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Sophie Koch studied with Jane Berbié at the Conservatoire National Supérieur de Musique de Paris and won the 1st prize of the Dutch International Vocal Competition in ´s Hertogenbosch. Her debut took place in France but it was at the Royal Opera House, Covent Garden (Il Barbiere di Siviglia and Cosi fan tutte) and the Semperoper Dresden (Ariadne auf Naxos) under the Direction of Sir Colin Davis where she had her greatest success. This was followed by Don Giovanni and Orfeo  at the Bayerische Staatsoper in Munich. In Vienna, she made her debuts as Cherubino and she was immediately offered Octavian in Rosenkavalier,  emblematic role of her young career which she sung all over the world. After Munich, Berlin, Milan, Vienna and London, she has appeared at the Paris Opera for the Ring and King Arthur. She regularly appears on the major stages of the world: Toulouse, Brussels, Madrid, Berlin, Zurich, Geneva, the Salzburg Festival and of course London, Dresden, Vienna and Chicago. This year, she made her Metropolitan Opera debut in a new production of Werther. After having imposed her Mozart and her Strauss over the major European stages, Sophie Koch now adds

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Sophie Koch studied with Jane Berbié at the Conservatoire National Supérieur de Musique de Paris and won the 1st prize of the Dutch International Vocal Competition in ´s Hertogenbosch. Her debut took place in France but it was at the Royal Opera House, Covent Garden (Il Barbiere di Siviglia and Cosi fan tutte) and the Semperoper Dresden (Ariadne auf Naxos) under the Direction of Sir Colin Davis where she had her greatest success. This was followed by Don Giovanni and Orfeo  at the Bayerische Staatsoper in Munich.

In Vienna, she made her debuts as Cherubino and she was immediately offered Octavian in Rosenkavalier,  emblematic role of her young career which she sung all over the world. After Munich, Berlin, Milan, Vienna and London, she has appeared at the Paris Opera for the Ring and King Arthur. She regularly appears on the major stages of the world: Toulouse, Brussels, Madrid, Berlin, Zurich, Geneva, the Salzburg Festival and of course London, Dresden, Vienna and Chicago. This year, she made her Metropolitan Opera debut in a new production of Werther.

After having imposed her Mozart and her Strauss over the major European stages, Sophie Koch now adds the French and German repertoire. In addition to performing in the complete Ring Cycle at the Bayerische Staatsoper in Munich this season, her future engagements include Venus in Tanhäuser and Mère Marie in Dialogues des Carmélites at the Royal Opera House Covent Garden, der Rosenkavalier at the Wiener Staatsoper, and the Salzburg Festival.

Sophie Koch has also given many recitals at the Salzburg; Edinburgh, Aix and Verbier Festivals, at the Brahmssaal/Wiener Musikverein, in Paris, London, Frankfurt, Berlin, Luxembourg, Brussels and Madrid.

She received in 2001 the Christel Goltz's Prize at the Semperoper Dresden.

Her first recordings were dedicated to Lieder by Wolf and Schubert and French Melodies (Le Chant du Monde). Then she has recorded Peer Gynt ( Eon), Manon and the world Premiere of Laurent Petitgirard’s opera Elefant Man (EMI). She has also recorded Wellesz’ and Bloch‘s Lieder (Delta/Capriccio), some exerpts of Ariane à Naxos under the direction of Antonio Pappano (Virgin), Mahler’s 8th Symphony under Nagano, a Schumann recital (Myrten) with Nelson Goerner and some Lieder of Strauss with Philippe Entremont (Cascavelle). She recorded French orchestral works: Le Poème de l’amour et de la mer from Chausson, Ravel’s Shéhérazade and Berlioz’s Cantate d’Herminie. A CD (DDG Records) has recently been released of Sophie Koch performing in Werther at Covent Garden, under the direction of Sir Antonio Pappano.

In DVD, you can see her alongside Renée Fleming in Der Rosenkavalier (Decca) and Ariadne auf Naxos (DGG) live from Baden-Baden Festival and in Werther with Jonas Kaufmann (Decca) from the Paris Opera.


2014-2015 Season
Last updated 01/04/2014

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Reviews

"Sophie Koch was quite magnificent as Venus: probably the best I have ever heard: tonally (and physically) alluring, sweetly seductive and increasingly unhinged, dramatically truthful at no cost to the vocal line, taking full advantage of the greater scope the Paris version offered her. "

Mark Berry, Seen and Heard International

"L’autre miracle de la soirée, c’est la Fricka de Sophie Koch, implacable sans hystérie, déesse avant tout, qui semblait marcher dans les traces de Christa Ludwig, noblesse de ligne, clarté des mots, éloquence du timbre, un modèle.
[Sophie Koch’s Fricka was the evening’s other miracle. She is tenacious without hysteria, above all a goddess who seemed to follow in Christa Ludwig’s footsteps, with her noble melodic line, good pronunciation and eloquence of timbre. In sum, she is exemplary.]"

Jean-Charles Hoffelé, Concert Classic

"Making her Lyric Opera bow, Sophie Koch provided the evening’s most memorable moments as Charlotte. Rarely will one hear this role sung with such idiomatic Gallic style or with such dramatic intensity. The lovely French mezzo possesses a pure-toned yet ample voice and managed to carve out a touching and vividly characterized portrayal of the conflicted Charlotte. Her letter scene and impassioned singing in the final act were simply riveting."

Lawrence A. Johnson, Chicago Classical Review

"French mezzo Sophie Koch, who has attracted excellent notices in her Wagnerian singing in Paris, made her American debut in this production. Her Charlotte resounded with an ineffable beauty, lustrously rounded tones, and an effortless ease of scale that raised the performance to Golden Age heights."

Paul du Quenoy, ConcertoNet

"Sophie Koch est […] impeccable. Mieux : elle est proche de la perfection et on voit mal qui pourrait mieux chanter ce rôle aujourd’hui. Le timbre est splendide, le legato à se damner, les aigus triomphants et la caractérisation pleine de fougue et de force. C’est d’ailleurs elle qui obtient la plus grande ovation au rideau.
[Sophie Koch is impeccable. Better yet, she is close to perfection and it is difficult to imagine someone who could sing this role better nowadays. Her timbre is splendid, her legato to-die-for, her high notes triumphant and her interpretation full of ardour and power. Besides, she received the biggest ovation at the end of the Opera. ]"

Pierre-Emmanuel Lephay, Forum Opéra

"Sophie Koch (Vénus) a la plastique aussi sensuelle que sa voix.
[Sophie Koch (Venus)’s physique is as sensual as her voice.]"

Nicole Duault, Le Journal du Dimanche

"D’une subjuguante beauté, Sophie Koch est très exactement cette Vénus idéale souhaitée, souple, enveloppante, dans sa caresse des toiles comme dans celles qu’elle prodigue au peintre. La chaleur et la rondeur de la voix, la richesse du médium et des graves font merveille, l’aigu est glorieux, facile, la sûreté parfaite, la diction exemplaire, le legato admirable : ce ne sont pas des découvertes, mais une confirmation, qui réchauffe le cœur autant que l’œil et les oreilles.
[The mesmerizingly beautiful Sophie Koch is exactly the ideal Venus we wished for, flexible and enticing when she caresses canvases as well as the painter himself. Her voice is warm and full, her medium and low notes are marvellous, her high notes are glorious and reached with ease, her vocal assurance is perfect, her diction is exemplary and her legato is admirable. This is not a discovery, but a confirmation that touches the heart as much as it does the eye and ears.]"

François Lehel, Forum Opéra

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Discography