Biography

“Spectacular” (concerti): Hailed by the international press as a singer “on a par level with history’s very greatest” (Mundo Clásico) with a “breathtaking top register” (Abendzeitung) and “stunning ease” (concerti), German soprano Sarah Traubel has emerged as one of the most fascinating vocal artists in Europe. This year sees her collaborating with world-leading ensembles and conductors in a diverse repertoire ranging from sacred music by Bach, Händel and Pergolesi, to Mozart’s Contessa in Le Nozze di Figaro, to Wagner, Strauss and Mahler.

Sarah Traubel, grandniece of legendary Metropolitan Opera diva Helen Traubel and of conductor Günter Wand, began her singing career in her hometown of Mannheim, Germany, at age seventeen. Following her studies at Universität der Künste in Berlin, she then graduated from the Salzburg Mozarteum with distinction. Sarah also obtained a master’s degree from the Manhattan School of Music in New York. In addition to her formation by Barbara Bonney in Salzburg, her studies with Francisco Araiza, Julie Kaufmann, and Angelika Kirchschlager were of particular importance for her further development. Today she works with Danielle Borst.

In 2020, Sarah Traubel was invited to appear as Queen of the Night (Die Zauberflöte/Mozart) at the Festival de Beaune, in Jerusalem and at Musikfest Bremen, among others. She made her début at Theater Freiburg, where she was a member of the ensemble, in the 2016/17 season as Queen of the Night. During the 2018/19 season she successfully sang her role début as Donna Anna (Don Giovanni/Mozart). In Darmstadt she sang Ilia (Idomeneo/Mozart), Frankfurt saw her highly successful début in Beethoven’s Symphony No. 9 earlier this season, leading to an immediate invitation to return with this work. In 2019 Ms. Traubel performed Mozart and Haydn concert arias together with The English Concert, to great critical acclaim. Critically acclaimeed role débuts of 2020 further included the role of Contessa in a new production of Le Nozze di Figaro, and in Mahler’s Symphony No. 4. Together with countertenor Andtreas Scholl, Sarah Traubel sang Pergolesi’s Stabat Mater at the occasion of the only concert honouring the 100th birthday of Pope John Paul II.

Ms. Traubel won international acclaim when she stepped in at short notice at Zurich Opera for Eva Mei as Konstanze, in a gala performance of Mozart’s Abduction from the Seraglio. Since then, she has collaborated with leading conductors including Daniele Gatti, Ingo Metzmacher, and Adam Fischer. At Zurich Opera, Ms. Traubel appeared among other roles as Queen of the Night (The Magic Flute/Mozart), Titania (A Midsummer Night’s Dream/Britten), Rosina (La finta semplice/Mozart), Amor (L’Anima del filosofo/Haydn), and Engel (Palestrina/ Pfitzner). At the Salzburg Mozarteum she had her successful debuts as Amor (Orfeo ed Euridice/Gluck) and Ilia.

A passionate actress on the opera stage, Sarah Traubel has collaborated with eminent stage directors including Harry Kupfer, Jan Esslinger, Joan Anton Rechi, Nina Russi, and Jens-Daniel Herzog. In addition to her operatic work, she is also a successful oratorio and Lied performer, appearing at major international festivals suchs as Musiktage Mondsee and the Haydn Festival at Brühl Castle. Her SONY Classical debut CD “Arias for Josepha” of Mozart and other virtuoso coloratura arias was released in 2020 and received worldwide critical acclaim, including a four-star review by Gramophone (“A colourful debut … Sublime.”)

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Biographie

“Spektakulär” (concerti): Gefeiert als eine Sängerin “auf einer Stufe mit den allergrößten ihres Fachs” (Mundo Clásico) von “sagenhafter Höhe” (Abendzeitung) und “frappierender Leichtigkeit” (concerti), hat sich die deutsche Sopranistin Sarah Traubel als eine der faszinierendsten jungen Vokalkünstlerinnen Europas etabliert.

Die Großnichte der legendären Metropolitan Opera-Diva Helen Traubel und des Dirigenten Günter Wand begann ihre Bühnenlaufbahn im Alter von siebzehn Jahren im heimatlichen Mannheim. Anschließend absolvierte sie ihr Gesangsstudium an der Universität der Künste in Berlin, am Salzburger Mozarteum, das sie mit Auszeichnung abschloss, und an der Manhattan School of Music in New York. Neben dem Studium bei Barbara Bonney in Salzburg waren die Studien bei Francisco Araiza, Angelika Kirchschlager und Danielle Borst wesentlich für ihren weiteren Weg.

2020 war Sarah Traubel als Königin der Nacht in Mozarts Zauberflöte eingeladen u.a. beim Festival de Beaune, Musikfest Bremen und mit dem Jerusalem Symphony Orchestra. 2016 war Sarah Traubel erstmals am Theater Freiburg zu Gast, ebenfalls als Königin der Nacht. In der Spielzeit 2018/19 hatte sie dort ihr von Presse und Publikum gefeiertes Rollendebüt als Donna Anna (Don Giovanni/Mozart). Anfang 2020 folgte das ebenso umjubelte Rollendebüt als Contessa (Le Nozze di Figaro/Mozart). In Frankfurt sang sie erstmals in Beethovens Sinfonie Nr. 9, was zu einer sofortigen Wiedereinladung mit dieser Partie führte. 2020 wird Sarah Traubel auch ihr Debüt mit dem Sopranpart in Mahlers Sinfonie Nr. 4 geben. Zusammen mit Andreas Scholl ist sie in Pergolesis Stabat Mater zu erleben. Mit The English Concert war sie zuletzt beim Haydn Festival auf Schloss Brühl in einem Programm mit Konzertarien von Haydn und Mozart zu Gast.

Internationale Aufmerksamkeit erregte Sarah Traubel, als sie am Opernhaus Zürich in einer Gala-Vor­stel­lung von Mozarts Entführung aus dem Serail kurzfristig für Eva Mei als Konstanze einsprang. Sie hat seitdem mit führenden Dirigenten wie Daniele Gatti, Ingo Metzmacher und Adam Fischer zusammengearbeitet. Am Opern­haus Zürich war sie im weiteren u.a. als Königin der Nacht (Die Zauberflöte/Mozart), Titania (A Midsummer Night’s Dream/Britten), Rosina (La finta semplice/Mozart), Amor (L’Anima del filosofo/Haydn) und Engel (Palestrina/Pfitzner) zu erleben. Als Amor (Orfeo ed Euridice/Gluck) feierte sie schon in Salzburg ein ebenso erfolgreiches Rollendebüt wie als Ilia (Idomeneo/Mozart).

Die leidenschaftliche Bühnendarstellerin Sarah Traubel hat mit herausragenden Regisseuren wie Harry Kupfer, Joan Anton Rechi, Jan Esslinger, Nina Russi und Jens-Daniel Herzog zusammengearbeitet. Neben der Opernbühne ist sie auch als Oratorien- und Liedsängerin gefragt und war wiederholt Gast wichtiger Festivals wie der Musiktage Mondsee und des Haydn Festivals auf Schloss Brühl. Ihre Debüt-CD Arias for Josepha mit Opern- und Konzertarien, die für Josepha Hofer, Mozarts Schwägerin und erste Königin der Nacht, geschrieben wurden, erschien im März 2020 (SONY Classical).

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Biography

Calendar

Calendar

Die Entführung aus dem Serail, K.384, Act 2: "Martern aller Arten" (Konstanze)

Wagner: O Sachs! Mein Freund! - Sarah Traubel

Mozart: Porgi amor - Sarah Traubel

Mozart: Der Hölle Rache - Sarah Traubel

Mozart: DIE ZAUBERFLÖTE: "O zittre nicht, mein lieber Sohn” (Königin der Nacht)

Gounod: ROMÉO ET JULIETTE : "Je veux vivre” (Juliette)

Puccini: LA BOHÈME: "Quando me´n vo” (Musetta)

Mahler: Symphony No. 4 - Sarah Traubel (rehearsal)

Video

Sarah Traubel has the vocal equipment to tackle these coloratura showpieces. Her bright, 'pingy' tones and agile technique immediately impress in Haibel's mock-heroic aria. Traubel is never less than accomplished, soaring confidently above the stave, pitch-perfect in the staccato scales and arpeggios in which Josepha specialised.

Gramophone

With her amazing top register and stunning agility Sarah Traubel manages to demonstrate what an awesome singer Josepha Hofer must have been. The notes fly by in breathtaking speed yet everything is clearly phrased. It even appears possible that the younger diva has surpassed the historic one. Her beautiful timbre is present across the full vocal range; even the mid register in Dove sono (Le Nozze di Figaro) and the lowest segments of Martern aller Arten (Entführung aus dem Serail) are most attractive.

Münchner Abendzeitung

A colourful debut from the German soprano. Sublime ****

BBC Music Magazine

The result is an enjoyable coloratura firework display by an artist of stunning facility even in the highest registers and a captivating ability to form musical phrases. Traubel masterfully avoids the risk of producing vocal circus tricks, demonstrating instead a most charmingly joyful musicianship.

concerti

Traubel has an attractive and characterful voice, bringing definite personality and colour to the upper register, along with a dextrous facility. Her tone is nicely even all the way up, so she makes all the mad coloratura a delight to listen to. She is attractively creditable in the more traditionally lyric numbers. The result is a fascinating and delightful recital. Traubel jumps into the unfamiliar repertoire with complete aplomb and plenty of bravura.

Planet Hugill

Traubel's distinctive voice - almost old-fashioned in its freshness and colour - is based on solid technique, and she displays both delicate coloratura and a secure top in this music.

Opera

Spectacular

concerti

Sarah Traubel meets the challenge with dazzling security in her coloratura and yet full-bodied timbre.

Opernwelt

As in the case of the arias of the Queen of the Night, the recordings of Dove sono (Le Nozze of Figaro) and Ah perdona al primo affetto (Clemenza di Tito) on this album allow us to compare this young and assertive voice with the great divas of the past and present. And in terms of comparison, Traubel is on a par with the very greatest, especially with a 'Martern aller Arten' for the ages. This is a voice that reminds us of Rita Streich or the young Sena Jurinac for its bright timbre and riveting power, and surely deserves praise similar to Mozart's own for Hofer. Perfectly placed coloratura, precise trills, firm legato and a powerful and luminous orchestral direction make this album a valuable and most pleasant addition to the discography.

Mundo Clásico

"An absolutely awesome album, with many super-high notes sung without the slightest squeal or tear. (...) Listening to her début CD, it appears ridiculous how academic ideology at the end of the 19th and the entire 20th century established the groundless division of voices into small Fach segments. When this music was written, everything was based on the individual characteristics of each singer. In addition to works by Mozart, one can discover perfect rarities.

Suor Angelica

It is for Sarah Traubel as the dupe Countess to introduce tragedy to the casual playfulness. Her arias are of crystal-clear beauty.

Südkurier

Sarah Traubel produces a sound of exquisite beauty.

SWR

But then there was this one moment of dream-like beauty: Sarah Traubel as Donna Anna, with her warm and agile soprano, became one with the scene of horror, and her aria gained depth and tragedy: "Non mi dir, bell'idol mio". Sarah Traubel got the coloratura rolling with aplomb.

Südkurier

The Pain of an Abandoned Woman: A moment of musical glory was offered by The English Concert and soprano Sarah Traubel to the audience at Augustusburg Castle. - The early music specialists triumphed at the magnificent staircase of Augustusburg Castle with exquisite musicianship and offered in their collaboration with soprano Sarah Traubel one of the magic moments of the Haydn Festival. The young soprano, at home in both opera, oratorio and Lied, possesses a voluminous, flexible voice of great radiant power. With fervour and a great wealth of emotional facets, she expressed most convincingly the pain of an abandoned lover in the Haydn arias and stunned with her effortlessly rolling coloratura. In "Dica pure chi vuol dire", on the other hand, she perfectly captured the playful rascal tone which this delicate little showpiece requires. Finally, in Mozart's highly virtuoso aria K.383 she could exhibit the full range of her vocal abilities. Sarah Traubel's performance here was an undisputed highlight for the entire concert.

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