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To call Salome Kammer a great singer would be an understatement. In fact, she is a phenomenal vocal acrobat who knows no limits between speaking and singing, humour and solemnity. (Süddeutsche Zeitung)
Salome Kammer’s talent transcends musical boundaries. Her repertoire defies categorisation and is comprised of a mix of avant-garde music, virtuoso voice experiments, classical melodrama, Lieder recitals, Dada poetry and Broadway songs. Whether performing as a singing actress or as an acting singer, Kammer’s stage presence in musical cabaret and theatre roles is fascinating. Numerous contemporary music works have been dedicated to and premiered by her, both nationally and internationally. Composers such as Helmut Oehring, Wolfgang Rihm, Georges Aperghis, Bernhard Lang, Isabel Mundry, Mauricio Sotelo and Carola Bauckholt have dedicated works to her, inspired by the manifold facets of her voice and her exceptional expressiveness.
Salome Kammer studied music from 1977 to 1984, majoring in cello and studying with Maria Kliegel and Janos Starker in Essen. In 1983 she was engaged at the Heidelberg Theatre appearing in countless plays, musicals, and operettas. In 1988 she moved to Munich to begin filming Die zweite Heimat with director Edgar Reitz. While working on this monumental film project she began her formal vocal training, taking lessons from teachers such as Yaron Windmüller. She has been performing as a vocal soloist in contemporary music concerts since 1990. Heimat 3 which was premiered in Venice in 2004 and broadcast throughout Europe, also allowed her to exhibit the breadth of her abilities in the role of Clarissa.
Her wide-ranging repertoire includes classics of modern music such as Arnold Schönberg’s Pierrot Lunaire and String Quartet No. 2, La fabricca illuminata by Nono, works by composers such as John Cage, Luciano Berio and Hans Zender, as well as Lieder by Kurt Weill and Hanns Eisler. Salome Kammer’s expertise in interpreting Weill’s and Schönberg’s music has resulted in invitations to appear at the Rheingau Music Festival, Kurt Weill Fest Dessau, Beethovenfest Bonn and Lucerne Festival. In addition, she has a passion for musical cabaret and has performed a wide range of Chansons bizarres together with the composer and pianist Peter Ludwig in front of enthusiastic audiences on the most diverse cabaret stages in Germany.
Salome Kammer has wowed audiences in numerous productions of new operas including Helmut Lachenmann’s Das Mädchen mit den Schwefelhölzern at the Stuttgart Opera and the Opéra National de Paris, Jörg Widmann’s Das Gesicht im Spiegel at the Bavarian State Opera, and Isabel Mundry’s Die Odyssee – Ein Atemzug at the Deutsche Oper Berlin. She sang in Peter Eötvös’s Lady Sarashina at the Opéra National de Lyon, Opéra Comique Paris and Polish National Opera in Warsaw to great critical acclaim, as well as in Ligeti’s Aventures & Nouvelles Aventures in Munich. She has performed a staged version of Kurtág’s Kafka Fragments with violinist Carolin Widmann internationally many times. She gave her debut at the Berlin State Opera/Schillertheater in Brice Pauset’s solo work Exercices du Silence in 2011 and sang the role of Elsa in Sciarrino’s chamber opera Lohengrin at several theatres in 2014.
Numerous radio and CD productions document Salome Kammer’s exceptional talent, among them a recording of Schönberg’s Jakobsleiter (Harmonia Mundi) and Lachenmann’s Mädchen mit den Schwefelhölzern (Kairos). Her latest CDs I hate music, but I like to sing (Capriccio), salomix-max (wergo) and I’m a Stranger Here Myself (Capriccio), all chronicle the results of her long-standing collaboration with the pianist Rudi Spring and received rave reviews.
In the 2016/17 season, Salome Kammer has been invited to the International Hugo-Wolf-Academy Stuttgart, Konzerthaus Berlin, Wiener Konzerthaus and to the Schwetzinger SWR Festspiele, and will be performing with the Ensemble Contrechamps, Klangforum Wien and the Munich Symphony Orchestra.
Salome Kammer teaches Contemporary Music for Voice at the Munich Conservatory. She is laureate of the Schneider Schott Music Prize and the Schwabinger Kunstpreis, and has been honoured with the Magister Artium Gandensis from Ghent University.
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
Only a diseuse of recitative art such as the versatile virtuoso Salome Kammer can create a new synthesis of the arts from such fragile, endangered material.
Frankfurter Allgemeine Zeitung, March 2014
Salome Kammer is instantly mesmerising as Elsa through her stage and vocal presence. She purrs with her vocal cords, bills and coos, whispers, breathes fast text passages, makes rhythmic plopping sounds with her lips. What at first seems strange soon has the audience under its spell (...).
Neue Presse, March 2014 (on Sciarrino's "Lohengrin")
This provides her, for example, in 'Bilbao Song', with an extraordinary security of pitch. […] She remains a song performer, switching with confident expressivity between callousness and sentimentality, and yet without copying the likes of Lotte Lenya. Rudi Spring delivers a succinct piano accompaniment, and besides, contributes as a composer with a five-minute Brecht triptych.
Fono Forum, Juli 2013 (on the CD I'm a stranger here myself)
The Brecht interpreter of our time is often a walking “artistic synthesis” with extensive competences: singer, actor, perhaps even dancer. However, there is hardly an artist who embodies all these qualities in such a perfect and harmonious expression as the multi-talented Salome Kammer.
Frankfurt Allgemeine Zeitung, 2009
Vocal wonder. Salome Kammer proves her exceptional standing with Schoenberg. To call Salome Kammer a great singer would be an understatement. In fact, she is a phenomenal vocal acrobat without any limits between speaking and singing, fun and solemnity, also proven in her latest CD “Salomix-max” featuring music by Mozart, Berg, Berio and contemporary composers. She brings with her the best prerequisites to do justice to Arnold Schoenberg’s Pierrot lunaire for speaker, piano, flute, clarinet, violin, viola and cello in every respect.
Kammer performed the cheeky, partly macabre or even blasphemic, poetic, ever splendidly colourful 21 melodramas, composed in 1912, in the Orff Zentrum, as though they had been composed for her own voice and dramatic talent. She gives her performance like a diseuse from the 1920s, sings and speaks by heart, very precisely with regard to rhythm and pitch. However, her hands, arms and face perform the artificial, musical, moonlight-bathed cabinet-pieces as little dance scenes. Salome Kammer always wanders the fine line between expressivity and exaggeration, between hysteria, ridicule and a gentle smile....
Süddeutsche Zeitung, 2009
|MUSIC THEATRE REPERTOIRE|
|G. APERGHIS||Zeugen (WP)|
|P. EÖTVÖS||Lady Sarashina (WP)|
|A. HOLTSCH||BARCODE (WP)|
|G. KURTÁG||Kafka Fragments (scenic version)|
|H. LACHENMANN||Das Mädchen mit den Schwefelhölzern|
|B. LANG||I HATE MOZART (WP)|
|I. MUNDRY||Ein Atemzug - Die Odyssee (WP)|
|H. OEHRING||Die Wunde Heine (WP)|
|Das D'Amato-System (WP)|
|H. OEHRING/I. TER SCHIPHORST||Effi Briest (WP)|
|B. PAUSET||Exercices du Silence (WP)|
|J. SCHUSTER||Amor & Psiche (1779)|
|M. SOTELO||De Amore (WP)|
|J. WIDMANN||Befreiung aus dem Paradies (WP)|
|Das Gesicht im Spiegel (WP)|
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|Works with symphony orchestra|
|C. BAUCKHOLT||Emil will nicht schlafen (WP)|
|G. BENDA||Ariadne auf Naxos * (melodrama)|
|C. EBERWEIN / GOETHE||Proserpina, Melodrama * (melodrama)|
|O. FRIED||Die Auswanderer * (melodrama)|
|T. LARCHER||HEUTE (WP)|
|F. MENDELSSOHN||A Midsummer Night's Dream|
|I. MUNDRY||Penelopes Atem (WP)|
|H. OEHRING||Verlorenwasser (WP) *|
|G. STAEBLER||Sappho-Trilogie (WP)|
|L. THUILLE||Die Tanzhexe * (melodrama)|
|K. WEILL||The Seven Deadly Sins (low version)|
|J. WIDMANN||Dunkle Saiten (WP) *|
|Works with ensembles|
|G. APERGHIS||Dark Side|
|L. BERIO||O King|
|H. BIRTWISTLE||9 Settings by Paul Celan -.Pulse Shadows|
|J. CAGE||Fives *|
|Zwei Gefühle *|
|B. LANG||ICHT (WP)|
|G. LIGETI||Aventures & Nouvelle Aventures|
|H. OEHRING / I. TER SCHIPHORST||Live (from: Androgyn) (WP) *|
|K. OSPALD||und es ward tang *|
|B. PAUSET||Theorie der Tränen (WP)|
|M. RIESSLER||Eklipse (WP) *|
|A. REIMANN/F. MENDELSSOHN||"...oder soll es Tod bedeuten?"|
|A. SCHÖNBERG||Pierrot Lunaire * fl, cl, vl, vla, vc, p|
|Ode to Napoleon|
|String Quartet No. 2 in F-sharp minor|
|DW 9 Puppe/Tulpe (WP) *|
|Differenz und Wiederholung 2 (WP) *|
|M. SPAHLINGER||Vier kleine Stücke|
|128 erfüllte Augenblicke|
|A. WEBERN||Fünf Canons, op. 16|
|K. WEILL||Mahagonny Songspiel|
|K. WEILL/S. SCHLEIERMACHER||Songs (various)|
|J. WIDMANN||Sphinxensprüche und Rätselkanons|
|H. ZENDER||Cabaret voltaire (WP) *|
|"Mnemosyne" - Hölderlin lesen IV (WP) *|
|Hölderlin lesen I-III *|
|G. CRUMB||Voices of ancient children|
|G. GRISEY||Quatre Chants pour franchir le seuil|
|G. KURTÁG||What is a word? (voice and ensemble or pianino)|
|S. PROKOFIEV||Peter and the Wolf (narrator)|
|S. SCIARRINO||Efebo con radio|
|Vanitas (voice, vc, p)|
|V. ULLMANN||Die Weise von Liebe und Tod des Cornet Christoph Rilke (for narrator and piano)|
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Kurt Weill, Hanns Eisler
Rudi Spring (piano)
Deutschlandradio Kultur / Capriccio, 2010, LC08748/ C 5154
Salome Kammer, Katharina Kammerloher, Stephan Rügamer,
Radio Symphony Orchestra Berlin, Matthias Foremny
Deutschlandradio Kultur / Capriccio, 2009, LC08748/ 5043
Wergo, 2008, LC 00846/ WER 6709 2
Rudi Spring (piano)
Deutschlandradio Kultur/ Capriccio, 2006, LC 08748/ 67195
Salome Kammer, Klangforum Wien, Hans Zender
Kairos, 2006, LC 10488/ 0012522KAI
Salome Kammer, Klangforum Wien, Sylvain Cambreling
Kairos, 2000, LC 10488/ 0012112KAI
Salome Kammer, Dirk Schortemeier, Wuppertal Symphony Orchestra, Peter Gülke
GEMA, 1997, LC 6768/ MDG 335 0740-2
Ensemble Avantgarde, Hans Zender, Salome Kammer
GEMA, 1995, LC 6768/ MDG 613 0579-2
The Berlin festival MaerzMusik will present a world premiere on 18 March that defies categorisation. Described by the project’s creators as a “musical exhibition space”, the concert installation will showcase the artistic forces of the Zafraan Ensemble, recorder player Jeremias Schwarzer, concert designer Folkert Uhde, visual artist Chiharu Shiota, composers Stefan Goldmann and Samir Odeh-Tamimi and the vocal artist Salome Kammer. ...