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My first encounter was at the age of fifteen when the opera ensemble of Pforzheim came to our little town to perform Rigoletto.
However this experience didn’t awaken my interest for the genre, presumably due to the fact that our family didn’t listen to classical music and therefore I couldn’t find a point of reference.
It still makes me laugh that even during the years of study I only listened to five live performances.
In this sense I am a true late bloomer with opera. Not until I joined the Nuremberg opera did I realise the expressiveness and communicative power of this kind of music.

This first engagement in Nuremberg had an incredible intensity and imprinting effect on me as a young singer. Looking back I would say that these years laid the foundation of my whole professional being thanks to the artistic director Eberhard Kloke. Eventhough his personality was despised by most of the orchestras and audiences due to his rebellious charisma (you could find "Kloke - no thank you!" -stickers at every second traffic light), he invented the most exciting programs and brought concepts to life a theater person can only dream of.
Stagings, sets and installations reached a new level, a level of revolt,  innovation and confrontation, heavy to bear for a Franconian audience.What wild times for a young singer getting to know operas like Prokofiev´s “Fiery angel”, Schoenberg´s “Moses and Aaron”, Wolfgang Rihm`s “Conquest of Mexico” or Alban Berg´s “Lulu” in the first years of a career.
The opportunity to embody music and text, to bring notes, movements, spoken word and emotions on a stage is something really wonderful.It gives me the possibility to understand myself as a complete human being, even more, to discover inside me parts that I don´t know at all.Where do I find in me the ability to kill somebody, to retreat to a convent, to be a prostitute, a bird or a fox, to die.....and here starts the fusion of my own potential together with the idea of the director. Ideally all my experience, thoughts and feelings mingle into the conceptional framework of the director and create what later appears on stage. This can be uplifting and revealing to such an extent that it radiates straight into the audience and reaches directly their hearts. If this happens I am a happy human being!

Current Opera Repertoire
(original language)

Georg Friedrich Händel
Alcina (Morgana)
Alcina * in preparation

Joseph Haydn
Orlando Paladino (Angelica)

Wolfgang Amadeus Mozart
Il Re Pastore (Elisa)
Die Entführung aus dem Serail (Konstanze)
Le Nozze die Figaro (Susanna)
Don Giovanni (Donna Anna)
Die Zauberflöte (Pamina)
Idomeneo (Elettra)

Ludwig van Beethoven
Leonore 1805 (Leonore)

Carl Maria von Weber
Der Freischütz (Ännchen)

Giacomo Meyerbeer
Les Huguenots (Marguerite de Valois)

Vincenzo Bellini
La Straniera (Adelaide)

Gioachino Rossini
Il Turco in Italia (Fiorilla)

Gaetano Donizetti
La fille du Regiment (Marie)
Don Pasquale (Norina)
Maria Stuarda (Maria)

Ambroise Thomas
Hamlet (Ophélie)

Jacques Offenbach
Les Contes Hoffmann (Stella, Olympia, Antonia, Giulietta)

Giuseppe Verdi
Un Ballo in Maschera (Oscar)
La Traviata (Violetta)

Jules Massenet
Thais (Thais)
Manon (Manon)

Leoš Janáček
Příhody Lišky Bystroušky (Bystrouška)

Engelbert Humperdinck
Hänsel und Gretel (Gretel)

Johann Strauß
Die Fledermaus (Adele, since 2015 Rosalinde)

Franz Lehar
Lustige Witwe (Hanna Glawary) *in preparation

Richard Strauss
Der Rosenkavalier (Sophie)
Arabella (Zdenka)
Salome *in preparation

Alexander von Zemlinsky
Der Zwerg (Donna Clara)

Erich Wolfgang Korngold
Die Tote Stadt (Marietta) 

Walter Braunfels
Die Vögel (Nachtigall)
Die Verkündigung (Stimme eines Engels)

Alban Berg
Lulu (Lulu)

Hans Werner Henze
Phaedra (Aphrodite)

Aribert Reimann
Medea (Medea)

Manfred Trojahn
Was ihr wollt (Viola/ Cesario)
La Grande Magia (Marta di Spelta)

Anno Schreier
Hamlet (Gertrud)