credit Chris Gonz
2016/2017 is an important season for Hanna-Elisabeth Müller, with two eminent debuts: her first appearance at the New York Met, and in a new production at Milan’s Scala. This summer Hanna-Elisabeth Müller left the Bavarian State Opera’s ensemble by singing Sophie in Der Rosenkavalier as part of Munich’s 2016 Opera Festival.
Hanna-Elisabeth Müller experienced her international breakthrough at the Salzburg Easter Festival in 2014 with her sensational debut as Zdenka alongside Renée Fleming and Thomas Hampson in Richard Strauss’ Arabella conducted by Christian Thielemann and, shortly afterwards, was named by Opernwelt magazine as Young Artist of the Year 2014. She performed the role in the revival at Dresden’s Semperoper in late 2014, and in a new production of Richard Strauss’ Arabella under Philippe Jordan at Munich’s Opera Festival in 2015, before making her venue and role debut as Sophie in a new production of Strauss’ Der Rosenkavalier in Amsterdam that autumn.
After early guest appearances such as Pamina at Rome’s Teatro dell’Opera, Hanna-Elisabeth Müller joined the ensemble at the Bavarian State Opera in 2012/2013, where she could be seen in many different roles, including Pamina, Zerlina, Susanna, Servilia, Gretel, Marzelline, the Infanta Donna Clara in Zemlinsky’s The Dwarf, and Sophie in Massenet’s Werther.
Hanna-Elisabeth Müller’s versatility ensures that the young soprano is a regular guest on the recital and concert stage, and her concert repertoire ranges from Haydn’s Creation to Mahler’s Symphony No. 4 and Beethoven’s Missa solemnis. The current season begins for Hanna-Elisabeth Müller with a concert and DVD recording of A German Requiem by Brahms with the Cleveland Symphony Orchestra under Franz Welser-Möst at Melk Abbey. She is also singing the role of Gretchen in Schumann’s Scenes from Goethe’s Faust at the season opener by the Orchestre de Paris, which is at the same time the official debut of Daniel Harding as principal conductor. The Philharmonie Essen has invited Hanna-Elisabeth Müller to showcase her talent as their profile artist in Orchesterlieder by Strauss, in Berg’s Seven Early Songs, a recital evening with Juliane Ruf, and her own opera evening. She will also perform Seven Early Songs this season at Stockholm’s Concert Hall under Simone Young, and with the WDR Symphony Orchestra under Christoph Eschenbach. Mahler’s Symphony No. 4 is also scheduled for the coming season, under Adam Fischer at the Tonhalle in Düsseldorf and with Berlin’s German Symphony Orchestra under Robin Ticciati.
As already mentioned, Hanna-Elisabeth Müller will make her debut at New York’s Met in March 2017 as Marzelline in Jürgen Flimm’s production of Beethoven’s Fidelio, and in May she will make her debut at La Scala Milan as Donna Anna in Robert Carson’s production of Don Giovanni conducted by Paavo Järvi. The Bavarian State Opera remains close to Hanna-Elisabeth Müller’s heart though, and she will be guesting this season as Sophie in Der Rosenkavalier, and as Marzelline, Gretel and Pamina.
Since her recital debut at the Heidelberger Frühling in 2011, Hanna-Elisabeth Müller has often performed with Juliane Ruf, her piano accompanist, in various major venues including the Philharmonie Cologne, De Singel in Antwerp and at the Rheinvokal Festival.
Hanna-Elisabeth Müller was born in Mannheim and took her first singing lessons at the age of eleven. The young soprano has won many awards, not least the Festival Prize at Munich’s Opera Festival in 2013. She studied under Rudolf Piernay at Mannheim University of Music and Performing Arts, and still works just as closely with him now as she did before successfully passing her soloist exams. Hanna-Elisabeth Müller then later fine-tuned her skills in master-classes held by Dietrich Fischer-Dieskau, Julia Varady, Elly Ameling and Thomas Hampson.