Singer Soprano

Kristiane Kaiser


Joy, that still remained

Marietta‘s famous song from Korngold’s opera Die tote Stadt (The Dead City) could in times like this be understood as guideline of these artists who can at least still rehearse, whereas not being permitted to perform in front of an audience. Thus our soprano Kristiane Kaiser keeps preparing her first Marietta at the Cologne Opera without firmly knowing, whether and when her role-debut can take place there. It has been the aim of the Cologne Opera to open this new-production at the StaatenHaus in early December 2020, exactly 100 years after the world-premiere of the opera which was given simultaneously at the Cologne and the Hamburg Opera. We are looking forward to this event with positive vigour and good hope, despite all corona-based uncertainty.

The ultimately valid performance-details will be published on the Cologne Opera webpage in due course: Link

Melancholic Far-East-Operetta over New Year

Having been born in Vienna, Kristiane Kaiser is taking over the role of the Viennese aristocratic daughter Lisa in Lehár’s operetta The Land of Smiles at the Cologne Opera. The performances in concert-version conducted by Stefan Soltesz and with Cologne’s rising tenor-star Young Woo Kim as Chinese Prince Sou-Chong are taking place on New Year Eve and on January 4th, 2020.

Kristiane Kaiser enjoys cultivating also her lyric competence continuously in addition to the dramatic roles which she conquered in recent years (Tannhäuser-Elisabeth, Salome, Senta). Thus appearances as Mozart’s Donna Anna (Don Giovanni) at her Vienna home-theatre on December 12th and 17th as well as on January 2nd, 2020 are framing her Cologne guest-appearances.

Wagner for the first time at the home-theatre

After having already stepped into the dramatic German repertory at other opera-houses within recent years, Kristiane Kaiser is now singing an opera-part of this field for the first time at her home-theatre too. Following preceding experiences as Rezia (Oberon), Elisabeth (Tannhäuser) and - with overwhelming success - most recently as Salome, she appears for the first time as Senta in Wagner’s The Flying Dutchman. In line with this production the extremely successful cooperation with the conductor Marc Piollet as already proved with Smetana’s Bartered Bride, Puccini’s La Bohème and recently with Catalani’s La Wally is being continued. In accordance with Wagner’s intention the Vienna Volksoper is presenting The Flying Dutchman in the so-called balled-version which means without intermission. Following her role-debut on March 12 Kristiane Kaiser will also be singing Senta in the performances on March 22 and 29.

More information about the production of the Vienna Volksoper

The Princess of Judea

The title-role of Richard Strauss‘ Salome is an essential touchstone at the step into the dramatic soprano-repertory. Kristiane Kaiser wages this step with her role-debut in the new-production of the opera at the Cologne Opera House. The approach towards this challenge went through sundry path-breaking engagement for roles which already exceeded the pure lyric standards. Among these signposts during Kristiane Kaiser’s career one could witness her Agathe in Der Freischütz and her Rezia in Oberon, the title-role in Lachner‘s Catharina Cornaro as well as her Elisabeth in Wagner’s Tannhäuser and her first Strauss-roles Arabella and Diemut in Feuersnot. However, the dramatic facets of Leonora in Verdi’s Il trovatore, Dvorak’s Rusalka and Catalani’s La Wally also pioneered her way of career.

Kristiane Kaiser is giving her role-debut as Salome at the Cologne Opera on October 20th, 2018. Further performances on October 28th, November 10th and 18th, 2018.

Details referring to the Cologne Salome-production

High Mountains Challenge

Within the same year 1892 and only few weeks prior to Leoncavallo’s I Pagliacci, Alfredo Catalani’s La Wally had its world-premiere at the same venue, Milan’s Teatro alla Scala. Leoncavallo’s opera soon started its triumphal career as Verismo-twin together with Mascagni’s Cavalleria rusticana having been premiered two years before, while Catalani’s three-act-opera fell into a shadowy existence. The Italian subjects of the other two operas also fitted much better to the prevailing taste of fervid blood- and earth-dramas then the tragedy of an ostracized woman in the high mountains. Thus Catalani‘s Wally never managed to become a standard repertory.

The commitment of the Vienna Volksoper for this piece is therefore commendable. And even more commendable is Kristiane Kaiser’s effort to study and rehearse the demanding role for only two performances of the short run. After having sung Nedda in I Pagliacci, Liu in Turandot and Mimí in La Bohéme, the title-role of Wally is the soprano’s fourth approach to a Verismo-opera. Performances with Kristiane Kaiser on June 17th and 22nd, 2018.

Details concerning the Vienna Volksoper production link

Anticipated in dreams and finally accomplished

When the Cologne Opera will celebrate the opening-night of the new-production of Wagner’sTannhäuser at the Staatenhauson September 24th, a role-dream of Kristiane Kaiser will be fulfilled. The conscientious and careful artist felt her vocal development to the youthful-dramatic repertory already for some time. However, she waited patiently in order to preserve lyric agility and variety of vocal colours. All that can now be of benefit to her first Elisabeth.

The Cologne principal conductor Francois­-Xavier Roth together with the Gürzenich Orchestra will lay out the sound-carpet for Wagner’s opera in the original Dresden version. The British all-round artist Patrick Kinmonth and his set-designer Darko Petrovic transpose the middle-age plot to the frontier between virtual world and reality. Kristiane Kaiser will be performing as Elisabeth on September 24thand 30th, October 8th, 14th, 22ndand 28thas well as November 1st, 2017.

Further details concerning the cologne Tannhäuser-production

To uncharted waters!

Throughout the course of an artist’s life one needs to keep reviewing which tasks meet ideally with the current state of the own development. “Career means nothing but to know the best possible assignment for the time being.” Quoting Mirella Freni, one of Kristiane Kaiser’s great idols. And whatever counts for the singer on stage has enduring influence on the performer of concert and lieder repertory, too. 

So far, the pure lyric soprano-parts were prevailing among her concert commitments, just as the youthful-charming repertory was dominating her choice of lieder. However, meanwhile the doors to the flooding sounds by Richard Strauss, Edvard Grieg or Richard Wagner have been opened. She therefore devotes herself to these three composers in her recital at the Vienna MuTh, the modern concert-hall in the Augarten, on May 29th, 2017. Pianist Jendrik Springer will accompany Kristiane Kaiser unfolding a tapestry of symphonic sound for example in Wagner’s Wesendonck-Lieder

The concert also depicts a signpost for upcoming debuts on opera-stage. The schedule includes her first ever Elisabeth in Tannhäuser at the Cologne Opera still this year. In 2018, her role-debuts as Marietta in Korngold‘s Die tote Stadt and as Catalani’s La Wally will follow. A start-off for new, tempting waters!

Details concerning the Vienna MuTh-Recital

The caliph’s daughter in German romanticism

For the German high romanticism the Orient created a beloved setting for the mysterious and unknown. Carl Maria von Weber did also not manage to resist this fashion flow and decided on the Oberon-topic being summarized from different text sources when meeting the choice for his last stage-project. Rezia, the daughter of the caliph from Bagdad and her knight Hüon from Bordeaux need to survive various examinations and blows of fate before being finally brought together by the fairy king. The main reason why Weber’s opera is only rarely performed is the outstanding vocal demand of the two dramatic main-roles.

The Cologne Opera had special reasons to decide on this venture which can be experienced at the Staatenhouse located at the Cologne Rhine-Park: On the one hand the new built Cologne Opera House was opened with this opera in 1957 which means exactly 60 years ago. On the other hand an exquisite cast of the challenging parts could be found, above all Kristiane Kaiser as Rezia. She is extremely experienced with Weber’s style – especially as Agathe in Der Freischütz – and as having proceeded to Wagner and Strauss meanwhile, her role debut as Rezia apparently comes in the right moment of her constantly developing career. Opening night: March 11th, 2017

All details concerning the Cologne Opera production

Salzburg Festival Debut

Kristiane Kaiser celebrates her first appearance with Salzburg Festival this summer with the performances of Otto Nicolai’s opera-rarity Il templario. As Rovena she performs Vilfredo d’Ivanhoe’s girlfriend. Singing the title-role, Knight-Templar Vilfredo, the world-famous tenor Juan Diego Flórez assembles an international cast in Salzburg. Due to Kristiane Kaiser’s frequently demonstrated enthusiasm for unusual repertory (Lachner’s Catharina Cornaro, Humperdinck’s Sleeping Beauty, Richard Strauss‘ Feuersnot, a. o.) she is downright predestined for the task which brings her to Salzburg Festival for the very first time.

Otto Nicolai was the founder of the Vienna Philharmonic Orchestra which is reviving his Italian Belcanto-opera in Salzburg. Like so many other operas of this style Il templario is based on a subject from Sir Walter Scott’s English dark romanticism. The Vienna Philharmonic is performing the most rarely performed piece under Andrés Orozco-Estrada’s baton; the concert performances are taking place at the Main Festival Hall on August 27th and 30th at 3 pm.

Violetta in the Parisian Carnival

Hans Gratzer’s since 15 years well established staging of Verdi’s La Traviata at the Vienna Volksoper describing the tragic destiny of Violetta Valery, the lady of the camellias, as a danse macabre with carnival pantomime is being revived this year perfectly fitting into the carnival season. Kristiane Kaiser who made her sensational debut with the role of Violetta in 2008 is finally performing this role again on 3rd, 5th, 9th, 26th of February and on 18th of March 2016.

Kristiane Kaiser’s role debut as Violetta has been released both on CD and DVD as you can see from the artist’s discography page.

At the summit of rank

Opera News, the most renowned US-magazine for vocal art, recently praised Kristine Kaiser as “full-voiced, elegant Mozartean”. She combines her appearances as Donna Anna within the Vienna new-production of Don Giovanni this autumn with her role-debut as Richard Strauss’ Arabella at the Estonian National Opera in Tallinn. Mozart and Strauss – the summit of rank for velvet soprano voices, the precious combination of the great legendary predecessors.

It already generates an outstanding challenge to immerge into Achim Freyer’s magic picturesque world while creating the difficult role of the desired, here also desiring Donna Anna. The approach to Arabella’s noble contemplation within the same period means an even stronger contrast and a certainly unusual pairing. In Vienna Josef Wagner as Don Giovanni is the centre of lust, in Tallinn Morten Frank Larsen as Mandryka “the right” partner for Arabella’s future life.  Vienna sees the Dutch Jac van Steen at the conductor’s desk, Tallinn the Estonian Vello Pähn.

Significant role debut as Mimì

Giacomo Puccini created the prototype of the young verismo-soprano with his Mimì in La Bohème as a prequel for developing multifaceted options in the field of the 20th century Mediterranean opera. Kristiane Kaiser treads this path with her first ever Mimì after having met great success already as Liù in Puccini’s Turandot. Link

The role debut is taking place within the revival of the long since legendary Vienna Volksoper production originally staged by Harry Kupfer in 1984. Kristiane Kaiser performs this role under Marc Piollet’s baton on April 23rd, 26th and 29th as well as on May 10th and 14th. Tenor Vincent Schirrmacher is her partner as Rodolfo and Anja-Nina Bahrmann gives her role debut as Musetta.

Mozart and Lied as clean-up for voice and soul

Kristiane Kaiser is by far not the only singer who returns intentionally to Mozartian roles on opera -stage and to singing Lied-repertory again and again. One of her greatest heroes, Lisa della Casa, called Mozart and the Lied-repertory the clean-up for voice and soul. The Countess in Mozart’s The Marriage of Figaro has been a key-role within the soprano's repertory for a considerable time. Joining this season's performance series of the Vienna Volksoper she will be singing this role again on February 28th, March 6th and 21st, 2015. With the role of her unfaithful husband Mathias Hausmann is again her opponent, Yasushi Hirano (as Figaro) will get married to Julia Koci (Susanna) under Alfred Eschwé's competent conducting.

On Sunday, March 15th Kristiane Kaiser will give a recital with Lieder from the late romantic era singing music by Johannes Brahms, Richard Strauss and Richard Wagner. Felix Lemke, the second dean of studies at the Volksoper, recognized conductor and accompanist, will be joining Kristiane Kaiser at this concert. You can find a Lied-rarity performed by the artist among her audio-clips. Link

Heavenly joys in Montpellier

The spread of Gustav Mahler's symphonic oeuvre on international concert stages had already reached the rest of Europe and the USA, when it was first perceived in France. The taste of the Parisian audience - influenced strongly by Debussy, Ravel and Fauré - was a completely different one. Only a few months before Mahler's death in Vienna in 1911 were his compositions presented in Paris, amongst those the symphony n°4 with the vocal ending on the "Heavenly joys" which are now sung about by Kristiane Kaiser under the musical direction of Pedro Halffter, known both as successful conductor of opera and concert and as a composer. The concert will be held on 12 December 2014 at Le Corum in Montpellier together with the Orchestre national Montpellier Languedoc-Roussillon.

The rose of the silver operetta

Leo Fall was one of the most successful representatives of the silver operetta era, his "Rose von Stambul" being a sensational success at the Theater an der Wien in the winter of war in 1916/1917 with Betty Fischer in the title role on whose scent Kristiane Kaiser will be on 11 May 2014 at the Prinzregententheater in Munich where she will sing the role in a concert version. Ulf Schirmer will direct his Munich Radio Orchestra and the choir of the Bavarian Radio, Matthias Klink will sing the lyrical tenor songs of Achmed Bey and a CD recording will be released later on.

 With the Munich Radio Orchestra, Kristiane Kaiser already sung and recorded Franz Lehár's "Friederike" and Anna-Elisa in "Paganini". She has established herself as renowned and high-quality performer of the opera and operetta and just celebrated an extraordinary success as Rosalinde in "Die Fledermaus" at the Wiener Volksoper under the musical direction of Julia Jones. It will also be at the Wiener Volksoper where she will debute in the role of Diemut in Richard Strauss' "Feuersnot" under Hans Graf at the end of this season. 

Click here for audio clips with operetta and opera songs interpreted by Kristiane Kaiser.

The devoted slave

Within the revival of the production of "Turandot" at the Vienna Volksoper, it was primarily the ensemble member Kristiane Kaiser who won the hearts and admiration of public and press by her impressive and passionate incarnation of the slave Liù:

The ensemble member Kristiane Kaiser outgrew herself with her emphatic warmth and fine phrasing. Der Standard (Daniel Ender)

Excellent: Kristiane Kaiser as also vocally touching Liù. Kurier (Peter Jarolin)

Her partner in the series of performances under Guido Mancusi are Neil Shicoff as Kalaf, Jee-Hye Han in the title role and Yasushi Hirano as Timur.

Kristiane Kaiser pleased a lot as Liù, her strong soprano is also capable of tender lyrism, the scene of her death was very touching. Online Merker (Johannes Marksteiner)

Kristiane Kaiser was the courageous slave Liù, her arias were highlights. Kronenzeitung (V.P.)

After engagements as Leonora in Verdi's "Il trovatore", as Micaela in "Carmen", Rosalinde in "Die Fledermaus" and Marenka in "The bartered bride" in the current season, the artist will give her role debut in the demanding part of Diemut in "Feuersnot" by Richard Strauss in June 2014. Another series of "Turandot" will follow in October.

The Verdi-conquest

After having added the title-role of Violetta in Verdi's "La Traviata" to her repertoire in 2008 with huge success, Kristiane Kaiser is now taking a further step singing Leonora in "Il Trovatore". The Austrian soprano is performing this role for the first time within the Vienna Volksoper new production series of the this opera on 27 and 30 November as well as on 13 December 2013 under the baton of Enrico Dovico and in the staging by Dietrich W. Hilsdorf.