Iván Fischer

con­duc­tor, Music Direc­tor

Con­duc­tor, com­pos­er, opera direc­tor, thinker and edu­ca­tor, anchored in the tra­di­tion of the great musi­cal poly­maths, Iván Fis­ch­er is con­sid­ered one of the most vision­ary musi­cians of our time.

His focus is always the music, and to this end, he has devel­oped sev­er­al new con­cert for­mats and reformed the struc­ture and work­ing method of the sym­pho­ny orches­tra. In the mid-1980s he found­ed the Budapest Fes­ti­val Orches­tra, where he has since intro­duced and estab­lished numer­ous inno­va­tions. He envi­sions a pool of musi­cians serv­ing the com­mu­ni­ty in var­i­ous com­bi­na­tions and musi­cal styles.

His work as Music Direc­tor of the Budapest Fes­ti­val Orches­tra has devel­oped into one of the great­est musi­cal suc­cess sto­ries of the last 30 years. With inter­na­tion­al tours and a series of record­ings for Philips Clas­sics and Chan­nel Clas­sics, he has earned a rep­u­ta­tion as one of the world’s most cel­e­brat­ed orches­tral con­duc­tors, for whom tra­di­tion and inno­va­tion go hand in hand.

He has found­ed a num­ber of fes­ti­vals, includ­ing the Budapest Mahler­fest, the Bridg­ing Europe fes­ti­val and the Vicen­za Opera Fes­ti­val. The World Eco­nom­ic Forum pre­sent­ed him with the Crys­tal Award for his achieve­ments in fos­ter­ing inter­na­tion­al cul­tur­al rela­tions.

He was prin­ci­pal con­duc­tor of the Nation­al Sym­pho­ny Orches­tra in Wash­ing­ton, the Opéra Nation­al de Lyon and the Konz­erthau­sor­ch­ester Berlin, the lat­ter appoint­ing him Con­duc­tor Lau­re­ate. The Roy­al Con­cert­ge­bouw Orches­tra named him Hon­orary Guest Con­duc­tor fol­low­ing many decades of work­ing togeth­er. He is a fre­quent guest con­duc­tor of the Berlin Phil­har­mon­ic, the Bavar­i­an Radio Sym­pho­ny Orches­tra and New York Phil­har­mon­ic Orches­tra.

Iván Fis­ch­er stud­ied the piano, vio­lin and cel­lo in Budapest, before join­ing the leg­endary con­duct­ing class of Hans Swarowsky in Vien­na. Hav­ing spent two years as assis­tant to Niko­laus Harnon­court, he then launched his inter­na­tion­al career as win­ner of the Rupert Foun­da­tion con­duct­ing com­pe­ti­tion in Lon­don.

After var­i­ous guest appear­ances at inter­na­tion­al opera hous­es, he found­ed the Ivan Fis­ch­er Opera Com­pa­ny. His stag­ing always sets as its goal an organ­ic uni­ty between music and the­atre. IFOC pro­duc­tions, which often spa­tial­ly con­nect the instru­men­tal­ists and singers, have been received with great acclaim in recent years in New York, Edin­burgh, Abu Dhabi, Berlin, Gene­va and Budapest.

Iván Fis­ch­er has been active as a com­pos­er since 2004, writ­ing most­ly vocal music with instru­men­tal ensem­bles. His opera The Red Heifer made head­lines across the world; the children’s opera The Gruffa­lo enjoyed numer­ous revivals in Berlin; his most fre­quent­ly per­formed work, “Eine Deutsch-Jid­dis­che Kan­tate” has been per­formed and record­ed in sev­er­al coun­tries.

Iván Fis­ch­er is founder of the Hun­gar­i­an Mahler Soci­ety and patron of the British Kodá­ly Acad­e­my. The pres­i­dent of the Repub­lic of Hun­gary award­ed him the Gold Medal, and the French gov­ern­ment hon­ored him as Cheva­lier des Arts et des Let­tres. In 2006 he was dec­o­rat­ed with the Hun­gar­i­an Kos­suth Prize, in 2011 with the Roy­al Phil­har­mon­ic Soci­ety Music Award and the Dutch Ovatie Prize, and in 2013 he was named an hon­orary mem­ber of the Roy­al Acad­e­my of Music in Lon­don.
Iván Fis­ch­er is hon­orary cit­i­zen of Budapest.

Emily Magee

sopra­no

Since her Ger­man debut as Elsa in Lohen­grin at the Staat­sop­er Berlin and her Bayreuth debut as Eva in Die Meis­tersinger von Nürn­berg (D: Wolf­gang Wag­n­er / D: Daniel Baren­boim) in 1997, Emi­ly Magee has sung at all the lead­ing opera hous­es and fes­ti­vals, includ­ing La Scala in Milan, the Met in New York, the Roy­al Opera House in Lon­don, the Opéra Nation­al de Paris, the Bayreuth and Salzburg Fes­ti­vals, the State Operas in Vien­na, Munich, Ham­burg and Berlin, the Zurich Opera House, the Deutsche Oper Berlin, the Sem­per­op­er Dres­den, the Liceu in Barcelona and the Kore­an Nation­al Opera. Emi­ly Magee has worked with lead­ing con­duc­tors such as Ric­car­do Chail­ly, Ric­car­do Muti, Simon Rat­tle, Anto­nio Pap­pano, Daniele Gat­ti, Don­ald Run­ni­cles, Zubin Mehta, Philippe Jor­dan, Chris­t­ian Thiele­mann, Kent Nagano, Marek Janows­ki, Simone Young and Franz Welser-Möst.

Con­cert high­lights include Salome with the Hes­sis­ch­er Rund­funk in Frank­furt, Rach­mani­nov’s The Bells at the BBC Lon­don with Semy­on Bychkov, Gurre-Lieder with Mark Elder and the BBC Phil­har­mon­ic Orches­tra, con­certs of Rienzi/Irene in Budapest (Palace of Arts), Beethoven’s 9th and Mahler’s 8th Sym­pho­ny at the Vien­na Konz­erthaus and again Beethoven’s 9th as well as a con­cert per­for­mance of Euryan­the with Marek Janows­ki at the Dres­den Phil­har­mon­ic, Zem­lin­sky’s Lyric Sym­pho­ny in Ham­burg, con­cert per­for­mances of Die Walküre (Act 1) with the San Fran­cis­co Sym­pho­ny Orches­tra under Simone Young and Verdi’s Requiem at the Vien­na Musikvere­in.

Anna-Lena Elbert

sopra­no

The Munich-based sopra­no com­plet­ed her vocal stud­ies at the Uni­ver­si­ty of Music and Per­form­ing Arts Munich with a Master’s degree in Lied. Anna-Lena Elbert main­tains a busy con­cert sched­ule with a wide-rang­ing reper­toire from Renais­sance to mod­ern, cov­er­ing all the great ora­to­rios by Bach, Han­del, Mozart and Mendelssohn, among oth­ers. She has per­formed with orches­tras such as the Munich Sym­pho­ny Orches­tra, the Stuttgart Phil­har­mon­ic Orches­tra, the Hofkapelle Stuttgart, the Berlin Baroque Soloists, Por­to Sym­pho­ny Orches­tra, Konz­erthau­sor­ch­ester Berlin and the Budapest Fes­ti­val Orches­tra.

 Already dur­ing her stud­ies Anna-Lena Elbert had a spe­cial pref­er­ence for ear­ly and new music and received impor­tant impuls­es from Chris­tine Schorn­sheim, Kristin von der Goltz, Friederike Heumann, Kon­stan­tia Gourzi and Jan Müller-Wieland. She was a Mozart­La­bor schol­ar­ship hold­er at the Mozart­fest Würzburg and per­formed at the Schleswig Hol­stein Fes­ti­val, the Rhein­gau Fes­ti­val, the Beethoven­fest Bonn and musi­ca viva in Munich.

 Anna-Lena Elbert is a reg­u­lar guest at the Opern­fest­spiele Hei­den­heim and made her debut at the Bavar­i­an State Opera in 2020 in the lead­ing role of a children’s opera (debut per­for­mance).  In May 2022 she debuted at the Salzburg­er Fest­spiele with and in August 2023 at the BBC Proms under the direc­tion of Ivan Fis­ch­er.

 Anna-Lena Elbert has a spe­cial pas­sion for cham­ber music and Lied. Indi­vid­ual pro­gram­ming and a live­ly and inten­sive musi­cal exchange with her duo part­ners is her focus. In 2019, togeth­er with Kota Sak­aguchi, she was a prizewin­ner of the Richard Strauss Lied Com­pe­ti­tion, as well as the inter­na­tion­al Hel­mut Deutsch Lied Com­pe­ti­tion, and reg­u­lar­ly gives recitals, for instance at the Schu­bertía­da in Spain or the Beethoven­haus Bonn. She also made her debut at the Elbphil­har­monie Ham­burg in Decem­ber 2023.

Andrew Staples

tenor

Andrew Sta­ples stands as a ver­sa­tile artist of our era. He com­bines a busy sched­ule as an opera and con­cert singer with a career as a film and stage direc­tor and pho­tog­ra­ph­er.

As a dis­tin­guished tenor, he has col­lab­o­rat­ed with Sir Simon Rat­tle, Daniel Hard­ing, Emmanuelle Haïm, Elim Chan, Gus­ta­vo Dudamel, Esa-Pekka Salo­nen, and Yan­nick Nézet-Séguin, with orches­tras such as Berlin Phil­har­mon­ic, Swedish Radio Sym­pho­ny Orches­tra, Bavar­i­an Radio Sym­pho­ny Orches­tra, Orchestre de Paris, Lon­don Sym­pho­ny Orches­tra.

He made his debut at the Roy­al Opera House, Covent Gar­den with Fide­lio (Jacquino), returned for roles in Capric­cio, Die Zauber­flöte, Katya Kabano­va, and Salome. Last year he made his debut with Britten’s Peter Grimes (Peter) at the Teatro La Fenice and his Berlin­er Staat­sop­er debut with the title role in Mozart’s Idome­neo.

This sea­son, Andrew will work with Orchestre de Paris, Gürzenich Orch­ester, San Fran­cis­co Sym­pho­ny, Munich Phil­har­mon­ic. He will have a tour with Les Siè­cles con­duct­ed by Fran­cois-Xavier Roth per­form­ing Mahler’s Das Lied von der Erde. He will per­form Mozart’s Idome­neo with the Bavar­i­an Radio Sym­pho­ny Orches­tra and Sir Simon Rat­tle.

His work as a film and stage direc­tor and pho­tog­ra­ph­er includes direct­ing music films and doc­u­men­taries. He direct­ed Stravinsky’s Fire­bird for Air France in col­lab­o­ra­tion with Arte, Daniel Hard­ing and Orchestre Phil­har­monique de Radio France. Upcom­ing plans include Messiaen’s Quar­tet for the End of Time with Alice Sara Ott for DG Stage+.

 

Gurgen Baveyan

bari­tone

Stuart Patterson

tenor

Stu­art Pat­ter­son was born in Perthshire and stud­ied in Glas­gow, Lon­don, Flo­rence and Paris. He sang with the Glyn­de­bourne Cho­rus before set­tling in France in 1985 where he joined the Groupe Vocal de France under John Alld­is, per­form­ing works by Berio, Dusapin, Kagel, Ligeti, Webern and Xenakis, among oth­ers.

His oper­at­ic appear­ances have includ­ed Monteverdi’s Ulisse, Don Ottavio and Fer­ran­do (Pisa), Pedrillo and Pâris in La Belle Hélène (Opéra-Comique), Sell­em (The Rake’s Progress) and Vater Mignon ( Die Teufel von Loudun) in Tori­no, Snout and Flute in A Mid­sum­mer Night’s Dream (Lyons, Bern), Goro (Berlin State Opera), Schmidt in Werther and Remen­da­do (Roy­al Opera), L’Incredibile in Andrea Chénier and Flute (Gene­va), Tapi­o­ca in L’Étoile (Bergen), Herod (Taipei), Male Cho­rus in The Rape of Lucre­tia (Ensem­ble Pro­teus), Mime in Siegfried (Lübeck) and Teapot/Arithmetic/Tree/Frog in L’Enfant et les sor­tilèges, Lacouf/Journalist in Les Mamelles de Tirésias, Mono­statos and First Priest in Die Zauber­flöte, Dr Caius, Spär­lich in Die lusti­gen Weiber von Wind­sor and Frick/Prosper in La Vie parisi­enne (Lau­sanne), Arnal­ta / Nutrice in L’incoronazione di Pop­pea with the Budapest Fes­ti­val Orches­tra in Gene­va, Budapest and Vicen­za.

Recent and upcom­ing high­lights include Grand Moth­er in Lit­tle Red Rid­ing Hood (Tours), Gov­er­nor in Can­dide (Lau­sanne), Mono­statos in Die Zauber­flöte (Reims), Scara­muc­cio in Ari­adne auf Nax­os with the Budapest Fes­ti­val Orches­tra in Spo­le­to, Budapest and Vicen­za…

Pat­ter­son reg­u­lar­ly per­forms in con­cert, in reper­to­ry includ­ing Saint Nico­las, L’Enfance du Christ, St John Pas­sion.

He is Pro­fes­sor of Singing at the Haute École de Musique, Gene­va, and direc­tor of the Fes­ti­val Lyrique de Mont­per­reux, France, which he found­ed in 2009.

Daniel Noyola

bas­so

Bass Daniel Noy­ola from San Luis Poto­sí, Mex­i­co is an ensem­ble mem­ber at the Bay­erische Staat­sop­er in Munich, Ger­many. There he has appeared as Pis­to­la in Verdi’s Fal­staff; as Zuñi­ga in Bizet’s Car­men and Truf­faldino in Ari­adne auf Nax­os, among oth­ers.

He recent­ly fin­ished his res­i­den­cy at the out­stand­ing Hous­ton Grand Opera Stu­dio where he made his house debut as Colline in La Bohème and Maset­to in Kasper Holten’s icon­ic pro­duc­tion of Don Gio­van­ni, as well as star­ring in the world pre­miere of El Mila­gro del Recuer­do by J. Mar­tinez.

In 2018 he grad­u­at­ed from the Acad­e­my of Vocal Arts in Philadel­phia. There he appeared as the title role in Mozart’s Don Gio­van­ni, Fer­ran­do in Verdi’s Il Trova­tore, Don Alfon­so in Mozart’s Così fan tutte, and Rai­mon­do in Donizetti’s Lucia di Lam­mer­moor.

Pre­vi­ous engage­ments have includ­ed Mustafá in Rossini’s L’italiana in Algeri with Tri-Cities Opera in New York; Dul­ca­ma­ra in Donizetti’s L’elisir d’amore (which he per­formed with Sociedad Artís­ti­ca Sinaloense in Mex­i­co); Figaro in Mozart’s Le nozze di Figaro, with Ober­lin in Italy; Uber­to in La Ser­va Padrona and Luka in The Bear by William Wal­ton with the Mero­la Opera Pro­gram at the San Fran­cis­co Opera; and the roles of Scapin and Der Laut­sprech­er in a dou­ble bill called “The World Turned Upside Down” that includ­ed Gluck’s L’île de Mer­lin and Ullman’s Der Kaiser von Atlantis at Wolf Trap Opera.

In 2019 he rep­re­sent­ed Mex­i­co in Placido Domingo’s Oper­alia com­pe­ti­tion. He has been award­ed first place in the Career Bridges com­pe­ti­tion in N.Y.C. and Artist Series Con­cert of Sara­so­ta Com­pe­ti­tion for Voice, sec­ond place in the New Eng­land Region­al Met­ro­pol­i­tan Opera Nation­al Coun­cil Audi­tions in 2018, sec­ond place in the Mario Lan­za com­pe­ti­tion in Philadel­phia, and third place in the AIMS Meis­tersinger com­pe­ti­tion in Graz, Aus­tria, among oth­ers.

In 2014 he com­plet­ed his stud­ies at the Con­ser­va­to­rio Nacional de Músi­ca in Mex­i­co City.

Juan de Dios Mateos

tenor

Born in Almería, he stud­ied singing with Coral Morales and Car­los Aransay.

He joined the Opera Stu­dio of Paris Nation­al Opera House from 2016 to 2018. Since then, he has sung in the­aters such as Gran Teatre del Liceu, Deutsche Oper Berlin, Syd­ney Opera House, Mel­bourne Arts Cen­tre, Teatro Munic­i­pal de San­ti­a­go de Chile, Petruzel­li The­ater, Mas­si­mo Belli­ni The­ater in Cata­nia, Oslo Opera House, The­ater Hagen, Cam­poamor The­ater or Inns­bruck The­ater. Spezial­ized in Rossi­ni, he also stands out in bel can­to and Mozart reper­toire in operas such as Il Bar­bi­ere di Siviglia, L’Elisir d’amore, La Cener­en­to­la, Don Gio­van­ni, Il Viag­gio a Reims, il Tur­co in Italia, La Cener­en­to­la, L’I­tal­iana in Algeri, La Res­ur­rezione or in Span­ish reper­toire with El caballero de Olme­do, La Dolores, La Arau­cana or Luisa Fer­nan­da work­ing with con­duc­tors as Ottavio Dan­tone, Gia­co­mo Sagri­pan­ti, Patrick Lange, Guil­laume Tour­ni­aire, Mat­teo Bel­tra­mi, José Miguel Pérez-Sier­ra, Nicholas Carter, Xu Zhong, Daniel Smith, Iván López-Reynoso, Michael Thomas, Touf­ic Maa­touk, Dane Lam, Juan José Navar­ro or Iña­ki Enci­na.

He was award­ed the Plá­ci­do Domin­go prize for the best Span­ish singer and the Fer­rer-Salat Foun­da­tion at the 56th Inter­na­tion­al Tenor Viñas Com­pe­ti­tion and with sec­ond prize at the Inter­na­tion­al Har­i­clea Dar­clée Com­pe­ti­tion in Roma­nia in 2017, as well as Rev­e­la­tion Artist at the El Pub­li­co of Canal Sur in 2020. In 2021 he received the sev­er­al awards dur­ing the SOI Inter­na­tion­al Com­pe­ti­tion. In 2023 he was award­ed with the prize of the pub­lic in Lou­sa­da Inter­na­tion­al Com­pe­ti­tion.

Samantha Gaul

sopra­no

Saman­tha Gaul is now a mem­ber of the Oper Leipzig after 5 years as ensem­ble mem­ber at The­ater Freiburg, where she has sung Musetta(La Bohème), Olympia (Les Con­tes d’Hoffmann), Zer­li­na (Don Gio­van­ni), Nan­net­ta (Fal­staff), Adele (Die Fle­d­er­maus), Susan­na (Le nozze di Figaro) and the lead role in the Ger­man pre­miere of Mark Antho­ny Turnage’s Cora­line, as well as the title­role in Janáček’s The Cun­ning Lit­tle Vix­en.

The young sopra­no has also been engaged at The­ater Basel, Schwet­zinger SWR Fest­spiele, Weil­burg­er Schlosskonz­erte, and as Najade (Ari­ane auf Nax­os) at Oper Frank­furt, Muset­ta at Konz­ert The­ater Bern, Najade with Iván Fis­ch­er in Budapest and Vicen­za, Ka (Mr Emmet takes a Walk) in Freiburg, and in Mahler’s 4th Sym­pho­nyin Lux­em­bourg.

At Staat­sthe­ater Augs­burg she per­formed Sophie Scholl (Zimmermann’s Weiße Rose), the title role in Hartmann’s Sim­pli­cius Sim­pli­cis­simus, Ser­pet­ta (La fin­ta gia­r­diniera) and Adi­na (L’elisir d’amore).

Recent­ly, she sang Najade in Mont­pel­li­er and jumped in as Nan­net­tain the new pro­duc­tion of Fal­staff at Komis­che Oper Berlin and gave a recital in the Schu­ber­ti­ade at Hohen­ems.

Her projects for the 2022/23 sea­son: in Leipzig, she will sing Gretel(Hänsel und Gre­tel), Ännchen (Der Freis­chütz), Zer­li­na (Don Gio­van­ni,) First Niece (Peter Grimes), Frasqui­ta (Car­men). At The­ater Regens­burg, Saman­tha will be heard as Pam­i­na (Die Zauber­flöte).

She stud­ied and received her prizes at the Frank­furt Con­ser­va­to­ry in the class of Hed­wig Fass­ben­der and in Munich with Chris­tiane Iven.

She has tak­en part in mas­ter­class­es with Rudolf Pier­nay and Hel­mut Deutsch.

Among oth­er awards, she received first prizes in the Jugend musiziert com­pe­ti­tion and spe­cial prizes from the Wal­ter und Char­lotte Hamel Foun­da­tion. She also won the 3rd prize in the nation­al singing com­pe­ti­tion and is a schol­ar­ship hold­er of the Richard Wag­n­er Ver­band as well as of the Da Ponte and Arte­mu­si­caFoun­da­tion.

The mag­a­zine Opern­welt nom­i­nat­ed her “Young Hope” in 2018.

Olivia Vermeulen

mez­zo-sopra­no

Dutch mez­zo-sopra­no Olivia Ver­meulen has estab­lished her­self in recent years as a ver­sa­tile soloist of inter­na­tion­al stand­ing.

Engage­ments of the past sea­sons com­prise her role debut as Don­na Elvi­ra in Mozart’s Don Gio­van­ni as well as Cheru­bi­no in Le Nozze di Figaro, both on tour with the Freiburg Baroque Orches­tra under René Jacobs. She appeared as a soloist in the frame of Salzburg’s Mozart Week along with Jörg Wid­mann, and sang Mozart’s Great Mass in C Minor under Masaa­ki Suzu­ki at the Théâtre des Champs Elysées as well as at Amsterdam’s Con­cert­ge­bouw. With the same work, she also gave her debut with the Berlin Phil­har­mon­ic under Daniel Hard­ing.

She is equal­ly in demand as a per­former of con­tem­po­rary music: in this capac­i­ty, she made her debut at the Ruhrtri­en­nale with the world pre­miere of Philippe Manoury’s Kein Licht and has been invit­ed by the Bre­genz Fes­ti­val to per­form the role of Saiko in the world pre­miere of Thomas Larcher’s Das Jagdgewehr.

Olivia Ver­meulen has appeared at fes­ti­vals such as the Munich Opera Fes­ti­val, the Rhein­gau Music Fes­ti­val, the Rhein­Vokal Fes­ti­val, the Musik­fest Stuttgart and the Han­del Fes­ti­val in Halle, work­ing with con­duc­tors such as Philippe Her­reweghe, Iván Fis­ch­er, Markus Stenz, Marek Janows­ki, Andrea Mar­con, Rein­hard Goebel, Michael Schøn­wandt, Alessan­dro de Marchi, Kon­rad Junghänel, Tomáš Netopil.

Mirella Hagen

sopra­no

Ger­man sopra­no Mirella Hagen began her career as a young artist at the State Opera Stuttgart, where she sang roles like Aen­nchen (Freis­chütz) and Flower Maid­en (Par­si­fal) under the baton of Man­fred Honeck. After a year being part of the the­ater in Regens­burg, where she sang Gre­tel (Hansel & Gre­tel) and Valen­ci­enne (The Mer­ry Wid­ow) she joined Opera Vlaan­deren singing Papa­ge­na (The Mag­ic Flute), Anna (Nabuc­co) and, again, Flower Maid­en (Par­si­fal) in a wide­ly acclaimed pro­duc­tion staged by Tat­jana Gür­ba­ca. For three sea­sons she was a mem­ber of the State Opera Braun­schweig singing a broad reper­toire, includ­ing Adi­na (L’elisir d’amore), Pam­i­na (The Mag­ic Flute), Eliza Doolit­tle (My Fair Lady), Fiorel­la (Les Brig­ands), or Gil­da (Rigo­let­to).

In recent sea­sons she has tak­en on an inter­na­tion­al career with appear­ances at the Bayreuth Fes­ti­val (Woglinde and Wood Bird in the cen­te­nary pro­duc­tion of the “Ring of the Nibelungs“ to cel­e­brate Wagner’s 200th birth­day), the Bavar­i­an State Opera Munich, the Sem­per­op­er Dres­den, Opera Graz, Grand Théâtre Génève, the Opéra du Rhin Stras­bourg, or the The­ater an der Wien, where she was invit­ed as a fre­quent guest appear­ing in pro­duc­tions of Salieri’s Fal­staff, the Ring of the Nibelungs, Alci­na, Mid­sum­mer Night’s Dream, or Rusal­ka.

 

Hav­ing a strong affin­i­ty to ear­ly clas­si­cal and baroque music, Ms Hagen col­lab­o­rat­ed with acclaimed artists as Hel­muth Rilling, the Akademie für Alte Musik Berlin and the Freiburg­er Barock­o­rch­ester with René Jacobs, Hans-Christoph Rade­mann, B’Rock, as well as the Con­cen­tus Musi­cus under the baton of Ste­fan Got­tfried. She has suc­ces­ful­ly toured through the U.S., Asia, Rus­sia and numer­ous Euro­pean coun­tries and has sung on impor­tant fes­ti­vals like the Musik­fest Stuttgart, the Beethoven­fest Bonn, or the Munich Opera Fes­ti­val.

Besides that, she has also col­lab­o­rat­ed with con­duc­tors like Sir Simon Rat­tle, Man­fred Honeck, Eli­hau Inbal, Antonel­lo Man­a­cor­da, David Afkham, Kir­ill Petrenko, Marek Janows­ki, Georg Fritzsch, Con­stan­tin Trinks and Umber­to Benedet­ti Michelan­geli.

Dur­ing her career she has estab­lished a strong con­nec­tion to the Lied, per­form­ing on famous con­cert stages like the Hugo Wolf Soci­ety, the Vil­la Wah­n­fried or the Hugo Wolf Fes­ti­val Ljubl­jana. Her CD “A Maiden’s Heart“ (“Mäd­chen­herzen“) with songs by Hugo Wolf, Lud­wig Thuille & Richard Strauss was well-recieved in the press.