With a voice described as “brilliant to its highest notes” (Süddeutsche Zeitung), Greek coloratura soprano Danae Kontora is already a name of note in repertoire ranging from Classical to contemporary, with the role of Die Königin der Nacht (Die Zauberflöte) forming the backbone of recent seasons. Since her first appearance in the role at Oper Leipzig, Kontora has subsequently performed Die Königin at Semperoper Dresden, Oper Frankfurt, Aalto Musiktheater Essen, and in Barrie Kosky’s iconic production which she reprised for the Komische Oper at their home in Berlin as well as on tour to Macao and Taiwan this past season.
During her seasons as a young artist in Oper Frankfurt’s Opernstudio, and as an ensemble member of Oper Leipzig, Danae Kontora built a varied operatic repertoire including Blondchen (Die Entführung aus dem Serail), Marion Delorme in Gounod’s Cinq-Mars, Blumenmädchen I (Parsifal), Waldvogel (Siegfried), Tigrane (Radamisto), Barbarina (Le nozze di Figaro), and Taumännchen (Hänsel und Gretel). Elsewhere on the opera stage, Danae recently sang her first Frasquita (Carmen) for Greek National Opera, and Oscar (Un ballo in maschera) for Israeli Opera, and this past season made debuts as Zerbinetta (Ariadne auf Naxos) at Finnish National Opera and at Wiener Staatsoper as Frantzi in Johannes Maria Staud’s Die Weiden. Upcoming, she returns to Die Kӧnigin (Die Zauberflӧte) for Komische Oper in Berlin.
On the concert stage, Kontora joined the Gewandhausorchester under Andris Nelsons as part of the orchestra’s 275th Anniversary Celebrations, the Münchner Rundfunkorchester for Mendelssohn’s A Midsummer Night’s Dream under Mario Venzago, the Orchestra of Oper Frankfurt and Sebastian Weigle for Mendelssohn’s Elias, the Bamberger Symphoniker under Juraj Valcuha at Würzburg’s Mozartfest for Mozart’s Requiem and appeared at the Munich Biennale Festival of Contemporary Music in Claude Viviers’ Kopernikus. Following her debut at the Edinburgh International Festival as Waldvogel (Siegfried) with the Royal Scottish National Orchestra under Sir Andrew Davis, Kontora was invited to return as Woglinde (Götterdämmerung) and also made her BBC Proms debut with Deutsche Kammerphilharmonie Bremen under Constantinos Carydis in a virtuosic programme of Mozart and Strauss. In the current season, Danae further joins Mo. Carydis and the Deutsche Kammerphilharmonie for concerts in Bremen and Hamburg, and debuts Brett Dean’s And once I played Ophelia with Tapiola Sinfonietta under Pekka Kuusisto.
Danae Kontora trained at Munich’s Hochschule für Musik und Theater and Bayerische Theaterakademie August Everding, and was awarded the Bayerische Kunstförderpreis in 2015, the same year of her nomination for “Best Young Singer” by Opernwelt.
“The beautiful and skilful soprano conveyed the strange, often distorted poetry of the music, the anxious and screaming moments, and the depressed dreaminess.”
(Helsingin Sanomat, Hannu-Ilari Lampila, November 2020)
“The orchestra in a glittering musical web served as a splendid background for Danae Kontora’s enchantingly flirtatious Zerbinetta, her coloratura gleamingly fresh.”
(Opera Magazine, May 2020)
“The young Greek Danae Kontora charmed with her radiant coloratura and her lively stage antics.”
(Helsingin Sanomat, Hannu-Ilari Lampila, January 2020)
“A nearly full Royal Albert Hall audience assembled for Danae Kontora’s vocal pyrotechnics… Kontora exuded a ripeness of tone recalling that of Edita Gruberová, surely the work’s greatest exponent on record still.”
(Classical Source, Curtis Rogers, September 2019)
“Yet the concert as a whole, with its theatrical entrances and exits from the coloratura soprano Danae Kontora, supplying top-register frissons in arias by Mozart and Strauss, was an undeniably generous, high-level offering.”
(The Sunday Times, Paul Driver, September 2019)
“And, the charm and success of the evening was due in no small part to the contribution of Greek soprano Danae Kontora… I hope some of country’s casting agents were in the Royal Albert Hall and have started making the calls and contacts that will bring Kontora back to London soon. How both Mozart and Strauss would surely have delighted to hear their music performed with such effortless, silvery sweetness — the drama so fluently expressive, the vocal peaks reached so pure and integrated within a cohesive architecture.”
(Opera Today, Claire Seymour, September 2019)
“Their “star-flaming coloratura” drew on the arsenal of “rising stars”.”
(Onlinemerker.com, Peter Dusek)
“The absolute culmination of classical singing was offered by the Queen of the Night, who was in good hands with Danae Kontora.”
“Above all, star vocalist Danae Kontora, who was breath taking in the Queen of the Night’s aria and was the most convincing of the evening.”
“Danae Kontora, a coloratura soprano of the highest class, delivered her two arias precisely and effectively.”
“Of all the singers, it is Danae Kontora, as Oscar, whom most of the audience will be wanting to see again on the Tel Aviv stage.”
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