Katharina Konradi
Download Assets
“Her crystal-clear soprano was supported by a dazzling vocal technique, beautiful phrasing and a cheeky stage presence to match”
— Bachtrack
Katharina Konradi stands among the leading lyric sopranos of today, noted for a versatility that moves effortlessly between the opera, concert, and recital stages. Awarded the 2026 OPUS KLASSIK Award for Solo Recording of the Year, she is praised by Bachtrack for her “crystal-clear” voice and “dazzling vocal technique” and by Das Opernglas for her “fascinating palette of colour shades”.
Katharina Konradi’s 2026/27 season is an important chapter in her operatic journey. She returns to the Royal Ballet & Opera as the spirited Oscar in Un ballo in Maschera, conducted by Music Director Jakub Hrůša, also reprising the role at the 2026 Edinburgh International Festival, with Opernhaus Zürich on tour under Gianandrea Noseda. At Bayerische Staatsoper, Konradi appears as Sophie in Barrie Kosky’s acclaimed production of Der Rosenkavalier, conducted by Vladimir Jurowski and returns to Semperoper Dresden as Pamina in Die Zauberflöte. At Staatsoper Hamburg, where she was formerly an ensemble member, she makes her anticipated role debut as Konstanze in Die Entführung aus dem Serail and her season concludes with her Festival and role debut as Ilia, in a new staging of Idomeneo at Glyndebourne Festival Opera under Robin Ticciati.
See More
On the concert platform, she performs with Tonhalle-Orchester Zürich in Mozart, Requiem under Paavo Järvi, with Danish National Symphony Orchestra in Beethoven, Missa solemnis under Petr Popelka and with MüPA Budapest and Ádám Fischer in Haydn, Die Schöpfung. Katharina Konradi also joins the City of Birmingham Symphony Orchestra under conductor Kazuki Yamada for a Gala concert, “A night at the Opera”, performing arias and duets from Rigoletto, L’elisir d’amore, Roméo et Juliette and La Bohème.
Katharina Konradi has enjoyed high-profile success in recent seasons across a broad repertoire of roles. Highlights include Sophie under Philippe Jordan and Susanna in Le nozze di Figaro under Bertrand de Billy with Wiener Staatsoper on tour in Japan; Adele in Die Fledermaus at Bayerische Staatsoper, conducted by Vladimir Jurowski; Zdenka in Arabella at Semperoper Dresden under Asher Fisch; and Woglinde in both Das Rheingold and Götterdämmerung at Bayreuther Festspiele, conducted by Christian Thielemann. The foundations of her now flourishing international career were laid during her years with Staatsoper Hamburg, where she quickly became an audience favourite. There, she brought an impressive array of roles to the stage including Gilda in Rigoletto, Nannetta in Falstaff, Ännchen in Der Freischütz, Marzelline in Fidelio and Gretel in Hänsel und Gretel, all to great critical acclaim.
Katharina Konradi is a sought-after concert artist and has performed with many of the world’s leading orchestras and international festivals. Highlights include Beethoven, Symphony No. 9 with Berliner Philharmoniker and Kirill Petrenko at Festspiele Baden-Baden, Mozart, Requiem with Camerata Salzburg and Manfred Honeck at Salzburger Festspiele, Mozart, Mass in C minor with Philharmonisches Staatsorchester Hamburg under Kent Nagano at the Elbphilharmonie and Bernstein, Symphony No. 3 Kaddish with London Symphony Orchestra and Sir Antonio Pappano. Additional highlights include Haydn, Die Schöpfung with Accademia Nazionale di Santa Cecilia and Daniel Harding, Mahler, Symphony No. 4 with Deutsches Symphonie-Orchester Berlin and Kent Nagano, and Bruckner, Mass in F minor with Münchner Philharmoniker under Thomas Hengelbrock. With Mahler Chamber Orchestra and conductor Gustavo Dudamel, Katharina Konradi performed Mozart, Coronation Mass as part of a special event at the UNESCO World Heritage site of Burgos Cathedral.
An acclaimed recitalist, her programmes highlight the richness and intimacy of the song tradition and include both beloved masterpieces and rarely heard treasures. Her gift for storytelling, and her close collaborations with foremost pianists including Malcolm Martineau, Daniel Heide, Ammiel Bushakevitz, Joseph Middleton and Julius Drake, make her a regular presence on many of Europe’s most prestigious recital stages including Wigmore Hall, Konzerthaus Wien, Elbphilharmonie and at the Schubertiade of Hohenems, Schwarzenberg and Valdegovià.
Konradi’s growing discography reflects the breadth of her artistry. Alongside her OPUS KLASSIK Award-winning collection of Liszt Lieder, Un Cycle Imaginaire, with Daniel Heide, she appears on recordings of Mendelssohn, A Midsummer Night’s Dream with Tonhalle-Orchester Zürich and Paavo Järvi, Mozart, Coronation Mass with Akademie für Alte Musik Berlin and Howard Arman, and several collaborative Lieder collections including Echoes with Catriona Morison, Russian Roots with Trio Gaspard and Mahler, Lieder der Jugend: Songs of youth and awakening.
Born in Bishkek, Kyrgyzstan, Katharina Konradi’s move to Germany with her family as a teenager nurtured her love of classical music and she completed her studies at Universität der Künste Berlin and Hochschule für Musik und Theater München. She is a previous winner of the International ARD Competition and a former BBC Radio 3 New Generation Artist.
Contacts
Szymon Cyganski Artist Coordinator/Administrator, VOICE
Worldwide General Management
Szymon Cyganski Artist Coordinator/Administrator, VOICE
Szymon Cyganski Artist Coordinator/Administrator, VOICE
Worldwide General Management
“Katharina Konradi portrays a Sophie with a strong, spirited character. Radiant and irresistible, she is captivating as she falls for her Knight of the Rose, stands her ground against a suitor she rejects outright, and asserts herself with unwavering confidence. Her voice is clear — even crystalline — and deeply moving; the sheer authority the young soprano commands is all the more surprising and invigorating.”
“Just as forthright in her vocal delivery as in her acting, Katharina Konradi brings as much character as freshness to the role of Sophie.”
“The trio is rounded out by Katharina Konradi’s impeccable Sophie — a role she has mastered in the current Munich production and inhabits perfectly here.”
“Konradi’s voice, transparent and crystalline, governed by a musical intelligence and sensitivity, radiates a purity and expression that transmits light and truth. Perhaps, after what was seen, felt, and heard in this unforgettable recital, if one had to designate an heir to the unforgettable Victoria [de los Ángeles] today, it would be Katharina Konradi. Konradi avoids demagoguery, empty talk, and posturing. Just singing. Pure singing. Supported by impeccable Spanish, the Kyrgyz soprano confirmed that art, true art, knows no borders or limits.”
“Konradi moves well between different styles and languages, displaying great control of phrasing, legato, and […] Her voice stood out for its clear emission and impeccable intonation, qualities that allow her to approach pianissimos with particular care, reducing the volume at will and recovering it with ease. […] The best aspect of her performance lay in her interpretive approach, which avoided all exaggeration and focused on detail.”
“The young soprano relies on comprehensive luminosity and flawlessness. In the famous “Oh! quand je dors”, Konradi’s bright noble timbre shimmers with compellingly distinctive coolness.”
“Katharina Konradi is moving in the fifth movement, her luminous soprano filling the air.”
“Konradi’s voice was as clear as a bell, with particularly beautiful bloom, and with a strong foundation in the lower range.”
“Katharina Konradi possesses playful wit and vocal beauty. Her soprano has the radiance of Peretyatko. Konradi sings the Rose Aria in Act 4 with stunning vocal beauty, making the Count’s desire to possess her understandable. Her playful wit is pronounced, and one follows her feminine cunning with great pleasure.”
“Katharina Konradi stole the show as Oscar .. with an effortless soprano, Konradi manifested pure joy, singing and dancing her exuberant character to life.”
“Soprano Katharina Konradi whose trail-blazing career is blossoming by leaps and bounds.”
“Konradi’s voice was the bell tolling in exhilaration. It was thrilling.”

























