Salome Kammer



Yan Dribinsky


+49 30 214 594-230

CR Christoph Hellhake


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.

2016/17 season

This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.

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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

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Music Theatre Repertoire

P. EÖTVÖS Lady Sarashina (WP)
G. KURTÁG Kafka Fragments (scenic version)
H. LACHENMANN Das Mädchen mit den Schwefelhölzern
I. MUNDRY Ein Atemzug - Die Odyssee (WP)
H. OEHRING Die Wunde Heine (WP)
Das D'Amato-System (WP)
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Concert Repertoire

Works with symphony orchestra
C. BAUCKHOLT Emil will nicht schlafen (WP)
G. BENDA Ariadne auf Naxos * (melodrama)
Medea (melodrama)
C. EBERWEIN / GOETHE Proserpina, Melodrama * (melodrama)
O. FRIED Die Auswanderer * (melodrama)
F. MENDELSSOHN A Midsummer Night's Dream
I. MUNDRY Penelopes Atem (WP)
H. OEHRING Verlorenwasser (WP) *
G. STAEBLER Sappho-Trilogie (WP)
A. SCHÖNBERG Gurrelieder
L. THUILLE Die Tanzhexe * (melodrama)
K. WEILL The Seven Deadly Sins (low version)
J. WIDMANN Dunkle Saiten (WP) *
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Programme Proposals

L'heure bleue

with Rudi Spring (piano), Maria Reiter (accordion) and Ensemble nonSordino

"Sous le ciel de Paris" and further chansons by Edith Piaf, Jacques Brel and Joseph Kosma as well as songs by Kurt Weill and Friedrich Hollaender.

In this new chanson programme, Salome Kammer once again shows her humorous side and will be accompanied for the first time by the ensemble nonSordino. In April 2015, the programme has been premiered at the International Music Festival Heidelberger Frühling.


with Daan Vandewalle (piano)

works by Alexander Mossolov, George Antheil, Leo Ornstein, Hugo Ball, Igor Stravinsky, Charles E. Ives, Steffen Schleiermacher

Together with Daan Vandewalle, she devotes herself to unusual vocal and piano works, which were written at the time of the First World War and deal with the terrors of war.
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Pierrot Lunaire in pictures

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Media Centre

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I’m a Stranger Here Myself · Salome Kammer

I’m a Stranger Here Myself · Salome Kammer

Kurt Weill, Hanns Eisler
Rudi Spring (piano)
Deutschlandradio Kultur / Capriccio, 2010, LC08748/ C 5154

Oskar Fried · The Emigrants, Transfigured Night

Oskar Fried · The Emigrants, Transfigured Night

Salome Kammer, Katharina Kammerloher, Stephan Rügamer,
Radio Symphony Orchestra Berlin, Matthias Foremny
Deutschlandradio Kultur / Capriccio, 2009, LC08748/ 5043

Salomix-max · Voice without limits

Salomix-max · Voice without limits

Salome Kammer
Wergo, 2008, LC 00846/ WER 6709 2

I hate music – but I like to sing · Salome Kammer

I hate music – but I like to sing · Salome Kammer

Rudi Spring (piano)
Deutschlandradio Kultur/ Capriccio, 2006, LC 08748/ 67195

Hans Zender · Cabaret Voltaire, Mnemosyne – Hölderlin lesen VI

Hans Zender · Cabaret Voltaire, Mnemosyne – Hölderlin lesen VI

Salome Kammer, Klangforum Wien, Hans Zender
Kairos, 2006, LC 10488/ 0012522KAI

Salome Kammer, Klangforum Wien, Sylvain Cambreling
Kairos, 2000, LC 10488/ 0012112KAI

Melodrama · Carl Eberwein (Proserpina) · Jiri Benda (Ariadne auf Naxos)

Melodrama · Carl Eberwein (Proserpina) · Jiri Benda (Ariadne auf Naxos)

Salome Kammer, Dirk Schortemeier, Wuppertal Symphony Orchestra, Peter Gülke
GEMA, 1997, LC 6768/ MDG 335 0740-2

Schönberg · Pierrot Lunaire op. 21

Schönberg · Pierrot Lunaire op. 21

Ensemble Avantgarde, Hans Zender, Salome Kammer
GEMA, 1995, LC 6768/ MDG 613 0579-2

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