Katharina Kammerloher
Mezzo-Soprano
Several successful competitions took her to Berlin, where in 1993 Daniel Barenboim hired her to the Staatsoper Unter den Linden. There she could be heard in numerous productions, among others as Ottavia / “L'incoronazione di Poppea”, as Rosina / “Il barbiere di Siviglia” under Simone Young, as Meg Page / “Falstaff” under Claudio Abbado, as Lola / “Cavalleria Rusticana” under Sir Antonio Pappano, as Cherubino /”Le nozze di Figaro and Octavian/“Der Rosenkavalier”, each conducted by Philippe Jordan, as Mélisande/“Pelléas et Mélisande” under Michael Gielen, as composer/“Ariadne auf Naxos” under Fabio Luisi. Under the direction of Sir Simon Rattle, she embodied Aloès in Chabrier's “L'étoile”, as well as the double role Mother/Midwife in “Sleepless” by Peter Eötvös, “best première of 2022”, under the direction of the composer.
She sang under Daniel Barenboim, among others, in the new productions of “Die Meistersinger von Nürnberg” the Magdalene, in the “Ring des Nibelungen” the Wellgunde (both directed by Harry Kupfer), Zerlina in “Don Giovanni” and Dorabella in “Così fan tutte” (director: Doris Dörrie) and on the occasion of the reopening of the German State Opera in 2017, the Sorge in Schumann's “Faustszenen” directed by Jürgen Flimm, under whose direction she also embodied the tripple role Guard/Fléance/Assasin and La Malaspina in the two Sciarrino operas “Macbeth” and “Luci miei traditrici” as well as Marcellina in his new production of “Le nozze di Figaro”.
At the Salzburg Festival she made her debut in “Lulu” under Michael Gielen. She also sang there in Mozart's “Requiem” under Kent Nagano and under Bertrand de Billy the 2nd lady in “The Magic Flute”. At the Munich Opera Festival she was heard as Octavian under Peter Schneider, and she also sang Magdalene in “Die Meistersinger von Nürnberg” in a new production under the baton of Zubin Mehta. In Budapest she sang Cherubino in “Le nozze di Figaro” under Ivan Fischer and at the opera in Las Palmas de Gran Canaria. Further opera guest appearances also took her to Madrid, Seville, Turin, Helsinki and Tokyo.
She sang under Daniel Barenboim, among others, in the new productions of “Die Meistersinger von Nürnberg” the Magdalene, in the “Ring des Nibelungen” the Wellgunde (both directed by Harry Kupfer), Zerlina in “Don Giovanni” and Dorabella in “Così fan tutte” (director: Doris Dörrie) and on the occasion of the reopening of the German State Opera in 2017, the Sorge in Schumann's “Faustszenen” directed by Jürgen Flimm, under whose direction she also embodied the tripple role Guard/Fléance/Assasin and La Malaspina in the two Sciarrino operas “Macbeth” and “Luci miei traditrici” as well as Marcellina in his new production of “Le nozze di Figaro”.
At the Salzburg Festival she made her debut in “Lulu” under Michael Gielen. She also sang there in Mozart's “Requiem” under Kent Nagano and under Bertrand de Billy the 2nd lady in “The Magic Flute”. At the Munich Opera Festival she was heard as Octavian under Peter Schneider, and she also sang Magdalene in “Die Meistersinger von Nürnberg” in a new production under the baton of Zubin Mehta. In Budapest she sang Cherubino in “Le nozze di Figaro” under Ivan Fischer and at the opera in Las Palmas de Gran Canaria. Further opera guest appearances also took her to Madrid, Seville, Turin, Helsinki and Tokyo.
In addition to her opera work, Katharina Kammerloher is also a versatile song and concert singer.
Under the direction of Daniel Barenboim she sang, among others, in Beethoven's 9th Symphony, Ravel's song cycle "Shéhérazade", Wolfgang Rihm's orchestral songs based on poems by Heiner Müller, each with the Staatskapelle Berlin, Mozart's "Coronation Mass" with the Berlin Philharmonic as well as Bruckner's Mass in F minor and Gija Kantscheli's "Lamento" with Gidon Kremer and the Chicago Symphony Orchestra.
At the reopening of the Dresden Frauenkirche she sang in Mendelssohn's “Elias” with the MDR Symphony Orchestra under the direction of Fabio Luisi.
She also sang Bach cantatas with René Jacobs and the Berlin Academy of Early Music, Bach's “B minor Mass” with the Berlin Philharmonic under Sir Roger Norrington, Bach's “St. Matthew Passion” under Enoch zu Guttenberg in Munich as well as numerous Bach cantatas the traditional performances of the Kaiser Wilhelm Memorial Church/Berlin.
She also sang in Mendelssohn's “Elias” with the London Symphony Orchestra under the direction of Wolfgang Sawallisch. With the German Symphony Orchestra Berlin she performed Anita in Bernstein's “West Side Story” under Kent Nagano and Berlioz' “Roméo et Juliette” under Fabio Luisi with the Staatskapelle Berlin.
At the BBC Proms and the Edinburgh Festival she appeared with the London Symphony Orchestra in “Le visage nuptial” by Pierre Boulez, conducted by the composer. She also sang Schönberg's Orchestral Songs op. 22 with Boulez and the Ensemble Modern at several festivals in, among others. Frankfurt, Munich, and Vienna.
Most recently, in January 2024, she sang the “Angel” in the oratorio “Hallelujah” by Peter Eötvös on Radio France/Paris on the occasion of his 80th birthday. She can be heard regularly in song recitals at the Staatsoper Unter den Linden.
Numerous radio, CD and DVD recordings document her diverse artistic activity.
Under the direction of Daniel Barenboim she sang, among others, in Beethoven's 9th Symphony, Ravel's song cycle "Shéhérazade", Wolfgang Rihm's orchestral songs based on poems by Heiner Müller, each with the Staatskapelle Berlin, Mozart's "Coronation Mass" with the Berlin Philharmonic as well as Bruckner's Mass in F minor and Gija Kantscheli's "Lamento" with Gidon Kremer and the Chicago Symphony Orchestra.
At the reopening of the Dresden Frauenkirche she sang in Mendelssohn's “Elias” with the MDR Symphony Orchestra under the direction of Fabio Luisi.
She also sang Bach cantatas with René Jacobs and the Berlin Academy of Early Music, Bach's “B minor Mass” with the Berlin Philharmonic under Sir Roger Norrington, Bach's “St. Matthew Passion” under Enoch zu Guttenberg in Munich as well as numerous Bach cantatas the traditional performances of the Kaiser Wilhelm Memorial Church/Berlin.
She also sang in Mendelssohn's “Elias” with the London Symphony Orchestra under the direction of Wolfgang Sawallisch. With the German Symphony Orchestra Berlin she performed Anita in Bernstein's “West Side Story” under Kent Nagano and Berlioz' “Roméo et Juliette” under Fabio Luisi with the Staatskapelle Berlin.
At the BBC Proms and the Edinburgh Festival she appeared with the London Symphony Orchestra in “Le visage nuptial” by Pierre Boulez, conducted by the composer. She also sang Schönberg's Orchestral Songs op. 22 with Boulez and the Ensemble Modern at several festivals in, among others. Frankfurt, Munich, and Vienna.
Most recently, in January 2024, she sang the “Angel” in the oratorio “Hallelujah” by Peter Eötvös on Radio France/Paris on the occasion of his 80th birthday. She can be heard regularly in song recitals at the Staatsoper Unter den Linden.
Numerous radio, CD and DVD recordings document her diverse artistic activity.