Mari Eriksmoen

Soprano

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“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)

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Almost immediately upon 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). 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.

Trailer Pelléas et Mélisande

A confident and versatile concert singer, Eriksmoen is often invited to sing Solveig in Grieg’s Peer Gynt while her wide concert repertoire includes Schumann’s Szenen aus Goethes Faust, Mozart’s Davide penitente and Mass in C minor, Poulenc’s Gloria, Orff’s Carmina Burana, Handel’s Messiah, Bach’s Mass in B minor, Haydn’s Stabat Mater and Brahms’s Ein deutsches Requiem. Eriksmoen is a regular guest of the Orchestre de Paris, Münchner Philharmoniker, Oslo Philharmonic Orchestra, Bergen Philharmonic Orchestra, Danish National Symphony Orchestra, Malmö Sympfoniorkester and Gothenburg Symphony amongst others. She works with many eminent conductors including Daniel Harding, Marc Minkowski, Bertrand de Billy, Louis Langrée, Paavo Järvi and Robin Ticciati.

Current season opera highlights include Pamina (Die Zauberflöte) at d’Aix-en-Provence Festival under Raphaël Pichon and at Opernhaus Zürich, and Mélisande (Pelléas et Mélisande) at Opera Vlaanderen and at Grand Théâtre de Luxembourg. In concert she appears with Oslo Philharmonic Orchestra under Andrew Manze, with Internationale Stiftung Mozarteum under Pablo Heras-Casado and she makes her debut with the Berliner Philharmoniker performing Mendelssohn’s A Midsummer Night’s Dream under Iván Fischer.

Mozart: ‘Ach ich fühls’, Die Zauberflöte © Arte

Mozart: ‘Vedrai carino’, Don Giovanni © Österreichischer Rundfunk

J.S. Bach: ‘Aus Liebe will mein Heiland sterben’, St Matthew Passion’ © NDR

Haydn: ‘Nun beut die fleur’, Die Schöpfung

“The most magnificent in the cast was the Mélisande of Mari Eriksmoen, a lyrical soprano who sings with perfect clarity. With her lithe silhouette and Scandinavian looks, she fully embodies the fascinating heroine, at once fragile and extremely determined”

(L’Avant-Scène Opéra, February 2018)

“The big star in Debussy’s Pelléas et Mélisande is Mari Eriksmoen. The Norwegian soprano impresses from the opening scene right up to her deathbed”

(Volkskrant, February 2018)

“Soprano Mari Eriksmoen is a clear-voiced Mélisande and perfectly portrays the exceptional nature of this almost extra-terrestrial character”

(Bachtrack, February 2018)

“Mari Eriksmoen dominates the cast with an almost perfect Mélisande in her debut performance”

(Forum Opéra, February 2018)

“In the role of Mélisande, the Norwegian soprano Mari Eriksmoen makes a resoundingly impressive debut at Opera Vlaanderen: her French diction was faultless, her voice like crystal, and she embodies the hypnotising fragility of this heroine to perfection.”

(Toute la culture, February 2018)

“A delicate, diaphanous beauty and Scandinavian blonde, the radiant Norwegian soprano Mari Eriksmoen succeeds in her debut as Mélisande”

(Concertonet.com, February 2018)

“Mari Eriksmoen has the agile freshness of Hanne [Haydn’s The Seasons], a pure voice sometimes reminiscent of a Gundula Janowitz.”

(Concertonet, December 2017)

“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)