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About Ricarda Merbeth

See 27 performances featuring Ricarda Merbeth
Voice type: Soprano
Future engagements in our database:
Past performances in our database:
Chrysothemis in Elektra (Madrid Opera, 2011)
Chrysothemis in Elektra (De Nederlandse Opera, 2011)
Chrysothemis in Elektra (Opéra de Marseille, 2013)
Donna Anna in Don Giovanni (Vienna State Opera, 2009)
Elsa von Brabant in Lohengrin (New National Theatre, 2012)
Elsa von Brabant in Lohengrin (Deutsche Oper Berlin, 2012)
Feldmarschallin in Der Rosenkavalier (Vienna State Opera, 2010)
Leonore in Fidelio (Zurich Opera, 2011)
Leonore in Fidelio (Vienna State Opera, 2012)
Marietta in Die Tote Stadt (The Dead City) (Opéra de Paris, 2009)
Primadonna (Ariadne) in Ariadne auf Naxos (Zurich Opera, 2012)
Primadonna (Ariadne) in Ariadne auf Naxos (Opéra de Paris, 2010)
Reiza in Oberon (Théâtre du Capitole, 2011)
Salome (Vienna State Opera, 2009)
Sieglinde in Die Walküre (Vienna State Opera, 2011)
Sieglinde in Die Walküre (Opéra de Paris, 2010)

Read our reviews

Date and venueTitle
12-Feb-2012
Opernhaus
Ariadne in Zurich
Image credit: Michael Laurenz, Kresimir Strazanac, Elena Mosuc, Reinhard Mayr, Reinaldo Macias and Matrin Zysset ©, Suzanne Schwiertz.Richard Strauss’ outstanding catalogue of operas is part of the staple diet of opera houses around the world. From the musically and dramatically intense scores of Salome and Elektra to the romantically lush, emotional sweepings of Der Rosenkavalier, there is something in his canon for all manner of opera enthusiasts. Ariadne auf Naxos (first performed in Stuttgart in 1912) has had many popular revivals, though may still be counted amongst Strauss’ rarer performed works – any opportunity in which to hear it should be taken.
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1-Jan-2012
Konzerthaus: Großer Saal
Vienna’s other New Year’s concert
Image credit: Philippe Jordan, © Johannes IfkovitsTradition has it in Vienna that while the Wiener Philharmoniker ring in the New Year to the strains of the Blue Danube and other Strauss family hits, the Wiener Symphoniker give festive performances of Beethoven’s Ninth Symphony at the Konzerthaus. The contrast between light music and more substantial fare was particularly pronounced this year, with the Symphoniker’s chief conductor designate Philippe Jordan leading a performance so lean and mean that ‘Ode to Austerity’ would not be an inapt description. I sometimes wondered if he was being too inflexibly joyless.
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