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Category Archives: Repertoire

The nicest present I have received from my parents was the opportunity to have piano lessons as young as the age of seven.

At an early stage I came in contact with Bach, Mozart, Haydn, Beethoven, Schumann, even Bartok and Hindemith.
My teacher, Horst Weiss, paved the way for a deeper understanding of music, gave me a solid base for technique and interpretation, made me take part in youth competitions from which I proudly returned with awards and also prepared me for qualifying at the conservatoire in Stuttgart.
At the age of eleven I learned how to play the traverse flute which came very naturally to me. Interpreting chamber music and being in an orchestra of wind instruments made me appreciate the feeling of making music together with others - which proved to be very essential in my later life.

In grammar school my talent in singing was discovered. I was invited to participate in many concerts and came in touch with what is called the “boards, that mean the world”.
However the strongest call for singing came when I joined the church choir at the age of sixteen and realised how much I loved sacred music. Subsequently, the choirmaster, Siegfried Burger, offered me my first solo in Schubert´s Mass in G major. I was in seventh heaven and remember well that my parents could not believe that the voice they were listening to was mine!

My singing has always been shaped by the spirit of Mozart.
My voice loves his music and adores his strength of expression which easily communicates to and involves the listener despite its rigid classical form. I consider him an expert in showing even the finest detail of human relationships through his ingeniously placed notes.
Singing his music is a corrective force for me. If I want to centre my voice after doing Lulu, Medea or even Traviata, I sing Mozart.


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)


With not one singing lesson I was asked to do my first “real” concert at the age of seventeen in our church in Tuttlingen: a mass of Franz Schubert. Sacred music was a revelation for me and still brings me deep satisfaction when I perform it.
The fascination lies especially in the encounter with many different orchestras and conductors. To understand for example why an orchestra is well-known for its fabulous interpretation of Mozart or Strauss I needed lots of music-making and experience.
The moment when it feels like dancing on a wave, the singing becomes bright and effortless and I know that the orchestra has understood the “tone” of the composer - the music has arrived in our collective musical core and from there goes out to the world increased by the devotion of each musician.
For me the Baroque ensembles embody these abilities to the uttermost. When I was auditioning for Ton Koopman years ago I had the opportunity to listen to his concert with the Amsterdam Baroque orchestra in the evening.I was speechless watching each and every musician embracing his instrument with vigour and care at the same time. They were sitting on the edge of the chair, their whole being present, playing full of joy and meaning - that was contageously inspiring!

Current Concert Repertoire
(original language)

G. Ph. Telemann Johannes-Passion
J. S. Bach Kantaten
G. F. Händel Messias
Acis und Galathea
J. Haydn Die Schöpfung
Die Jahreszeiten
W. A. Mozart Messen
Exultate Jubilate
Messias (Mozart-Fassung)
C-Moll MesseConcert Arias:
Bella mia fiamma
No, no che non sei capace
Voi avete un cor fidele
Ah se in ciel, benigne stelle
Ah, lo previdi
L.v. Beethoven Missa Solemnis
A. Alabiev Die Nachtigall
F. Schubert Salve Regina
F. Mendelssohn Elias
Salve Regina
J. Strauß Frühlingsstimmen-Walzer
J. Brahms Ein Deutsches Requiem
C. Saint-Saëns Oratorio de Noël
R. Schumann Faustszenen
Das Paradies und die Peri
G. Mahler Sinfonie Nr.2 / Nr. 4 / Nr. 8
Sieben Lieder aus letzter Zeit
S. Rachmaninoff Vocalise
F. Schreker Zwei Lyrische Gesaänge
A. Schönberg Die Jakobsleiter
Glückliche Hand
I. Strawinsky Les Noces
W. Braunfels Die Gott minnende Seele
Romantische Gesänge
Japanische Gesänge
A. Webern Fünf Geistliche Gesänge
A. Berg Lulu-Suite
Der Wein
Sieben Frühe Lieder
C. Orff Prometheus
Carmina Burana
E. Krenek Kantate von der Vergänglichkeit des Irdischen
G.C. Menotti The Telephone
B. Britten Spring-Symphony
M. Feldman Neither
G. Crumb Star-Child
K. Thieme Freiheit, mein Stern
J. Doderer Salve Regina


 Very late in my career did I understand how rich the cosmos of Lied is and that just like opera, it tells us stories, stories to be experienced only through the voice.
Together with Jendrik Springer I started off as a Duo in 2002. We recorded the CD "Goethe -  das Ewig Weibliche".
With Matthias Lademann we created the first CD of the DIMENSIONS-trilogy called "World" (2017) and Camillo Radicke will play the second one then named "Otherworld" (2018)

In the year 2006 the label Harmonia Mundi offered me to join in as soprano for the Brahms Liebeslieder Walzer recording for vocal quartet and piano for four hands.
The days with my collegues together in the studio were of such friskiness and joy that we immediately felt that this music needs more than just a CD.
Our agent managed the rather impossible task of bringing six independent artists together for around twenty performances!
The Brahms walzes, performed in the Brahms year 2008 were followed by the Spanish quartets by Robert Schumann in the Schumann year 2010 and Schubert in 2013.
And there is no end of ideas and plans.....

Current Lied Repertoire
(original language)



Robert Schumann Frauenliebe und -leben
Modest Mussorgsky Die Kinderstube
Richard Strauss Brentano-Lieder
Walter Braunfels Von der Liebe süß und bitt´rer Frucht
Fragmente eines Federspiels
Neues Federspiel
Drei Goethe-Lieder
Zwei Lieder nach Carossa-Gedichten
Samuel Barber Three Songs
Wolfgang Rihm Das Rot


Recital programmes:
Songs of Love
Songs of Johannes Brahms, Samuel Barber, Gabriel Fauré, Henri Duparc, Hugo Wolf and Richard Strauss.
Goethe and his Literary Women
Songs of Ludwig van Beethoven, Franz Schubert, Fanny Mendelssohn-Hensel, Franz Liszt, Richard Wagner, Hans Sommer, Max Bruch, Peter Iljitsch Tschaikowski, Robert Schumann, Alphons Diepenbrock, Hugo Wolf, Charles Ives, Nikolai Medtner, Walter Braunfels, Hermann Reutter, Ernst Krenek, Hans Eissler and Manfred Trojahn.

Schumann: Frauenliebe-und Leben, einzelne Lieder von Richard Strauss, Ophelia-Lieder, Mädchenblumen, Wolfgang Rihm: Das Rot

Blühendes hat sich ergeben
Lieder von Schubert, Schumann und Strauss



In my final school year, 1987, I joined a pop group called SQUARE performing vocals and keyboards. We were covering the hits back then from Whitney Houston to Pink Floyd. The nights were long and the days short, we had great fun and I earned enough money to finance my studies.
I met Matthias Baumhof, the keyboarder of the group “Boys and Girl” with whom I created a show with hits ranging from “The bat” to “The phantom of the opera”.

We toured as “Lisa&Sasse” and took part in many different presentations and events. I called our program “a journey through the epochs of singing”, appeared in big evening gowns for operetta, on rollerblades for "starlight express", tap danced to “I got rhythm” and crawled on the floor in a cat’s costume to sing “Memories”.

Later, already engaged at the Dusseldorf opera house, I heard somebody playing Jazz on stage during a rehearsal break.
I found our coach Dirk Wedmann grooving on the piano and was again inspired to try something new beyond opera. Dirk taught me how to sing Jazz - as much as it was possible: a critic reckoned: “a little bit of „shubidu“ doesn’t make a Ella Fitzgerald”...of course not! This statement didn’t prevent me from inventing a crossover evening that bridged classical music and jazz.