Anne Sofie von Otter
Mezzo-soprano

“She possesses one of the most flexible and natural vocal instruments of any living artist.” (Opera Now)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Christopher Lawson +44 (0)20 3725 9108

Biography

Grammy award winning mezzo-soprano Anne Sofie von Otter is one of today's most recorded artists with an unrivalled discography built across a career spanning more than three decades at the very top of the profession.

A busy concert schedule takes von Otter to all corners of the globe and she regularly appears with the world’s leading conductors and orchestras. An ever-evolving repertoire has played a key role in sustaining her international reputation on the opera stage. Among current season plans are a new production of Strauss' Capriccio at Lyric Opera of Chicago under Sir Andrew Davis, Leocadia Begbick (Aufstieg und Fall der Stadt Mahagonny) at the Royal Opera House Covent Garden under Mark Wigglesworth and

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Grammy award winning mezzo-soprano Anne Sofie von Otter is one of today's most recorded artists with an unrivalled discography built across a career spanning more than three decades at the very top of the profession.

A busy concert schedule takes von Otter to all corners of the globe and she regularly appears with the world’s leading conductors and orchestras. An ever-evolving repertoire has played a key role in sustaining her international reputation on the opera stage. Among current season plans are a new production of Strauss' Capriccio at Lyric Opera of Chicago under Sir Andrew Davis, Leocadia Begbick (Aufstieg und Fall der Stadt Mahagonny) at the Royal Opera House Covent Garden under Mark Wigglesworth and Waltraute (Götterdämmerung) at the Wiener Staatsoper under Sir Simon Rattle. On the concert stage she performs orchestrated songs by Schubert with the Royal Stockholm Philharmonic Orchestra under Jukka Pekka Saraste, Zemlinsky’s Maeterlinck Lieder with the BBC Symphony Orchestra under Sakari Oramo and gives the world premiere of Peter Eötvös’ Senza Sangue with the New York Philharmonic conducted by Alan Gilbert.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Christopher Lawson +44 (0)20 3725 9108

Reviews

“Anne Sofie von Otter brought a natural vocal ease and willowy presence to the glamorous actress Clairon.” (Chicago Classical Review, October 2014)

“Von Otter delivers both versions with scrupulous attention to the words and a sultry tone. Every rhetorical device is skilfully explored, every phrase glows, whether blithely (La Calisto), or with suppressed violence (Poppea)... For many listeners, however, von Otter's duets with Sandrine Piau will be the highlight. Stylistically, temperamentally and in terms of timbre, the two voices are a sensational match. Rarely have 'Pur ti miro' or 'Dolcissimi baci' sounded so erotic.” (Anna Picard, BBC Music Magazine, January 2013)

"The mezzos

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“Anne Sofie von Otter brought a natural vocal ease and willowy presence to the glamorous actress Clairon.” (Chicago Classical Review, October 2014)

“Von Otter delivers both versions with scrupulous attention to the words and a sultry tone. Every rhetorical device is skilfully explored, every phrase glows, whether blithely (La Calisto), or with suppressed violence (Poppea)... For many listeners, however, von Otter's duets with Sandrine Piau will be the highlight. Stylistically, temperamentally and in terms of timbre, the two voices are a sensational match. Rarely have 'Pur ti miro' or 'Dolcissimi baci' sounded so erotic.” (Anna Picard, BBC Music Magazine, January 2013)

"The mezzos are out in force this autumn - Bartoli, Kozena, Graham, Garanca ...but this programme of 17th century Italian opera from Von Otter is perhaps the most remarkable of the lot. ... Her still plush mezzo entwines ravishingly with Sandrine Piau's brighter soprano, but the most remarkable parts of her "baroque dream" are Rossi's Lament of the Swedish Queen and Provenzale's astonishing parody of it." (The Sunday Times, October 2012)

"What a treat Anne Sofie von Otter proved to be, too. Frequently, Brangäne can descend into a hectoring and boring spinsterish part, but von Otter, in powerful voice, was sympathetic. " (Classical Source, October 2010)

"Von Otter was the focus of the first concert, wringing emotion from each syllable of lyrics that sounded life-changing when she sang them. Mehldau impressed for adjusting touch and timbre for first-half readings of Brahms, Faure and Richard strauss, and bringing out the influence on jazz pianists today of Sibelius's sparse rhythmic pedals." (Financial Times, June 2010)

"Ms. Von Otter's performance was the picture of interpretive subtlety, with carefully calibrated dynamics and coloration and a velvety tone that perfectly suited these graceful world-weary texts." (The New York Times, October 2009)