The Guardian, December 2018
Marie Heeschen mesmerises audiences with a lush and flowing voice that is highly adaptable. Since 2016 she has been an ensemble member at the Theater Bonn, where she brings a playful and natural stage presence to roles such as Musetta (La Bohéme), Susanna (Le Nozze di Figaro) and Ella in the world premiere of James Reynolds’ Geisterritter. Last season the Hamburg-born soprano sang Papagena in Mozart’s Zauberflöte, Atalanta in Handel’s Xerxes and the vocally agile role of Tussy in Jonathan Dove’s latest critically acclaimed opera, Marx in London.
In addition to regularly appearing in operas, the versatile singer is also active across other genres of classical music. With her chamber music ensemble paper kite, consisting of two violins and basso continuo, she is reviving the lesser-known cantata repertoire of the German and Italian baroque. After receiving the Biagio-Marini Prize in 2013 the ensemble released their first CD felice un tempo in 2017, which featured a world premiere recording of a work by Giovanni Legrenzi as well as sonatas and cantatas by Giovanni Bononcini and Domenico Scarlatti. Her newly established program Abendandacht, featuring works from the period of the Thirty Years' War (released on Coviello Classics in autumn 2019), was recently presented by early music specialists at the Rundale Festival in Riga.
This inquisitive and open-minded singer is also a committed interpreter of contemporary music. In 2013 she founded the ensemble BRuCH with Sally Beck (flute), Ella Rohwer (cello) and Claudia Chan (piano), which focuses on interpreting impressionist works in combination with 20th and 21st century music. They have collaborated with composers such as Helmut Lachenmann, Gordon Kampe and Johannes Schöllhorn. Distinct in its unusual line-up, the quartet won second prize at the Karlsruher Competition for the Performance of Contemporary Music in 2014. They regularly develop new work with young composers, including Ricardo Eizirik, Giovanni Biswas, Matthias Krüger and Julien Jamet. In May 2019, the ensemble gave the world premiere of Jonah Haven’s chamber opera I cannot know your name in Cologne.
As a soloist, Marie Heeschen has performed at the Handel Festival Halle, the Oude Muziek Fest Utrecht, the Acht Brücken Festival in Cologne and the Philharmonie Cologne. At Tanztheater Wuppertal she appeared onstage in Café Müller / Das Frühlingsopfer under Henrik Schaefer’s musical direction. Marie Heeschen sang Bach’s Johannespassion in a chamber version with Ensemble Resonanz and in Augsburg interpreted Pamina (Die Zauberflöte) and Donna Anna (Don Giovanni) in concert performances. In the 2019/20 season at the Theater Bonn, she takes on the roles of Maria (West Side Story), Marzelline (Fidelio) and Adele (Fledermaus), and will also be heard in Mauricio Kagel's Staatstheater. With the Beethovenorchester Bonn she performs arias by Beethoven and Romberg in multiple concerts, and a New Year's concert with the Kristiansand Symphony Orchestra under Henrik Schaefer’s baton takes her to Norway. She is also invited to perform Rossini's Petit Messe Solenelle with the Oratorienchor Brühl, Brahms's Ein deutsches Requiem at the Nürtingen Kantorei and Orff's Carmina Burana at the Weillburger Schlosskonzerten. With Julia Strelchenko she once again gives her highly praised interpretation of Schubert's Winterreise.
Marie Heeschen trained with Christoph Prégardien and Lioba Braun in Cologne. She studied contemporary and chamber music in Essen with David Smeyers and Barbara Maurer, among others. Master classes and lessons with Klesie Kelly-Moog, Ruth Ziesak, Martin Kränzle and Jil Feldman completed her education.
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