Dorothea Röschmann
Contact
Sue Spence
Hannah Bishay
Jessica Buchanan-Barrow
Representation
About Dorothea
Born in Flensburg, Dorothea Röschmann was awarded the title of Kammersängerin at the Deutsche Staatsoper Berlin in 2017, having been a member of the ensemble for many years. She has been a frequent guest at the Salzburg Festival since 1995 and at the Wiener Staatsoper, Bayerische Staatosper Munich, the Royal Opera House Covent Garden and in Berlin.
Renowned as a distinguished Mozartian, she has recently expanded her repertoire into Wagner with Elisabeth Tannhäuser at the Semperoper Dresden and Hamburgische Staatsoper last season, and Isolde at the Opéra National de Lorraine, Nancy and in concert in Berlin in 2023. She made her debut in the title role in Ariadne auf Naxos at the 2021 Edinburgh International Festival, recorded for Linn Records, and revived the role at the Teatro Comunale Bologna in 2022.
In concert last season she performed Mahler Symphony No.2 with the Montréal Symphony Orchestra and Los Angeles Philharmonic conducted by Rafael Payare, Isolde in concert with the Deutsches Symphonie-Orchester Berlin and Robin Ticciati, and Wagner's Wesendonck Lieder with Kristiina Poska and the Royal Stockholm Philharmonic Orchestra. Future concerts include Tove in Schoenberg's Gurrelieder with Sir Simon Rattle and the Symphonieorchester des Bayerischen Rundfunks, Erwartung with Patrick Hahn and the Wiener Symphoniker and Mahler Symphony No.2 with Rafael Payare and the San Diego Symphony.
A celebrated recitalist, she was awarded a Grammy in 2017 for her solo recital recording of Schumann and Berg with Mitsuko Uchida.
Representation
Season Highlights
Video
Dorothea Röschmann performs at the Leeds Lieder Festival
Credit: Leeds Lieder
PlayingDorothea Röschmann performs Mahler's Des Knaben Wunderhorn
Credit: Medici.tv
PlayingDorothea Röschmann performs Bach Laudamus te
Credit: Hamburg Philharmonic State Orchestra
PlayingDorothea Röschmann perfoms Im Treibhaus from Wagner’s Wesendonck Lieder
Credit: CLC Productions / Tangaro
PlayingDorothea Röschmann performs Schumann's In der Fremde
Credit: Universal Music Group
Playing
Audio
- Robert Schumann - Nur wer die Sehnsucht kenntCredit: Sony Music Classical
- Robert Schumann - Kennst du das LandCredit: Nur wer die Sehnsucht kennt
- Richard Strauss - MorgenCredit: Sony Music Classical
Selected Repertoire
| Donizetti | La fille du régiment (Marquis de Berkenfield) |
|---|---|
| Gluck | Alceste |
| Janáček | The Makropulos Affair (Emilia Marty) |
| Mozart | The Marriage of Figaro (Marcellina) • Cosi fan tutte (Despina) • Le Nozze di Figaro (Marcellina) |
| Strauss | Ariadne auf Naxos (Ariadne) |
| Wagner | Tannhäuser (Elisabeth) • Tristan und Isolde (Isolde) |
News
Press
JANACEK: The Makropoulos Case
Staatsoper Unter den Linden, BerlinOct 2024 - Oct 2024...she embodied the role to perfection – her voice thrillingly-produced, while she injected the character with a fervid dramatic intensity. Her performance also managed to capture the character’s cold and manipulative nature, making Emilia an aloof figure from the very start. Röschmann’s secure and expressive voice soared in Janáček’s testing vocal lines, producing a stream of steady, well controlled tone throughout the evening. Her final scene was emotionally devastating. Not surprisingly she was rewarded with a huge ovation at the close, and rightly so, as this was an accomplished interpretation that ranks among the very best.
- Music OMH
- 19 October 2024
Dorothea Röschmann has been appointed to the role of Emilia. She is the first to be heard, like a magnet attracting the audience’s attention and the orchestra’s thunderbolt. Isn’t Emilia Marty a singer? A diva perhaps? That’s exactly what’s needed for a performer as complete as this peerless Mozartean – it’s almost astonishing to see her in this role, but the challenge is quickly met: sharp as a tack when she needs to be, with very clear and accurate articulation, and a projection perfectly adapted to the acoustic characteristics of the Staatsoper Unter den Linden. A character of maturity (many others have taken on Emilia after building a solid career, such as Anja Silja, Libuše Prylová and Elisabeth Söderström, the reference in the discography currently available), Dorothea Röschmann is capable of providing everything necessary to ensure that the magnetism that reigns from Emilia Marty’s first appearance is assured on stage, in full view of us all, with a dramatic, strong, expressive, imperious soprano voice that takes the role in its stride. She is at times a shrew, a raven, but also a wounded woman, perfectly aware of the effects of the passage of time. The timbre is beautiful, very fleshy, shaped by a faultless career, with a voice that is sometimes insidious, with devastating high notes.
- Opera Diary
- 26 October 2024
