Lydia Teuscher


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.

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News & Features



Lucio Silla (Cecilio)

Béatrice et Bénédict (Hero)

Hänsel und Gretel (Gretel)

Die lustige Witwe (Valencienne)

Don Giovanni (Zerlina)
La Finta Giardiniera (Sandrina)
Idomeneo (Ilia)
Le nozze di Figaro (Susanna/Cherubino)
Die Zauberflöte (Pamina)

Palestrina (Ighino)

Der Freischütz (Ännchen)


Mass in B Minor

Ein Deutsches Requiem

Aci, Galatea e Polifemo
Israel in Egypt

Die Jahreszeiten
Die Schöpfung

Symphony no. 4

A Midsummer Night's Dream

Coronation Mass
Exsultate Jubilate
Mass in C Minor

Brockes Passion

Das Paradies und die Peri (Jungfrau)


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National Forum of Music Wroclaw, WROCLAW

W.F. BACH Symphony in F major
HAYDN Violin Concerto in G major
C.P.E. BACH Symphony No. 1 in G major
TELEMANN Concerto in C major for recorder, strings and basso continuo51:C1
J.S. BACH 'Selig ist der Mann'


Alto: Ewa Pieronkiewicz
Tenor: ukasz Wilda
Baritone: Benoit Arnould
Violin: Stefano Barneschi

Il Giardino Armonico

Oper Bonn, BONN

Luigi CHERUBINI: Der Wasserträger

Conductor: Christoph Spering

Mikeli - Thomas E. Bauer
Graf Armand - Corby Welch
Anton - Anders Dahlin
Konstanze - Yannick-Muriel Noah
Angelina - Vardeni Davidian
Daniel - Daniel Pannermayr
Sémos - Sven Bakin
Erster ital. Kommandant - Hans Helmut Palm
Zweiter ital. Kommandant - Andrey Akhmetov
Chor des Theater Bonn
Beethoven Orchester Bonn

Chor des Theater Bonn
Beethovenorchester Bonn

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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



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



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



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,, 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


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



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


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,, 27 October 2013


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


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



HANDEL: Israel in Egypt

Lydia Teuscher (soprano)
Julia Doyle (soprano)
Hilary Summers (alto)
Benjamin Hulett (tenor)
Roderick Williams (bass)

Choir of The King’s Consort
The King’s Consort/Robert King

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