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 Anne Sofie to all corners of the globe where she appears with the world’s leading conductors and orchestras. And an ever-evolving repertoire has played a key role in sustaining Anne Sofie's international reputation as an operatic force. 

The current season includes concerts with the National Symphony Orchestra (Eschenbach), Swedish Radio Symphony Orchestra (Minkowski), London Philharmonic Orchestra (Jurowski), and she performs new and specially commissioned arrangements of

...

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 Anne Sofie to all corners of the globe where she appears with the world’s leading conductors and orchestras. And an ever-evolving repertoire has played a key role in sustaining Anne Sofie's international reputation as an operatic force. 

The current season includes concerts with the National Symphony Orchestra (Eschenbach), Swedish Radio Symphony Orchestra (Minkowski), London Philharmonic Orchestra (Jurowski), and she performs new and specially commissioned arrangements of Sibelius songs with the Finnish Radio Symphony Orchestra (Lintu) on the 150th anniversary of Sibelius’s birth. On the opera stage she makes her role debut as Jenny in Keith Warner’s new production of Die Dreigroschenoper at Theater an Der Wien and she creates the role of Leonora in the world premiere of Thomas Adès’s The Exterminating Angel at the Salzburg Festival.

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Contacts

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

Reviews

“Anne Sofie von Otter is not the overripe contralto battleaxe one might usually cast as Leokadja Begbick but, resplendent in a platinum-blonde, hot-pink-dip-dyed wig, she gave a memorable performance on her own terms, singing with point and delivering her spoken lines in a tone-perfect Estuary accent.” (Opera Magazine, May 2015)

“Anne Sofie von Otter is a memorable Leokadja Begbick, strutting and commanding the stage, singing with eerie beauty. Always a treat when singing” (Backtrack, March 2015)

“von Otter has a beautiful voice and, as the evil widow Begbick, joyously attacks her lines with bitingly vicious phrasing” (Londonist, March 2015)

“Anne Sofie von Otter

...

“Anne Sofie von Otter is not the overripe contralto battleaxe one might usually cast as Leokadja Begbick but, resplendent in a platinum-blonde, hot-pink-dip-dyed wig, she gave a memorable performance on her own terms, singing with point and delivering her spoken lines in a tone-perfect Estuary accent.” (Opera Magazine, May 2015)

“Anne Sofie von Otter is a memorable Leokadja Begbick, strutting and commanding the stage, singing with eerie beauty. Always a treat when singing” (Backtrack, March 2015)

“von Otter has a beautiful voice and, as the evil widow Begbick, joyously attacks her lines with bitingly vicious phrasing” (Londonist, March 2015)

“Anne Sofie von Otter sings and struts splendidly as the widow Begbick whose brothel-keeping skills more or less run the town” (Express, March 2015)

“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)