ChristinaGansch

/
Soprano
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Contact

Keiron Cooke

Keiron Cooke

Associate Director
Will Pate

Will Pate

Associate Artist Manager
Ivo Ivanov

Ivo Ivanov

Assistant Artist Manager

Representation

Worldwide general management with Askonas Holt



About Christina

Austrian soprano Christina Gansch is the winner of the 2014 Kathleen Ferrier Award and is a graduate of the Royal Academy of Music and the Mozarteum in Salzburg. In 2021, Christina represented Austria in the final of the Cardiff Singer of the World Competition.

Highlights in her 2024/25 season include a return to the Royal Opera as Marzelline Fidelio, Gretel Hänsel und Gretel in her debut for the Semperoper Dresden and her role debut as Susanna Le nozze di Figaro for the Welsh National Opera.Her concert engagements include Bach's Matthäus-Passion with the Turku Philharmonic Orchestra/Matthew Halls, Mahler's Symphony no. 8 with the Tonkünstler-Orchester Niederösterreich/Yutaka Sado and Zemlinsky's Frühlingsbegräbnis and Bruckner's Mass in F Minor with the Wiener Symphoniker/Lorenzo Viotti

Her recent appearances include Pamina Die Zauberflöte, Zerlina Don Giovanni and Servilia La clemenza di Tito at the Royal Opera House, Covent Garden; Lenio in Martinů’s The Greek Passion, Servilia and 5th Maid Elektra at the Salzburger Festspiele; Zerlina for the San Francisco Opera and the Opéra national de Paris and Pamina at the Opéra national de Lorraine and San Francisco Opera.

Christina has also appeared at the Glyndebourne Festival; Teatro alla Scala, Milan; the Hamburgische Staatsoper; Bayerische Staatsoper, Munich and Deutsche Staatsoper, Berlin.

Recent highlights on the concert platform have included Schubert’s Mass in E Minor with the Wiener Symphoniker/Andrés Orozco-Estrada; Mahler’s Symphony No.4 at the BBC Proms and Edinburgh Festival with the BBC Symphony Orchestra/Semyon Bychkov and with the SWR Symphonieorchester/Teodor Currentzis; Gretchen in Schumann’s Szenen aus Goethes Faust with the Rundfunk-Sinfonieorchester Berlin/John Storgårds; Haydn’s Nelson Mass with the Orquesta y Coro Nacionales de España/David Afkham; Mozart’s Requiem with the Göteborgs Symfoniker/Simone Young and his Mass in C Minor with the Mozarteum Orchester Salzburg/Adam Fischer and Brahms’ Ein Deutsches Requiem with the Philharmonisches Staatsorchester Hamburg/Kent Nagano.

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Representation

Worldwide general management with Askonas Holt



Season Highlights

Oct 2024 - Oct 2024
Royal Opera House, London
Beethoven - FIDELIO (Marzelline)
Dec 2024 - Dec 2024
Dresden Semperoper
Humperdinck - HANSEL UND GRETEL (Gretel)
Feb 2025
WNO (Cardiff and UK Tour)
Mozart - LE NOZZE DI FIGARO (Susanna)

Photos

Selected Repertoire

BeethovenFidelio (Marzelline)   •   Leonore (Marzelline)
BerliozLes Troyens (Ascagne)
DebussyPelléas et Mélisande (Mélisande)
DonizettiL'elisir d'amore (Adina)
HandelAlmira (title role)   •   Catone in Utica (Emilia)   •   Orlando (Dorinda)   •   Rodelinda (title role)
HumperdinckHänsel und Gretel (Gretel)
JanáčekJenufa (Karolka)
MartinůThe Greek Passion (Lenio)
MozartLa clemenza di Tito (Servilia)   •   Così fan tutte (Despina)   •   Idomeneo (Ilia)   •   Le nozze di Figaro (Susanna)   •   Don Giovanni (Zerlina)   •   Die Zauberflöte (Pamina)
PurcellDido and Aeneas (Belinda)
SchumannSzenen aus Goethes Faust (Gretchen)
StraussCapriccio (Italienische Sängerin)
VerdiUn ballo in Maschera (Oscar)

News

Press

  • Fidelio (Marzelline)

    Royal Opera House, London
    Oct 2024 - Nov 2024
    • The plot is twisted around (particularly in favour of Marzelline, usually a cipher — here strongly sung and acted by Christina Gansch

    • Christina Gansch took advantage of Marzelline’s unusual prominence to enhance a growing reputation.

    • Peter Rose’s bumbling Rocco and Christina Gansch’s gorgeously sung Marzelline anchor the action

    • Christina Gansch was an engaging Marzelline, her creamy soprano a delight from start to finish.

    • Christina Gansch’s Marzelline and Michael Gibson’s Jaquino, meanwhile, create far more complex individuals than the mismatched comic-opera couple of tradition. Gansch’s Marzelline is more dynamic than usual, not only becoming aware of Leonore’s true gender early on, but also subsequently playing an active part in Pizarro’s downfall

    • Christina Gansch stood out from the start as a determined Marzelline, a woman who knows what she wants but is thwarted by the constrictions of the time. Gansch’s pearly soprano, open and generous, has a steadiness at the top and feels well supported. Her thicker soprano made an excellent contrast to Jennifer Davis’ lighter and silver-threaded instrument.

    • Austrian soprano Christina Gansch sings Marzelline in the evening's stand-out performance