-weary or nostalgic. Her voice, breathtakingly beautiful, climbed ecstatically towards its encounter with God in Um Mitternacht, and seemed to float away peacefully from the Earth at the end of Ich bin der Welt adhanden gekommen. Tim Ashley, The Guardian, 9 April 2013

Recital - January 2013

Carnegie Hall, New York

Sublimity is a term that should never be used lightly. Still, it was unavoidable in the best moments — and there were plenty — of a recital that the German soprano Dorothea Röschmann presented at Zankel Hall on Wednesday evening.
A passage near the start of “Kennst Du das Land” (“Do You Know the Land”) offered one of the evening’s loveliest moments when Ms. Röschmann dipped into her wine-dark lower range, as when a bright clarinet suddenly reveals its sumptuous chalumeau register.
A lingering roar of approval prompted two encores. Steve Smith, The New York Times, 24 January 2013

MOZART

Le nozze di Figaro

Teatro alla Scala, Milan

Her 'Dove sono' was sung with infinite tenderness and yearning Teatro.org, 26 March 2012
The Countess Almaviva of Dorothea Röschmann, particularly effective in 'Dove sono', was greatly applauded Pierluigi Panza, Corriere della Sera, 24 March 2012
There were well deserved cheers for the Countess of Dorothea Röschmann Pierachille Dolfini, Avvenire, 25 March 2012
The cast was worthy of the great Milan tradition: the class of Dorothea Röschmann.. Enrico Girardi, Corriere della Sera, 27 March 2012

Don Giovanni

Salzburg Festival

Dorothea Röschmann ist eine in jeder Hinsicht überzeugende Donna Elvira Gert Korentschnig, Kurier, 19 August 2011
Auf der Suche nach der neuen, dramatischen, dennoch gut kontrollierten Stimme hat die Röschmann endlich ihr Ziel erreicht. Markus Thiel, Merkur Online, 19 August 2011
Währenddessen wird die Donna Elvira von Dorothea Röschmann zur zentralen tragischen Figur der Inszenierung, wenn sie mit ihrer reifen Stimme eine Rollenstudie von verzweifelter Dramatik bietet. Daniel Ender, Der Standard, 19 August 2011

LOAD MORE

Recordings

Verdi: Aida

Christina Gallardo-Domâs, Vincenzo La Scola, Olga Borodina
Thomas Hampson, Laszló Polgár

Vienna Philharmonic Orchestra/Nikolaus Harnoncourt
Teldec