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 – and Théâtre national de l’Opéra-Comique, 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.
Strebel: Bizet- Carmen ‘Je dis que rien ne m’épouvante’
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, sings Messiah with La Orquesta Sinfonica Y Coro RTVE, and returns 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.
“Kim Lillian Strebel sings the title role with brilliant sentiment. Thanks to her outstanding vocal presence, she lets the emotion soar… This is a vocal roller coaster ride. With her high note just before the end, Strebel brilliantly rounds off a performance that demands as much from her powerful self-denying message of love as from her lively coloratura”
(Hildesheimer Allgemeine Zeitung, March 2018)
“Kim Lillian Strebel’s Pamina is full voiced and beautifully expressive”
(Le Monde, November 2017)
“We also note the very good performances of the young singers of this production; unreserved appreciation for Kim-Lillian Strebel’s alert and charming Pamina”
(La Revue du Spectacle, November 2017)
“In her Louise Brooks-style character she shows great expressiveness, especially in the scene where she is imprisoned in the web of her mother and is attacked by dozens of spiders. Of her assured singing, the beautiful pianissimi in Ah ich fuhl’s are noteable.”
(Classic Agenda, November 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.”
“The young Swiss soprano Kim-Lillian Strebel gets a huge applause as the innocent bride with the tearjerker ‘O mio babbino caro’.”
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