Biography

“Spectacular” (concerti) – „Magnetic stage presence“ (Operaworld): Hailed by the international press as a singer 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.

The 2022/23 season will see Sarah Traubel appear in the title role of Undine by Albert Lortzing, the opening premiere of the new season at Oper Leipzig. In her 2022/23 house debut as a new member of the Oper Leipzig ensemble, she will sing Violetta in Verdi’s La Traviata. in Leipzig she will also sing Donna Anna in a new Don Giovanni production and have her role debut as Agathe in Weber’s Der Freischütz. 2021/22 season highlights include her debut at Staatstheater Wiesbaden in the spectacular lead role as Inanna in Jörg Widmann’s opera BABYLON and her appearance at the 2022 Festival International d’Opéra Baroque in Beaune as Amenaide in Rossini’s Tancredi under the baton of Jérémie Rhorer and in a gala concert with legendary counter-tenor Andreas Scholl. With her accompanist Helmut Deutsch, she will appear at the Lavaux Classic Festival. During the 2021/22 season, Sarah Traubel was invited to appear at the Berlin Philharmonie with Beethoven’s Symphony No. 9 and returned to the Artur Rubinstein Philharmonic and the Orquesta Sinfónica de Guanajuato, with the Four Last Songs by Richard Strauss. In 2021, Sarah Traubel appeared as critically acclaimed Donna Anna in a Don Giovanni production in Léon and had her début at Cervantino Festival with Symphony No. 14 by Dmitri Shostakovich.

In 2020 she was invited to sing her farewell from her long-time role as Queen of the Night (Die Zauberflöte/Mozart) at the Festival de Beaune, in Jerusalem and at Musikfest Bremen, among others. In Darmstadt she sang Ilia (Idomeneo/Mozart). Ms. Traubel also appeared with Mozart and Haydn concert arias together with The English Concert, to great critical acclaim. Critically acclaimed role débuts of 2020 also included the role of Contessa in a new production of Le Nozze di Figaro, and in Mahler’s Symphony No. 4. Together with countertenor Andreas 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 has collaborated with leading conductors including Daniele Gatti, Ingo Metzmacher, and Adam Fischer. A former member of the Young Singers Programme at Zurich Opera, she 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, Paco Azorín, Nina Russi, and Jens-Daniel Herzog. In addition to her operatic work, she is also a successful oratorio and Lied performer. 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.”). Her 2022 CD release „In meinem Lied“, together with pianist Helmut Deutsch (on Aparté), features songs by Liszt, Mahler, Strauss and Korngold.

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 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.

Gefeiert als eine Sängerin von „magnetischer Bühnenpräsenz“ (Operaworld), “sagenhafter Höhe” (Abendzeitung) und “frappierender Leichtigkeit” (concerti), hat sich die deutsche Sopranistin Sarah Traubel als eine der stimmlich und darstellerisch faszinierenden jungen Vokalkünstlerinnen Europas etabliert.

In der Spielzeit 2022/23 ist Sarah Traubel in der Titelpartie von Lortzings Undine, der Eröffnungspremiere der Oper Leipzig, zu erleben. Ihr Hausdebüt als neues Ensemblemitglied der Oper Leipzig gibt sie als Violetta in Verdis La Traviata. In der kommenden Spielzeit wird sie daneben auch als Donna Anna in der Neuproduktion von Don Giovanni sowie mit ihrem Rollendebüt als Agathe in Webers Freischütz in Leipzig zu hören sein. In der laufenden Spielzeit ist Sarah Traubel u.a. in der Partie der Inanna in Jörg Widmanns Oper BABYLON am Staatstheater Wiesbaden zu Gast. Beim Festival International de Beaune 2022 singt sie unter Leitung von Jérémie Rhorer die Amenaide in Rossinis Tancredi sowie in einem Arienprogramm an der Seite von Andreas Scholl, beim Lavaux Classic Festival ist sie mit ihrem Liedbegleiter Helmut Deutsch zu Gast. Zuletzt war sie mit den Vier letzten Liedern von Richard Strauss bei der Filharmonia Artur Rubinstein und beim Orquesta Sinfónica de Guanajuato, mit dem Sopran-Solo der Sinfonie Nr. 14 von Schostakowitsch und als Donna Anna in Mozarts Don Giovanni in Léon zu erleben und war eingeladen in der Berliner Philharmonie mit Beethovens Sinfonie Nr. 9.

2020 war Sarah Traubel noch einmal mit ihrer langjährigen Paradepartie als Königin der Nacht in Mozarts Zauberflöte unter Jérémie Rhorer eingeladen u.a. beim Musikfest Bremen und mit dem Jerusalem Symphony Orchestra. 2020 gab sie ihr Debüt mit dem Sopranpart in Mahlers Sinfonie Nr. 4, einem Werk, das sie seitdem auch auf Tournee mit den Mannheimer Philharmonikern interpretierte. Zusammen mit Andreas Scholl war sie in Pergolesis Stabat Mater zu erleben. Mit The English Concert konzertierte sie auf Schloss Brühl. 2019 hatte sie in Freiburg ihr Rollendebüt als Donna Anna (Don Giovanni/Mozart). Anfang 2020 folgte das Rollendebüt als Contessa (Le Nozze di Figaro/Mozart).

Sarah Traubel hat mit führenden Dirigenten wie Daniele Gatti, Ingo Metzmacher und Adam Fischer zusammengearbeitet. Am Opernhaus Zürich, dessen Opernstudio si angehörte, war sie u.a. als Konstanze (Die Entführung aus dem Serail/Mozart), 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 Ilia (Idomeneo/Mozart) feierte sie schon am Mozarteum Salzburg ihr Rollendebüt.

Die leidenschaftliche Bühnendarstellerin Sarah Traubel hat mit Regisseuren wie Harry Kupfer, Joan Anton Rechi, Paco Azorín, Jan Esslinger, Nina Russi und Jens-Daniel Herzog zusammengearbeitet. Neben der Opernbühne ist sie auch als Oratorien- und Liedsängerin gefragt.

Ihre Debüt-CD Arias for Josepha mit Arien, die für Josepha Hofer, Mozarts Schwägerin und erste Königin der Nacht, geschrieben wurden, erschien im März 2020 (SONY Classical; “Spektakulär” concerti). Für das französische Label Aparté nahm sie In meinem Lied, eine CD mit Liedern von Mahler und Strauss, Liszt und Korngold, gemeinsam mit Helmut Deutsch auf, das im März 2022 erschien. Mit Andreas Scholl als Gast nahm sie ein Album von Arien und Duetten von Bach sowie Werken für Sopran der neuen Wiener Schule auf, das im Sommer 2022 erscheinen wird.

Als Großnichte der legendären Metropolitan Opera-Diva Helen Traubel und des deutschen Dirigenten Günter Wand begann Sarah Traubel 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.

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Biography
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Sarah Traubel "In meinem Lied" Songs by Mahler, Strauss, Liszt & Korngold (Aparté)

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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