“Klara Ek’s blazing, impetuous Berenice is worth every one of those five stars on its own”
Recognised by many of the world’s leading conductors and orchestras, Klara Ek continues to delight audiences with her “fearless singing and highly virtuosic acting” (Die Presse). Especially renowned for her specialism in early music, recent highlights have included Handel’s Edilia (Almira) for Staatsoper Hamburg and Handel’s Samson with Festival de Beaune conducted by Leonardo García Alarcón, as well as Peer Gynt with the Gothenburg Symphony on tour under Alain Altinoglu, and Schumann’s Szenen aus Goethes Faust with the Danish National Symphony Orchestra conducted by Michael Schønwandt.
This season Klara joins the City of Birmingham Symphony Orchestra for Peer Gynt under Mirga Gražinytė-Tyla, the Royal Northern Scottish National Orchestra for Mahler’s Symphony No.4 under Thomas Søndergård, and Pacific Symphony for Messiah conducted by Christopher Warren-Green.
“Klara Ek as Dalila carries her arias with supple brightness”
(Concert Classic, July 2018)
“By contrast Klara Ek sings Costanza with a winning clarity that ultimately convinces Scipione to follow her; in the solid but effortless way she handles the high notes and fast runs of her second aria, using the metaphor of a steadfast rock in the text, she will put listeners in mind of Fiordiligi’s ‘Come scoglio’ in Cosi fan tutte, composed nearly two decades later.”
(Classical Source, January 2018)
“Klara Ek’s credentials as a coloratura soprano are well established in this series and she is particularly successful with the aria ‘Biancheggia in mar lo scoglio’”
(Disc of the Month, Opera Magazine, December 2017)
“Other vocal standouts were Klara Ek, impassioned as Melia”
(The Times, June 2017)
“Klara Ek is the vocally solid and wonderfully expressive almost-jilted Elisetta, who had thrilled the audience as Rosmonda in Il Germanico in the previous year.”
(ORF, August 2016)
“Soprano Klara Ek sounded aptly innocent in the final movement, and the very end had all the serene stillness one could want”
(The Guardian, September 2015)
“Klara Ek’s Rosmonda provided immaculate coloratura without tiring. She cooed, sighed, cried, laughed with inexhaustible force. What a vocal performance from all those involved!”
(BrKlassik. August 2015)
“The writing demands fearless singing and highly virtuosic acting, amongst the ladies Klara Ek proved especially thrilling as the hauntingly sensual, angry and suffering Rosmonda”
(DiePresse.com, August 2015)
“That is why it [Germanico in Germania] needs the best, and the six-member ensemble proved world class in every facet.”
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