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. 

Current season highlights include a US and European tour with trailblazing string quartet, Brooklyn Rider presenting their programme ‘So many things’ while on the opera stage Anne Sofie von Otter appears as Countess Geschwitz under Kent Nagano in Christoph Marthaler’s new production of Lulu for Staastoper Hamburg and as Leonora (The Exterminating Angel) at the Royal Opera House Covent Garden.

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. 

Current season highlights include a US and European tour with trailblazing string quartet, Brooklyn Rider presenting their programme ‘So many things’ while on the opera stage Anne Sofie von Otter appears as Countess Geschwitz under Kent Nagano in Christoph Marthaler’s new production of Lulu for Staastoper Hamburg and as Leonora (The Exterminating Angel) at the Royal Opera House Covent Garden.

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Contacts

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

Reviews

“The best thing about this eclectic recital is Anne Sofie von Otter’s handsomely rich voice…Highlights include Shaw’s “Cant voi l’aube”, setting a 12th century French love poem to music of rare beauty and delicacy. Otter’s delivery is superb, reaching feverish heights in the final verse…Von Otter’s immaculate French is heard to advantage in the closing aria from Rufus Wainwright’s opera Prima Donna, and there’s a beguiling extract from John Adams’ Doctor Atomic. Best among the cover versions in a sultry version of “Love Sublime” by Brad Mehldau.” (The Arts Desk, November 2016)

“Not every singer could bring this off. You need one who can approach all music without prejudice, preconceptions or star mannerisms and simply communicate through song — a rare gift. Von Otter has honed the art of singing to such a point that she is purely expressive, no matter what she’s singing. Hers is not a powerhouse voice, but this only furthers her artistry. She can be brassy (in an ABBA encore, “Gimme Gimme Gimme”), she can be straightforward or she can be purely, limpidly beautiful, as she was in Anders Hillborg’s “Kväll,” lyrically accompanied by Johnny Gandelsman on solo violin, and in Caroline Shaw’s “Cant voi l’aube,” a luminous setting of a 12th-century troubadour text that was one of the evening’s standouts.” (Washington Post, October 2016)

“Anne Sofie von Otter stood out for her portrayal of Leonora, a tragic, desperate patient of the Doctor” (Opera Magazine, October 2016)

“The best thing about this eclectic recital is Anne Sofie von Otter’s handsomely rich voice…Highlights include Shaw’s “Cant voi l’aube”, setting a 12th century French love poem to music of rare beauty and delicacy. Otter’s delivery is superb, reaching feverish heights in the final verse…Von Otter’s immaculate French is heard to advantage in the closing aria from Rufus Wainwright’s opera Prima Donna, and there’s a beguiling extract from John Adams’ Doctor Atomic. Best among the cover versions in a sultry version of “Love Sublime” by Brad Mehldau.” (The Arts Desk, November 2016)

“Not every singer could bring this off. You need one who can approach all music without prejudice, preconceptions or star mannerisms and simply communicate through song — a rare gift. Von Otter has honed the art of singing to such a point that she is purely expressive, no matter what she’s singing. Hers is not a powerhouse voice, but this only furthers her artistry. She can be brassy (in an ABBA encore, “Gimme Gimme Gimme”), she can be straightforward or she can be purely, limpidly beautiful, as she was in Anders Hillborg’s “Kväll,” lyrically accompanied by Johnny Gandelsman on solo violin, and in Caroline Shaw’s “Cant voi l’aube,” a luminous setting of a 12th-century troubadour text that was one of the evening’s standouts.” (Washington Post, October 2016)

“Anne Sofie von Otter stood out for her portrayal of Leonora, a tragic, desperate patient of the Doctor” (Opera Magazine, October 2016)

“The mezzo-soprano Anne Sofie von Otter, singing with richness and vulnerability, plays Leonora” (New York Times, August 2016)

“The singers were more than fine; stand outs included Anne Sofie von Otter as a nuanced Leonora” (Frankfurter Rundschau, August 2016)

“Making these characters convincing required power and consistent vocal presence, which was especially apparent from Anne Sofie von Otter as senile Leonora” (Opernnetz, August 2016)

“the male trio fawn over von Otter who dazzles every second, with every prominent gesture, as the central figure for the evening. From barmaid to glamorous vamp, from Dowland to Elvis Costello and everything in between, she slips into the various roles and falls right back out of them again with ease” (Die Presse, June 2016)

“The performance was driven primarily by the great artist and legendary mezzo-soprano Anne Sofie von Otter…vocally, she is the absolute central power of the production. She sings with unmatched dedication and is perfect as the object of ultimate desire.” (Kurier, June 2016)

“Anne Sofie von Otter’s Jenny…[is] a classy number as one would expect from this imaginative performer.” (Opera Critic, January 2016)

“Anne Sofie von Otter’s Muse/Nicklausse, [is] a role she can still deliver with plenty of lissom tone” (Opera Magazine, December 2015)

“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)