Mari Eriksmoen
Soprano

“Mari Eriksmoen was a Blonde to rival that of Lucia Popp … the stage presence a continual source of vitality and the beauty of tone endlessly beguiling.” (Roger Parker, Opera, August 2015)

Contacts

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

Biography

Almost immediately on completion of her vocal studies in Oslo (Norwegian Academy of Music), Paris (Conservatoire National Superieur) and then Copenhagen (Royal Danish Academy of Opera), young Norwegian soprano Mari Eriksmoen found herself with a dream offer to sing Zerbinetta in Theater an der Wien’s production of Ariadne auf Naxos which marked the start of a close relationship with this major theatre. Eriksmoen’s frequent return visits to Vienna have included Olympia (Les contes d’Hoffmann), Euridice (Monteverdi’s L’Orfeo), Teti (Rossini's Le nozze di Teti e di Peleo) and Rosina (Paisiello’s Il barbiere di Siviglia), and she attracted wide attention and received universal praise for her portrayals of Susanna, Zerlina and Fiordiligi in a cycle of Mozart’s Da Ponte operas together with the late Nikolaus Harnoncourt in performances broadcast throughout Europe on both radio and television. Other key appearances in recent seasons have included Pamina (Die Zauberflöte) at Festival d'Aix-en-Provence, at Opernhaus Zurich under Fabio Luisi, Blondchen (Die Entführung aus dem Serail) at Oper Frankfurt, Glyndebourne Festival and at the 2015 BBC Proms, and in a display of repertoire versatility Eriksmoen has also appeared as Waldvogel in Wagner’s Siegfried as part of Daniel Barenboim’s epic Ring Cycles at Teatro alla Scala.

Almost immediately on completion of her vocal studies in Oslo (Norwegian Academy of Music), Paris (Conservatoire National Superieur) and then Copenhagen (Royal Danish Academy of Opera), young Norwegian soprano Mari Eriksmoen found herself with a dream offer to sing Zerbinetta in Theater an der Wien’s production of Ariadne auf Naxos which marked the start of a close relationship with this major theatre. Eriksmoen’s frequent return visits to Vienna have included Olympia (Les contes d’Hoffmann), Euridice (Monteverdi’s L’Orfeo), Teti (Rossini's Le nozze di Teti e di Peleo) and Rosina (Paisiello’s Il barbiere di Siviglia), and she attracted wide attention and received universal praise for her portrayals of Susanna, Zerlina and Fiordiligi in a cycle of Mozart’s Da Ponte operas together with the late Nikolaus Harnoncourt in performances broadcast throughout Europe on both radio and television. Other key appearances in recent seasons have included Pamina (Die Zauberflöte) at Festival d'Aix-en-Provence, at Opernhaus Zurich under Fabio Luisi, Blondchen (Die Entführung aus dem Serail) at Oper Frankfurt, Glyndebourne Festival and at the 2015 BBC Proms, and in a display of repertoire versatility Eriksmoen has also appeared as Waldvogel in Wagner’s Siegfried as part of Daniel Barenboim’s epic Ring Cycles at Teatro alla Scala.

A confident and versatile concert singer, Eriksmoen is a regular guest of the Münchner Philharmoniker, Oslo Philharmonic and Malmö Sympfoniorkester and Gothenburg Symphony to name but a few. Current season highlights include concerts with Orchestre de Paris under Daniel Harding, with Trondheim Symfoniorkester under Dalia Stasevska and with Bergen Philharmonic Orchestra under Sir Andrew Davis while opera highlights include Zerlina (Don Giovanni) at Theater an der Wien where she also appears in Carlus Padrissa‘s staged version of Haydn’s Die Schöpfung conducted by Laurence Equilbey.

 

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Contacts

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

Reviews

“Mari Eriksmoen’s lip-biting Zerlina left no doubt as to her being an ideal first choice in her highly-charged, kittenish reading…Vocally sailing through the part, this Zerlina whet one’s appetite for greater challenges to come.” (The Opera Critic, December 2016)

“Zerlina is the focus of the cast. Mari Eriksmoen sings the role with her clear, flexible and wonderfully coloured soprano” (News.at, December 2016)

“The performance is led by Mari Eriskmoen as a charming Zerlina” (Salzburger Nachtrichten, December 2016)

“Mari Eriksmoen’s lip-biting Zerlina left no doubt as to her being an ideal first choice in her highly-charged, kittenish reading…Vocally sailing through the part, this Zerlina whet one’s appetite for greater challenges to come.” (The Opera Critic, December 2016)

“Zerlina is the focus of the cast. Mari Eriksmoen sings the role with her clear, flexible and wonderfully coloured soprano” (News.at, December 2016)

“The performance is led by Mari Eriskmoen as a charming Zerlina” (Salzburger Nachtrichten, December 2016)

“Mari Eriksmoen, with her bright and agile soprano, is an ideal Zerlina” (Die Presse, December 2016)

“Mari Eriskmoen was especially successful in creating a thoroughly strong character in Zerlina” (Wiener Zeitung, December 2016)

“Mari Eriksmoen is a suitably fearless Blonde.” (Opera Magazine, Hugo Shirley, September 2016)

“Radiating an abundance of melodious sound and filling the theatre is Mari Eriksmoen as La Fée, with her magically mellifluous coloratura” (Die Welt, June 2016)

“[As La Fée], Mari Eriskmoen produces the most alluring, shimmering coloratura; pure magic.” (Der Tagesspiegel, June 2016)

“Rising soprano Mari Eriksmoen has chosen her repertoire for this disc well…Her selection of nine songs by Hugo Wolf emphasises a sense of mischief, and the recording captures well the crystalline yet supple quality of her voice and her direct, communicative way with text. Her Strauss selection includes three of the Ophelia Songs, which she makes sound at once confiding and otherworldly…Eriksmoen is even more persuasive in her native Norwegian. Five songs by Grieg find her relishing each word – A Bird’s Song sounds especially posied and elegant.” (Erica Jeal, The Guardian, February 2016)

"Mari Eriksmoen was a Blonde to rival that of Lucia Popp in the old Josef Krips recording, the stage presence a continual source of vitality and the beauty of tone endlessly beguiling.” (Roger Parker, Opera Magazine, August 2015)

“Mari Eriksmoen [gave a] beautifully-sung live-wire performance as Blonde.” (Michael Church, Independent, June 2015)

“Mari Eriksmoen has a clear, agile soprano and light vibrato with which she spun fine pianos and gave a credible depiction of the caring, boisterous and naïve girl.” (Hedy Mühleck, Bachtrack, August 2015)

“The Norwegian soprano Mari Eriksmoen was lively and vocally excellent as Rosina.” (Susanna Dalmonte, Deutschland Radio, February 2015)

"Eriksmoen fills the role of Pamina with touching intensity. Ach ich fühl's is a highlight of the evening." (Peter Hagmann, Neue Zürcher Zeitung, December 2014)

“Mari Eriksmoen delivers a crystal clear, pure Pamina.” (Heinz W. Koch, Badische Zeitung, December 2014)

"Mari Eriksmoen's Pamina was luminous and poised!" (Corinna de Fonseca-Wollheim, New York Times, July 2014)

“Having performed Susanna and Zerlina [in this Da Ponte cycle], Mari Eriksmoen made the biggest impression as Fiordiligi. She excelled in all aspects, she conquered the considerable vocal hurdles with flying colours, and maintained a beautiful, luminous tone throughout her skilful coloratura passages.” (Walter Weidringer, Die Presse, March 2014)

“Mari Eriksmoen is enchanting and brings a fresh tone to Zerlina.” (Kleine Zeitung, March 2014)

“Norwegian Mari Eriksmoen is well on her way to becoming the star of this [Da Ponte] cycle. After a charmingly clever Susanna, she now uses her bell-like soprano and impressive stage presence to create a smart and lovable Zerlina.” (Salzburger Nachtrichten, March 2014) 

“In Vienna, Harnoncourt succeeded again in his discovery of a young singer…Norwegian soprano Mari Eriksmoen…She is a cunning and clever Susanna in “Figaro”, brings a touching naivety to Zerlina in “Giovanni”, and successfully portrays an internally tumultuous Fiordiligi in “Così”, mastering the music’s huge leaps Eriksmoen brings spotless intonation and dramatic presence to the stage.” (Süddeutsche Zeitung, March 2014)

“Mari Eriksmoen was a delightful Olympia, even voiced, accurate, and ample tone.” (Moore Parker, The Opera Critic, March 2012)

“Mari Eriksmoen was without doubt the highlight of the evening.” (Der Standard, March 2012)