Chiara Skerath

Soprano

Biography

http://www.chiaraskerath.com/

Praised for her “brilliant technique” and her “velvety timbre” (Opera Magazine), Swiss-Belgian lyric soprano Chiara Skerath recently made acclaimed debuts as Mélisande at the Opéra de Bordeaux and as Poppea at Opéra de Nantes, and appeared in multiple productions at the Opéra National de Paris.

Chiara has been a winner at several international competitions, including the Audience Prize at the 2014 Queen Elisabeth Competition; the Grand Prix de Duo Chant-Piano at the 2013 International Nadia et Lili Boulanger Competition and the Emmerich Smola Förderpreis in 2012. She also received the Migros Culture Scholarship in both 2011 and 2012.

Chiara has built a strong Mozartian repertoire, including Zerlina in Don Giovanni at Opéra de Versailles and at the Drottningholm Festival in Sweden; Despina in Cosi Fan Tutte at Oper Frankfurt and Stadtheater Bern; Servila in La Clemenza di Tito at the Opéra du Rhin; Ninetta in La finta Semplice at Queen Elizabeth Hall in London; Cinna in Lucio Silla at Theater an der Wien, Opéra de Versailles and Philharmonie de Paris; Pamina in Die Zauberflöte at the Opéra de Saint-Etienne, and Barbarina and Susanna in Le Nozze di Figaro at the Opéra Royal de Wallonie and Operklosterneuburg

Skiarath’s eclectic repertoire also includes acclaimed performances as Eurydice et Amour in Orphée et Eurydice; Adina in L’Elisir d’Amore; Norina in Don Pasquale; Rosalinde in Die Fledermaus; the Italian Singer in Capriccio and Eliza Doolittle in the musical comedy My Fair Lady.

She has performed under the batons of such eminent conductors as Christian Thielemann, Marc Minkowski, Sir John Eliot Gardiner, Ingo Metzmacher and Laurence Equilbey.

Chiara is renowned for her performances of German Lied and French Mélodie. She has studied this repertoire intensively with the late Ruben Lifschitz at the Fondation Royaumont and regularly gives recitals across Europe with her pianist Antoine Pallac. She continues to study at the Conservatoire National Supérieur de Musique de Paris in Glenn Chambers’ class and now works regularly with Annick Massis.

Chiara’s future projects include First Lady in Die Zauberflöte and Clorinda in Cenerentola at l’Opéra National de Paris, as well as a European tour as Ännchen in Freischütz with the Insula Orchestra.

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Reviews

“Dans le rôle de Cinna, le compagnon de Cecilio, la jeune soprano Chiara Skerath fait merveille. Son timbre clair aux aigus cristallins et son vibrato soigné lui valent des vivats dès son premier air. Les vocalises dont elle ornemente ses airs avec raffinement semblent s’écouler avec facilité, tandis que les accentuations ponctuant son phrasé témoignent d’un réel travail et appuient un jeu d’une grande intensité. (Lucio Silla)”

Charlotte Saintoin

Olyrix

“The singers were first-rate, with an outstanding performance from Chiara Skerath as Cinna. Her rousing “Vieni ov’amor” was impeccable in phrasing and admirable for the evenness of the 16th-note roulades. There was a warm tone throughout and marked sensitivity to the text such as her Act II aria “Nel fortunate instante” (Lucio Silla)”

Lucio Silla

Bachtrack

More Reviews

“Admirable en tout point, Chiara Skerath ajoute à une technique brillante un timbre velouté qui confère une héroïque tendresse au personnage de Lucio Silla “Admirable in every aspect, Chiara Skerath adds a brilliant technique to her velvety timbre which leads a heroic tenderness to the personality of Lucio Silla” ”

Jacques Bonnaire

“Dans le rôle de Cinna, le compagnon de Cecilio, la jeune soprano Chiara Skerath fait merveille. Son timbre clair aux aigus cristallins et son vibrato soigné lui valent des vivats dès son premier air. Les vocalises dont elle ornemente ses airs avec raffinement semblent s’écouler avec facilité, tandis que les accentuations ponctuant son phrasé témoignent d’un réel travail et appuient un jeu d’une grande intensité. (Lucio Silla)”

Charlotte Saintoin, Olyrix

“The singers were first-rate, with an outstanding performance from Chiara Skerath as Cinna. Her rousing “Vieni ov’amor” was impeccable in phrasing and admirable for the evenness of the 16th-note roulades. There was a warm tone throughout and marked sensitivity to the text such as her Act II aria “Nel fortunate instante” (Lucio Silla)”

Lucio Silla, Bachtrack.com

“Suit immédiatement l’air de Pamina interprété par la port talentueuse Chiara Skerath……C’est la soprano belgo-suisse qui tire clairement le mieux son épingle du jeu.(Mozart Requiem)”

Tania Bracq, Forumopera.com

“Chiara Skerath possède du récital les clés essentielles. Cette artiste de 28 ans est suprêmement douée.”

Thierry Guyenne, Opéra Magazine

“Die entzückende Norina von Chiara Skerath verbindet Koloraturgewandtheit mit warmer Kantabilität.<br><font size="2"><FONT COLOR="#798081">[The delightful Norina of Chiara Skerath combines agile coloraturas with warm cantabile.]</font></font>”

Gerhard Kramer, Wiener Zeitung

“Die gebürtige Belgierin Skerath vermag es mit gerade 24 Jahren, die Zuhörer mit ihrem Timbre voller Wärme und Intensität zu verzaubern.<br><font size="2"><FONT COLOR="#798081">[The Belgian-born Skerath, at just 24-years old, manages to keep listeners spellbound with her warm and intense timbre.]</font></font>”

Wolfgang Heininger, Frankfurter Rundschau

“La découverte du spectacle est, incontestablement, la soprano Chiara Skerath, retenez ce nom, qui incarne idéalement le rôle principal d’Adina, dont l’expression et la fine musicalité émergent dans tous ses airs et duos. Elle n’accentue pas ses postures ironiques ou dédaigneuses et penche plutôt vers son côté sensible et naturel. Sa voix jeune et limpide qui ne demande qu’à s’épanouir, a cette couleur propre à l’esprit du temps et au style spécifique du lyrisme italien, caractérisé par sa « voce di grazia », si représentative du bel canto donizettien. Une valeur sûre en tout cas.<br><font size="2"><FONT COLOR="#798081">[The show’s revelation is, incontestably, soprano Chiara Skerath. Remember her name. She interprets the main role, Adina, perfectly and has an expression and fine musicality that is present in all of her arias and duos. She does not accentuate the character’s ironic or disdainful nature, and tends to bring out her sensitive and natural aspect instead. Her young and pure voice, which can only bloom, has a type that is singular to our time and has a style particular to Italian lyricism, characterized by her “voce di grazia”, is utterly representative of Donizettian bel canto. Her talent is definitely reliable.]</font></font>”

Georges Masson, Le Republicain Lorrain

“Côté musique, la grande triomphatrice est l'Adina de Chiara Skerath. Nous avions remarqué la soprano suisse en octobre 2011 à Liège: Elle y était Barbarina dans les Noces de Figaro, sous la direction de Christian Zacharias. Nous lui prédisions alors un bel avenir. Cela se concrétise ici, tant elle chante avec aisance, fraîcheur et une technique solide. Dans les mélodies langoureuses comme dans les passages brillants, dont elle domine bien les vocalises, Chiara Skerath rayonne littéralement. <br><font size="2"><FONT COLOR="#798081">[Musically, Chiara Skerath’s Adina is the night’s great success. We had noticed the Swiss soprano in Liège in October of 2011, where she was Barbarina in Le Nozze di Figaro, under Christian Zacharias’s baton. We had predicted that she would have a successful future. This has been confirmed here; she sings with ease, youth and solid technique. In the languid melodies as well as the bright parts, of which she dominates the singing exercises brilliantly, Chiara Skerath literally shines.]</font></font>”

Opéra Magazine

“En étroite osmose avec la pianiste nantaise Mary Olivon, la jeune soprano aux yeux de chat a remporté le prix haut la main dès la demi-finale. Un programme habilement construit où la sorcière de Schumann (Waldesgesprächt) faisait place à un «Traüme» (Wiegenlied) de Richard Strauss ineffable de beauté vocale, caressant à pleurer avant une mélodie incandescente de Respighi (Nebbie).<br><font size="2"><FONT COLOR="#798081">[In close harmony with the pianist Mary Olivon, originally from Nantes, the young soprano with cat eyes had her hands on first prize from the semi-finals. It was a cleverly constructed programme where the witch of Schumann (Waldesgesprächt) gave way to a ‘Traüme’ (Wingenlied by Richard Strauss) with an inexpressibly beautiful and tender voice, before an incandescent melody by Respighi (Nebbie).]</font></font>”

Crescendo Magazine