Diana Damrau is a regular guest on the stages of the world’s leading opera and concert houses. Her extensive repertoire lies in the lyric and coloratura fach and includes, among others, the title roles in Donizetti’s Lucia di Lammermoor, Massenet’s Manon, as well as the Queen of the Night in Mozart’s The Magic Flute. She regularly performs at major venues such as the Bavarian State Opera, the Metropolitan Opera in New York, and La Scala in Milan. Specially composed for her were Iain Bell’s opera A Harlot’s Progress (Theater an der Wien, 2013) and Lorin Maazel’s 1984 (Royal Opera House, 2005). As an exclusive artist for Warner Classics/Erato, she has released numerous award-winning CD and DVD recordings. Diana Damrau is one of the most important lieder interpreters of our time. She regularly appears in renowned concert halls such as London’s Wigmore Hall, New York’s Carnegie Hall, and the Berlin Philharmonie. She maintains close artistic partnerships with pianist Helmut Deutsch and harpist Xavier de Maistre. In 2022, she will present a program of love songs by Brahms and Schumann in the most important concert halls of Europe together with Jonas Kaufmann and Helmut Deutsch. On the opera stage this season, she will still sing Anna Bolena at the Vienna State Opera and make her role debut as the Countess in Strauss’s Capriccio at the Bavarian State Opera. Diana Damrau is a Kammersängerin of the Bavarian State Opera, recipient of the Bavarian Maximilian Order for Science and Art, as well as the Federal Cross of Merit of the Federal Republic of Germany.
19. March 2018
Songs by Hugo Wolf and Richard Strauss
Before appearing as Donizettis Maria Stuarda on the stage of the Zurich Opera House in April, Diana Damrau will be performing in a song recital. Together with the pianist Helmut Deutsch she devotes herself to the Italian song book/Italienisches Liederbuch by Hugo Wolf in the first part of her program. In these charming, often ambiguous miniatures, Wolf succeeds in capturing the message of the text musically with the utmost precision - regardless of whether it is about an enthusiastically exuberant declaration of love or a small, well-placed malice. The second part is dedicated to compositions by Richard Strauss. The Four Last Songs/Vier letzten Lieder, seldom accompanied by the piano, are a rarity.