Kim-Lillian Strebel
Soprano

“The discovery of the evening” (Badische Zeitung)

Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Biography

British soprano Kim-Lillian Strebel has received rapturous critical acclaim following a number of high-profile debuts. These include Pamina in Barrie Koksy’s production of Die Zauberflöte for Cincinnati Opera, marking her US operatic debut, Cendrillon for Theater Freiburg, and Lauretta in Calixto Bieito’s new production of Gianni Schicchi at the Komische Oper Berlin. 

In the ensembles of Theater Freiburg and Theater Basel, Kim-Lillian has acquired both a wealth of stage experience and an extensive repertoire to include the roles of Micaëla (Carmen) and Fiordiligi (Così fan tutte), Adina (L'elisir d'amore), Euridice (Orfeo ed Euridice) and Angelica (Orlando). Equally, during her time in the Junge Ensemble of the Deutsche Opera, roles included Papagena and First Lady (Die Zauberflöte), 2nd Niece (Peter Grimes), Nicoletta (The Love of Three Oranges) and Countess Ceprano (Rigoletto) under Pablo Heras-Casado, amongst others. As a guest artist, she recently returned to Berlin as Musetta (La bohème) and Gretel (Hänsel und Gretel) under Donald Runnicles, and this season sings First Lady in Günter Krämer’s production of Die Zauberflöte, as well as returning to the Komische Opera on tour in South Korea as Pamina. Elsewhere, she sings Guillermo Amaya’s new production of Donizetti’s Adelia for Theater für Niedersachsen, Hildesheim, marking the German premiere of the piece. 

British soprano Kim-Lillian Strebel has received rapturous critical acclaim following a number of high-profile debuts. These include Pamina in Barrie Koksy’s production of Die Zauberflöte for Cincinnati Opera, marking her US operatic debut, Cendrillon for Theater Freiburg, and Lauretta in Calixto Bieito’s new production of Gianni Schicchi at the Komische Oper Berlin. 

In the ensembles of Theater Freiburg and Theater Basel, Kim-Lillian has acquired both a wealth of stage experience and an extensive repertoire to include the roles of Micaëla (Carmen) and Fiordiligi (Così fan tutte), Adina (L'elisir d'amore), Euridice (Orfeo ed Euridice) and Angelica (Orlando). Equally, during her time in the Junge Ensemble of the Deutsche Opera, roles included Papagena and First Lady (Die Zauberflöte), 2nd Niece (Peter Grimes), Nicoletta (The Love of Three Oranges) and Countess Ceprano (Rigoletto) under Pablo Heras-Casado, amongst others. As a guest artist, she recently returned to Berlin as Musetta (La bohème) and Gretel (Hänsel und Gretel) under Donald Runnicles, and this season sings First Lady in Günter Krämer’s production of Die Zauberflöte, as well as returning to the Komische Opera on tour in South Korea as Pamina. Elsewhere, she sings Guillermo Amaya’s new production of Donizetti’s Adelia for Theater für Niedersachsen, Hildesheim, marking the German premiere of the piece. 

An emerging concert artist, Kim-Lillian Strebel recently made her US concert debut with the Atlanta Symphony in performances of Missa Solemnis and her BBC Scottish Symphony Orchestra debut in Beethoven’s Symphony No.9, as well as joining the Tonhalle-Orchester Zürich under Peter Kennel as Solveig in Peer Gynt and the Kammerorchester Basel for Mozart’s Requiem under Giovanni Antonini. This season she opens the Mozarteum Orchester Salzburg’s season with CPE Bach’s Magnificat under Riccardo Minasi, as well as returning to Atlanta Symphony for Bach’s Cantata 80 under Robert Spano. 

Born in London and raised in Switzerland, Kim-Lillian has studied at the Royal Academy of Music under the tutelage of the late Anthony Rolfe-Johnson, and the Royal Conservatoire of Scotland. She has also been a pupil of Dame Kiri Te Kanawa and Ryland Davies. 

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Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Reviews

“Strebel sang sumptuously in her aria and in her suicide scene, and looked every inch a Princess”(Seen and Heard, July 2017)

“Kim-Lillian Strebel plays an enchanting Pamina. With a steely yet warm timber, she sings the stunning aria “Ach, ich fülh’s,” perhaps the focal point of the opera when the action finally slows for a few moments of reflection.” (City Beats, July 2017)

“Ms Strebel has a wonderful voice that is nicely uniform throughout her vocal range as well as the music’s dynamic range.” (Bachtrack, May 2017)

“Strebel sang sumptuously in her aria and in her suicide scene, and looked every inch a Princess.” (Seen and Heard, July 2017) 

“Kim-Lillian Strebel plays an enchanting Pamina. With a steely yet warm timber, she sings the stunning aria “Ach, ich fülh’s,” perhaps the focal point of the opera when the action finally slows for a few moments of reflection.” (City Beats, July 2017)

“Ms Strebel has a wonderful voice that is nicely uniform throughout her vocal range as well as the music’s dynamic range.” (Bachtrack, May 2017)

“In her one solo turn, the beautiful “Pie Jesu,” Strebel’s velvet voice was backed only by organ, while the assembled symphony musicians waited to fill in the singing gaps with a quasi-call and response. Though it was Strebel’s only role in the production, she made an indelible impression.” (myAJC, May 2017)

“Kim-Lillian Strebel has the wonderful lyrical purity of a maiden, making a grand new appearance here. You could listen to her "Vous êtes mon Prince Charming" dozens of times.” (Badische Zeitung, April 2017)

“The most vocally mature performance was from Kim-Lillian Strebel, coupling an erotically appealing visual portrayal [as Fiordiligi] with wonderfully clear high tones and subtle phrasing in both her arias and duet. Her E-major aria Per pieta in Act 2 is a musical highlight.” (Basler Zeitun, May 2016)

“Kim-Lillian Strebel is a Fiordiligi with beautiful soprano height.” (Badische Zeitung Klassik, May 2016)

“... and the evening gets its climax with Kim-Lillian Strebel’s E-major aria ‘Per pieta’.” (Südkurier, May 2016)

“In the second act she wields her beautiful, pure and clear soprano voice to another use and hurls a few of Master Donizetti’s bel canto top notes to the auditorium. A delight!” (Der Open Freund, March 2016)

“Strebel has a rosy, glowing tone, even when her voice soars at stratospheric heights.” (Atlanta Journal Constitution, January 2016)

“Kim-Lillian Strebel was Adina…and sang the performance with lyrical delicacy and naturalness. Her "Della crudele Isotta" was bright, innocent, and especially enhanced by the supple movement of her soprano.” (November 2015)

“The young Swiss soprano Kim-Lillian Strebel gets a huge applause as the innocent bride with the tearjerker ‘O mio babbino caro’.” (Westdeutsche Zeitung, March 2015)

“The two chief protagonists, Stephanie Lauricella (Hänsel) and Kim-Lillian Streben (Gretel) were both first-rate singers, and their voices melded beautifully in the prayer duet.” (Bachtrack, December 2014)

“The discovery of the evening is Kim-Lillian Strebel: A new addition to the theater ensemble she thrilled with an angelic, youthful, lyrical Micaëla.” (Badische Zeitung, December 2014)

“Kim-Lillian Strebel (Micaëla) represents in a perfect way the selfless, innocent country girl - each tentative step, each embarrassed look. She triumphed in her big aria ‘C’est des contrebandiers’ with touching, full color and a voice that carries.” (Der Neue Merker, December 2014)

“Her three ladies (Kim- Lillian Strebel , Annie Rosen and Dana Beth Miller) via the intensity of their interventions manage to seduce without difficulty.” (Forum Opera, November 2012)

“Kim-Lillian Strebel is lively and resourceful in her punk-chic. Her voice soars effortlessly and holds its own in the ensemble, especially in the quartet with Mendoza, his friend Don Carlos, and her boyfriend Antonio.” (Opera Critic, January 2012)

“Kim-Lillian Strebel’s melting Louisa and Lynda-Jane Nelson’s dishy Duenna are the most expressive singers.” (Financial Times, January 2012)

Discography

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