Sarah Wegener



Kerstin Alt


+49 30 214 594-235

Lisa Böttcher


+49 30 214 594-226

General Management

CR Simon-David Tschan


14.12. 20:00 — cancelled
Philharmonie Luxembourg

Johann Sebastian Bach,  Weihnachtsoratorium, BWV 248

Sarah Wegener, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas E. Bauer, baritone
Le Concert Lorrain - Ensemble de musique ancienne

15.12. 20:00
Arsenal de Metz

Johann Sebastian Bach,  Weihnachtsoratorium, BWV 248

Sarah Wegener, soprano
Marianne Beate Kielland, mezzo-soprano
Markus Schäfer, tenor
Thomas E. Bauer, baritone
Le Concert Lorrain - Ensemble de musique ancienne

31.01. 11:00
De Bijloke Muziekcentrum Gent

About Happiness - Works by Robert Stolz, E. W. Korngold, Alma Mahler, Franz Léhar, Alexander Zemlinsky et alia

Sarah Wegener, soprano
Götz Payer, piano


Wegener’s ability cannot be disputed. The placement of her voice is flawless, she has the complete range of ambitious tone colour, superb timbre that still remains smooth even at a high volume, and perfect legato. Neue Zürcher Zeitung

Sarah Wegener approaches every role with intensity, as if it were chamber music. She captivates listeners with the richness and warmth of her voice, in performances such as Strauss’ Orchestral songs under Mariss Jansons and Vladimir Jurowski in Munich, London and Hamburg, and Mahler’s 8thh Symphony under Kirill Petrenko in Bregenz, Eliahu Inbal in Hamburg and Kent Nagano in Montreal, as well as in her War and Peace programme shaped around works by Handel and Purcell, which she also presented at the SWR Schwetzingen Festival. Her “marvellously radiant voice, as powerful as it is rich in colour” (Frankfurter Allgemeine Zeitung) distinguish her as a Lieder singer of the highest order, as shown on her highly praised current CD Into the Deepest Sea

Her remarkable versatility has ensured long-standing collaborations with her musical partners, including the conductors Kent Nagano, Emilio Pomàrico, Peter Rundel, Tonu Kaljuste, Heinz Holliger and Frieder Bernius. Concerts and recitals have taken her to the Salzburg Festival, Schleswig-Holstein Musik Festival, the Rheingau Music Festival, the RuhrTriennale and the Handel Festival Halle, as well as the Alte Oper Frankfurt, the Konzerthaus Berlin, the Tonhalle Zürich, the Vienna Konzerthaus, the Concertgebouw Amsterdam, the Elbhilharmonie, the Royal Festival Hall London and the Bozar in Brussels. She has sung leading opera roles at the Royal Opera House in London, the Deutsche Oper Berlin, Wiener Festwochen, the Theater Bonn and the Staatstheater Saarbrücken.

Highly regarded as a performer of both classical and romantic repertoire as well as contemporary compositions, Sarah Wegener recently sang Schumann’s Das Paradies und die Peri (Le Cercle d’Harmonie, Jérémie Rhorer), Dvořak’s Stabat Mater and Haydn’s Sieben letzte Worte (Philippe Herreweghe, Orchestre des Champs-Élysées, Collegium Vocale Gent), Hans Werner Henze’s Floß der Medusa (Vienna Radio Symphony Orchestra, Cornelius Meister), Krzystof Penderecki 's St Luke Passion (Orchestre Symphonique de Montéal, Kent Nagano), Beethoven’s Missa Solemnis (Royal Liverpool Philharmonic Orchestra, Andrew Manze), as well as Schönberg’s Six Orchestral Songs in Saarbrücken. She has given the premiere of numerous works by Georg Friedrich Haas, including the opera Bluthaus, for which she was chosen as Singer of the Year in 2011 by Opernwelt magazine. In 2019 she appeared on stage as Maiden in Toshio Hosokawa’s chamber opera Futari Shizuka (director: Thomas Israel) at the Tongyeong International Festival.

Three concerts to open the 20/21 season cannot take place as planned: The performance of Beethoven's Missa Solemnis with the Orchestre Symphonique de Montréal under Pablo Heras-Casado as well as in Oslo under Andrew Manze had to be cancelled; Mahler's 8th Symphony with the Royal Philharmonic Orchestra under Vasily Petrenko at the Royal Albert Hall had to be postponed until October 2022. Instead, during the first half of the season there will now be recitals with Götz Payer in Freiburg and at de Bijloke Gent. This will be followed by Haydn's Stabat Mater with the Bachakademie Stuttgart and the work of the same title by Dvořák in Basel, as well as Brahms' Requiem at the end of the season with the Warsaw Philharmonic Orchestra.

Sarah Wegener’s discography includes recordings of Penderecki’s St. Luke Passion, Korngold’s Die stumme Serenade, Schubert’s Lazarus and Mozart’s C minor Mass, Fauré’s Pelléas et Mélisande, Rossini’s Petite Messe solennelle as well as works by Heinz Holliger and György Kurtág. Into the Deepest Sea, her first Lieder recording with the pianist Götz Payer, was released in November 2017 on CAvi-music. At the OPUS Klassik 2019 she was nominated as Singer of the Year for Jörg Widmann’s work Labyrinth III, in which the composer dedicated the solo part to her. Her latest recording with Heinz Holliger Zwiegespräche (EMC 2019) has been shortlisted for the Grampophone Classical Music Award 2020. 

Following her double bass studies, the British-German soprano studied singing with Prof. Jaeger-Böhm in Stuttgart and took part in masterclasses with Dame Gwyneth Jones and Renée Morloc.

Season 2020/21

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Sarah Wegener's lavish soprano with a broad spectrum and a wonderful timbre combines expressive intensity and flowing, often cantabile flexibility.
ResMusica, Michèle Tosi, September 2020

Wegener [proved that she is a very a fine ] Straussian, with a warm tone, and a telling yet understated way with words, which enabled her to suggest both the cool sensuality of "Freundliche Vision", and the vulnerability of "Allerseelen". […] She did wonderful things with "Morgen!", where her voice hovered in dreamy contemplation over the unfolding violin melody.
The Guardian, Tim Ashley, November 2019 [on Strauss Songs with Jurowski and LPO at Royal Festival Hall, London]

With a clear vocal core, Wegener's voice carried the sound up to the heights with ease while remaining present in moments of pianissimo.
Bachtrack, David Renke, October 2019

Sarah Wegener interpreted the six Strauss songs so beautifully and effortlessly that even following the encore the audience would hardly let her leave the stage. With a warm timbre and round tone, she achieves a soaring yet nimble expressiveness.
Süddeutsche Zeitung, Paul Schäufele, October 2019

Sarah Wegener sang the role [of the Peri in Schumann’s “Das Paradies und Die Peri”] with tremendous empathy and commitment, compassion and anguish; she was entrancingly musical.
Donaukurier, Jesko Schulze-Reimpell, July 2019

Sarah Wegener embodied the interplay between sorrowful rejection, passionate turmoil, hopeful yearning and eventual salvation with great aplomb. 
Augsburger Allgemeine, Tobias Böcker, July 2019

[…] the soprano lament on the “Faithful Cross” could hardly have been more touching. The soloist in this movement was the British-German soprano Sarah Wegener., Arthur Kaptainis, July 2018

In songs by Sibelius, Grieg or Frank Bridge, Wegener explores the depths of the soul and lets her marvellously radiant voice, as powerful as it is rich in colour, and calm, perfectly balanced vibrato glide over the water conjured up by pianist Götz Payer, which at times delicately sparkles, at others swells powerfully like waves.
FAZ, Josef Oehrlein, December 2017 (on the CD Into the deepest sea, released on CAvi)

(…) nobody can resist the soprano who enchants with her timbre, her sensitive musicality and her sinuous legato.
NDR Kultur, Markus Stäbler, December 2017 (on the CD Into the deepest sea, released on CAvi)

Wegener’s ability cannot be disputed. The placement of her voice is flawless, she has the complete range of ambitious tone colour, superb timbre that still remains smooth even at a high volume, and perfect legato.
NZZ, 09/12/2015

Sarah Wegener is excellent in the role of Signe, ending on a celestial high.
Evening Standard, Barry Millington, November 2015

[...]and midwife Sarah Wegener, who is competent in this initial role before returning as Johannes’s daughter Signe. As Signe, she is the most authentic and moving character we encounter; discordant, mournful und distant and first, and finally gasping out her grief in a hoarse, poignant whistle.
Londonist, Holli-Mae Johnson, November 2015

Sarah Wegener is an extraordinary soprano, with a round and supple voice., Eusebius, February 2015 (on the performance of Dvořák's Stabat Mater with the Orchestre des Champs-Élysées under Philippe Herreweghe at the Opéra de Dijon)

The beauty, the expression that never seems to be put on, with which Wegener interprets this farewell music so securely in the high registers is simply fantastic.
Kronen Zeitung, Martin Gasser, November 2014 (on Richard Strauss’ Four Last Songs)

What the soprano Sarah Wegener mastered with her concise interventions of vocal stunts – and how she made these warm and cantabile, never sounding shrill in the higher ranges – borders on the miraculous.
Frankfurter Rundschau, Holger Noltze, January 2014 (on the world premiere of Widmann's III Labyrinth)

The soprano Sarah Wegener was sensational when she joined in the third and fourth movements of Schönberg’s second string quartet in F-sharp minor op. 10. She made her voice sound almost instrumental, infinitely refined with a wide range of dynamics, a large spectrum of colours and gorgeously dramatic expressivity.
Zürcher Kultur, Alfred Zimmerlin, January 2014

We must explicitly mention Sarah Wegener. The soprano addressed herself to the second work by Haas “…wie stille brannte das Licht” with an extraordinarily brilliant intonation. Haas quite often linked the soprano part very closely to the trumpet part and in the end united both voices in harmony again. Wegener hit all the audacious vocal jumps without losing any of the tonal quality. The precision of her voice is fantastic and was the reason for a well-deserved extra applause.
Salzburger Nachrichten, March 2013

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Programme proposals

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Concert Repertoire

J. S. BACH BWV 6 Bleib bei uns, denn es will Abend werden
BWV 51 Jauchzet Gott in allen Landen
BWV 79 Gott der Herr ist Sonn und Schild
BWV 80 Eine feste Burg ist unser Gott
BWV 202 Weichet nur betrübte Schatten
BWV 211 Schweigt stille plaudert nicht (Coffee Cantata)
BWV 232 Mass in B minor (+ "Laudamus te")
BWV 243 Magnificat
BWV 244 St Matthew Passion
BWV 245 St John Passion
BWV 248 Christmas Oratorio
L. v. BEETHOVEN Mass in C major
Symphony No. 9 - Ode to Joy
Missa solemnis
Ah perfido – per pietà non dirmi addio

Opera Repertoire

G. BIZET Carmen Micaela
B. BRITTEN Peter Grimes Ellen
The Turn of the Screw Gouverness
G. F. HAAS Morgen & Abend Signe/Hebamme
Melancholia Helene
G. F. HANDEL Giulio Cesare Cleopatra
N. JOMMELLI Didone abbandonata Selene, Didone
E. W. KORNGOLD Die stumme Serenade Silvia Lombardi
P.J. von LINDPAINTNER Der Vampyr Isolde
J. MASSENET Thais Thais
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Media Centre

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Heinz Holliger & György Kurtág · Zwiegespräche

Heinz Holliger, Sarah Wegener, Marie-Lise Schüpbach, Ernesto Morlinari, Philippe Jaccottet
EMC, 2019, EMC 2665


Jörg Widmann: Drittes Labyrinth | Polyphone Schatten

Sarah Wegener, Christophe Desjardins, Jörg Widmann, WDR Sinfonieorchester
Wergo, 2018, WER 73692

SW_Into the deepest sea_CR_Cavi

...Into the deepest sea!

Sarah Wegener, Götz Payer
Cavi, 2018, LC 15080


Joseph Haydn · Stabat Mater Hob. XXbis

Sarah Wegener, Marie Henriette Reinhold, Colin Balzer, Sebastian Noack, Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2017, Carus 83.281

Mozart Missa in c


Sarah Wegener, Sophie Harmsen, Colin Balzer, Felix Rathgeber, Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2016, Carus 83.284

Franz Schubert · Lazarus

Franz Schubert · Lazarus

Sarah Wegener, Johanna Winkel, Sophie Harmsen, Andreas Weller, Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2013, Carus 83.293

Gioacchino Rossini · Petite Messe Solennelle

Gioacchino Rossini · Petite Messe Solennelle

Kirchheimer Vokal-Consort, Tõnu Kaljuste
Carus, 2012, Carus 83.406

Der Berggeist · Franz Ignaz Danzi

Der Berggeist · Franz Ignaz Danzi

Romantic opera in two acts, Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2012, Carus 83.296

Grande Symphonie · Justin Heinrich Knecht

Grande Symphonie · Justin Heinrich Knecht

Orchesterwerke und Arien, Sarah Wegener, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2011, Carus 83.228

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