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German soprano Nadine Lehner has been praised by the Frankfurter Allgemeine Zeitung for her “excellent voice” and described as a “radiant Gretel”. Opernglas magazine called her "a fulminant Tatjana” that “commanded the stage with her presence” in Eugene Onegin, while Die Welt raved about the enchantment of “the silver sound of her lyrical voice” as Marzelline in Fidelio.
The current season includes performances at Theater Bremen, such as the Governess in Britten´s The Turn of the Screw, Pamina in Mozart’s Die Zauberflöte, Ilia in Mozart’s Idomeneo and Marianne in Richard Strauss’ Der Rosenkavalier. She also makes her debut with the Vlaamse Opera in Belgium as Micaela in Bizet’s Carmen and sings Sandrina in La Finta Giardinera with Theater Bonn.
She has been engaged as a principal artist at Theater Bremen since 2004 and has taken the stage there in many leading Mozart roles, notably Sandrina in La Finta Giardinera, Zerlina in Don Giovanni and Susanna in Le Nozze di Figaro. Other roles in Bremen have included Maria in Tchaikovsky’s Mazeppa and Tatjana in Eugene Onegin, Liu in Puccini's
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German soprano Nadine Lehner has been praised by the Frankfurter Allgemeine Zeitung for her “excellent voice” and described as a “radiant Gretel”. Opernglas magazine called her "a fulminant Tatjana” that “commanded the stage with her presence” in Eugene Onegin, while Die Welt raved about the enchantment of “the silver sound of her lyrical voice” as Marzelline in Fidelio.
The current season includes performances at Theater Bremen, such as the Governess in Britten´s The Turn of the Screw, Pamina in Mozart’s Die Zauberflöte, Ilia in Mozart’s Idomeneo and Marianne in Richard Strauss’ Der Rosenkavalier. She also makes her debut with the Vlaamse Opera in Belgium as Micaela in Bizet’s Carmen and sings Sandrina in La Finta Giardinera with Theater Bonn.
She has been engaged as a principal artist at Theater Bremen since 2004 and has taken the stage there in many leading Mozart roles, notably Sandrina in La Finta Giardinera, Zerlina in Don Giovanni and Susanna in Le Nozze di Figaro. Other roles in Bremen have included Maria in Tchaikovsky’s Mazeppa and Tatjana in Eugene Onegin, Liu in Puccini's Turandot, Melisande in Debussy's Pelleas et Melisande, Amanda in Ligeti's Le Grand Macabre, Gretel in Humperdinck's Hänsel und Gretel, Marzelline in Beethoven's Fidelio, and Githa in Zemlinsky's Der Zwerg.
In demand as a concert singer, Ms. Lehner sang Beethoven's Symphony No. 9 at the Beethoven Festival in Bonn in 2010 and Richard Strauss’ Vier Letzte Lieder with the Guangzhou Symphony in China, both under Peter Ruzicka. She also appeared as the Fourth Maiden in Strauss’ Elektra in concert under the baton of Kent Nagano in Singapore and performed in concert with the Bavaria-Quebec Orchestra for the 400th Anniversary celebrations in Quebec. Ms. Lehner made her debut with the Deutsche Oper Berlin singing Papagena in Die Zauberflöte at the Aspendos International Summer Festival.
While still a student, Ms. Lehner made her debut with the Staatsoper unter den Linden in Berlin as Papagena in Die Zauberflöte, which was followed by engagements as Milli in Schreker's Der ferne Klang, the Shepard in Wagner's Tannhäuser, and Barbarina in Mozart's Le Nozze di Figaro under such conductors as Michael Gielen, Sebastian Weigle and Daniel Barenboim. She also performed in Schumann’s Manfred under the baton of Ivor Bolton at the Salzburg Festival.
Ms. Lehner’s professional education includes a degree from the Hochschule für Musik “Hanns Eisler” in Berlin, where she studied under Norma Sharp, Wolfram Rieger, Dietrich Fischer-Dieskau and Julia Varady. She also participated in master classes with, amongst others, Hans Hotter and Inge Borkh. She has won numerous prizes, including national prize winner at the Jugend Musiziert competition in Leipzig in 1997, the Walter Kaminsky Foundation prize at the Berlin Singing Competition in 1998, the Franz Grothe prize in 2000, and the Kurt-Hübner-Prize and the audience prize ”Silberner Roland“ of Theater Bremen in 2010 and 2011 respectively. During her studies, Ms. Lehner received scholarships from the Yehudi Menuhin Foundation, the Gotthard-Schierse Foundation and the Richard Wagner Foundation.
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Reviews
"Brillant in den unterschiedlichsten stimmlichen Facetten: Nadine Lehner "
Frankfurter Rundschau (Maria in Mazeppa, Theater Bremen)
"Selten ist es zu erleben, dass im 'Fidelio' eine Marzelline als unangefochtene Siegerin vom Platz geht. Nadine Lehner wusste als Roccos Tochter mit den buffonesken Silberklang ihrer lyrischen Stimme zu bezaubern."
Die Welt
"Wenn Gürbacas Inszenierung vor allem mitreißen kann, liegt das insbesondere an Nadine Lehner, die eine fulminante Tatjana ist. Sie beherrscht mit ihrer Präsenz die Bühne und dominiert ihr Umfeld. Mag ihr Sopran in den letzten Jahren etwas härter und weniger süß geworden sein, hat sie doch an Ausdruckskraft, Volumen und Charisma gewonnen. In der berühmten Briefszene erzeugt sie "Gänsehaut-Feeling."
Opernglas Jan/2010