Lydia Teuscher

Biography

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.

She collaborates regularly with conductors such as René Jacobs, Jonathan Cohen, Emmanuelle Haïm, Sir Roger Norrington, Helmuth Rilling and Markus Stenz and highlights in her 2015/16 season include Bach's Matthäus-Passion with the Royal Concertgebouw Orchestra/Ivor Bolton and Mass in B Minor with the Hamburger Symphoniker/Jeffrey Tate, Die Schöpfung with the Sydney Symphony Orchestra/Masaaki Suzuki and Mozart's Mass in C Minor with Les Violons du Roy/Bernard Labadie.

Her operatic appearances include Pamina Die Zauberflöte at the Salzburg Mozartwoche, Festival d’Aix-en-Provence, the Bolshoi and at the Bayerische Staatsoper and Deutsche Staatsoper; Susanna Le nozze di Figaro at the Glyndebourne Festival and the Dresden Semperoper; Zerlina Don Giovanni at the Bolshoi and Gretel Hänsel und Gretel for the Glyndebourne Festival, the Dresden Semperoper and Saito Kinen Festival.

Please contact Mary Donald for an updated biography and for performance details.

Read More >

News & Features

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

Read More >

Media Player

Video

  • GLYNDEBOURNE
    How to create a 60s make-up look

Audio

Schedule

Wigmore Hall, LONDON

BACH Cantata: Christ lag in Todesbanden BWV4
TELEMANN Cantata: Du aber Daniel, gehe hin TWV4:17
-Interval-
BACH Brandenburg Concerto No. 6 in B flat major BWV1051
BACH Cantata: Gottes Zeit ist die allerbeste Zeit ("Actus Tragicus") BWV106

Arcangelo
Lydia Teuscher soprano
Alex Potter countertenor
Andrew Tortise tenor
Thomas Bauer baritone

Auditorio Stelio Molo RSI, LUGANO

Georg Philipp TELEMANN

Ouverture in Fa maggiore TWV 55:F1

„Meine Seele erhebt den Herrn“,
Deutsches Magnificat in sol maggiore TWV 9.18

Cantata „Die Hirten bei der Krippe zu Bethlehem“ TWV 1:797

Cantata „Uns ist ein Kind geboren“ in la minore TWV 1:1452

LYDIA TEUSCHER: SOPRANO
Ensemble I Barocchisti.
Diego Fasolis: conductor

Prinzregententheater, MUNICH

MOZART 'La Finta Giardiniera'

Conductor: Andrew Parrott,

Sandrina: Layla Claire
Arminda: Susanne Bernhard
SERPETTA: LYDIA TEUSCHER
Ramiro: Olivia Vermeulen
Don Anchise: Wolfang Ablinger-Sperrhacke
Belfiore: Julian Prégardien
Nardo: Michael Kupfer-Radecky

Munchner Rundfunkorchester

Load More

Press

Handel & Mozart

Opera Arias

New World Symphony/Bernard Labadie

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

Bach

Cantatas

Les Violons du Roy/Bernard Labadie

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

Handel (arr. Mendelssohn)

Israel in Ägypten

King's Consort/Robert King (Vivat CD)

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

HAYDN

Die Schöpfung

Sydney Symphony Orchestra/Masaaki Suzuki

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.


Bachtrack, Zoltán Szabó, 13 Mai 2016
Soprano Lydia Teuscher shaped phrases with flexible pure tone and exquisite expressiveness.
Peter McCallum, The Sydney Morning Herald, 15th May 2016

Mozart

Requiem

Les Violons du Roy/Bernard Labadie

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

Mozart

Requiem

Toronto Symphony Orchestra/Bernard Labadie

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

Handel

Messiah

Chicago Symphony Orchestra & St Louis Symphony Orchestra/Bernard Labadie

[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

Mozart & Bach

Arias

San Francisco SymphonyOrchestra/Paul Goodwin

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

Handel

Messiah

Tafelmusik/Ivars Taurins

Lydia Teuscher’s brilliant and beautiful soprano provided warmth and clarity to everything she sang.
Robert Harris, The Globe Mail, 19 December 2014

Handel

Aci, Galatea e Polifemo

Le Concert D'Astree/Emmanuelle Haïm

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 da pianta in pianta,” Aci’s “bird” aria.
De Caffarrelli, Parterre.com, 27 October 2013

Mozart

Le nozze di Figaro

Glyndebourne Festival Opera

...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

Interview with Lydia Teuscher

Glyndebourne Festival Opera

Lydia Teuscher talks to the LPO about her role as Cherubino in Glyndebourne’s latest production of Mozart’s Le nozze di Figaro.  Follow link below for full interview
Feature on Glyndebourne website

Humperdinck

Hänsel und Gretel

Glyndebourne Live CD

...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

LOAD MORE

Recordings

MOZART: Le nozze di Figaro


Recorded live at the Glyndebourne Festival

Sally Matthews (Countess Almaviva)
Vito Priante (Figaro)
Audun Iversen (Count Almaviva)
Lydia Teuscher (Susanna)
Isabel Leonard (Cherubino)
Ann Murray (Marcellina)
Andrew Shore (Bartolo)
Sarah Shafer (Barbarina)
Colin Judson (Don Curzio)
Alan Oke (Don Basilio)
Nicholas Folwell (Antonio)

The Glyndebourne Chorus
Orchestra of the Age of Enlightenment/Robin Ticciati
Opus Arte/Glyndebourne

LEHAR: Die Lustige Witwe


Recorded live at the Semperoper Dresden

Gunther Emmerlich (Baron Mirko Zeta)
Lydia Teuscher (Valencienne)
Bo Skovhus (Graf Danilo Danilowitsch)
Petra-Maria Schnitzer (Hanna Glawari)

Dresden State Opera Chorus
Dresden Staatskapelle/Manfred Honeck
Euro Arts