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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 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 Philharmonie Köln, the Casa da Música Porto 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 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) and Strauss‘s Vier letzte Lieder (Styriarte Graz) 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 2010 by Opernwelt magazine. Recently she appeared on stage as Maiden in Toshio Hosokawa’s chamber opera Futari Shizuka (director: Thomas Israel) at the Tongyeong International Festival.
Sarah Wegener’s discography includes recordings of 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. Penderecki’s St. Luke Passion with the Orchestre Symphonique de Montréal and Kent Nagano is to be released on BIS at the Salzburg Festival.
After a successful end to last year’s season with Ligeti's Requiem under Jonathan Nott in Tokyo, Sarah Wegener once again takes on the title role in Schumann's Das Paradies und die Peri in performances with Le Cercle d'Harmonie and Jeremie Rhorer at the Beethovenfest Bonn along with Beethoven concert arias at the the MDR Musiksommer. Other highlights of the 2019/20 season include concerts Henze’s Das Floß der Medusa in Yekaterinburg, Beethoven's Missa Solemnis under Andrew Manze in Liverpool and under Thierry Fischer in Sao Paulo, Mozart's Requiem in Lille and one European tour of Mahler’s 8th Symphony with the Gustav Mahler Youth Orchestra under Daniel Harding.
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.
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
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.
Ludwig-van.com, 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.
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.
Musicologie.org, 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
|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|
|Ah perfido per pietà non dirmi addio|
|Soll ein Schuh nicht drücken|
|Cantata on the Death of Emperor Joseph I|
|A. BERG||Sieben frühe Lieder for soprano and orchestra / for soprano and string quartet|
|5 Orchestral Songs (Altenberg Lieder) Op. 4|
|J. BRAHMS||A German Requiem|
|Ophelia Lieder for string quartet and soprano (arr. A. Reimann)|
|B. BRITTEN||A Ceremony of Carols|
|D. BUXTEHUDE||Alles was ihr tut|
|Membra Jesu Nostri|
|F. DELIUS||Lieder after Shelley|
|A. DVORÁK||Stabat Mater|
|C. C. F. FASCH||Missa Brevis for 16 voices soprano and tenor|
|G. FAURÉ||La Chanson de Mélisande for soprano and string quartet (arr. O. NIES)|
|La Chanson de Mélisande for soprano and string quartet (arr. C. KOECHLIN)|
|La Chanson dÈve - for soprano and string quartet (arr. O. NIES)|
|W. GROSZ||Lieder an die Geliebte Op. 18|
|G. F. HAAS||ATTHIS for soprano and 8 instruments|
|DIDO for soprano and string quartet (WP)|
|wie stille brannte das Licht - Lieder cycle for soprano and chamber music (WP)|
|G. F. HANDEL||Dixit Dominus|
|Israel in Egypt|
|Messiah - (English/German)|
|Nine German Arias|
|Gloria in excelsis Deo|
|Laudate pueri for soprano, two violins and basso continuo|
|Laudate pueri - for choir and solo soprano|
|J. HAYDN||Die Schöpfung|
|Missa brevis in B-flat major|
|Missa brevis in F major|
|Missa Solemnis in C major|
|Die sieben letzten Worte unseres Erlösers am Kreuz|
|J. A. HASSE||Marc'Antonio e Cleopatra|
|H.W.HENZE||Das Floss der Medusa|
|P. HINDEMITH||Die Serenaden op. 35 for soprano oboe viola and violoncello|
|A. HONEGGER||Le roi David (French/German)|
|N. JOMMELLI||Veni Creator Spiritus|
|Veni Sponsa Christi|
|F. LISZT||Oh! Quand je dors (arr. B. A. Zimmermann)|
|Die Drei Zigeuner (arr. B. A. Zimmermann)|
|G. MAHLER||Symphony No. 2|
|Symphony No. 4|
|Symphony No. 8|
|F. MARTIN||In terra pax|
|J. MARX||Orchestra Songs|
|F. MENDELSSOHN||Eight Lieder after poems by Heinrich Heine for soprano and string quartet (arr. A. Reimann)|
|Ave maris stella|
|Hymn "Hör mein Bitten"|
|Vom Himmel hoch|
|Psalm 42 Wie der Hirsch schreit|
|Wer nur den lieben Gott lässt walten|
|W. A. MOZART||Der Messias (arr. of Handel's Messiah)|
|Ergo inter est|
|Great Mass in C minor - soprano I & II|
|Vesperae solennes de confessore|
|Litaniae de venerabili altaris sacramento|
|K. PENDERECKI||St. Luke Passion|
|G. B. PERGOLESI||Stabat Mater|
|G. ROSSINI||Petite messe solennelle|
|H. RUTTER||Open thou mine eyes|
|The Lord bless you and keep you|
|A. SCARLATTI||Stabat Mater soprano I|
|Vespro della Beata Vergine|
|A. SCHÖNBERG||String Quartet No. 2 Op. 10|
|Six Orchestral Songs Op. 8|
|Mass No. 5, D 678|
|Songs Selection (arr. Max Reger)|
|R. SCHUMANN||Scenes from Goethes "Faust" (Gretchen Una Poenitentium Sorge)|
|Sechs Gesänge Op. 107 for soprano and string quartet (arr. A. Reimann)|
|Das Paradies und die Peri (Peri)|
|H. SCHÜTZ||Musikalische Exequien|
|R. STRAUSS||Vier letzte Lieder|
|Das Rosenband, op. 36 Nr. 1|
|Ständchen op.17, Nr. 2|
|Freundliche Vision op. 48 Nr. 1|
|Wiegenlied op. 41 Nr. 1|
|Allerseelen op.10 Nr. 8|
|Morgen, op. 27 Nr. 4|
|G. P. TELEMANN||Cantata "Sei tausendmal willkommen"|
|Oratorium "Holder Friede, heil'ger Glaube"|
|J. WIDMANN||Abgesang auf eine tote Linde - for soprano clarinet violin piano|
|Labyrinth - for soprano and large orchestra|
|Sphinxensprüche - for soprano clarinet piano|
|H. WOLF||Four Last Songs based on texts by Eduard Mörike for soprano and string quartet|
|(arr. M. Matesic)|
|more... less / top|
|B. BRITTEN||Peter Grimes||Ellen|
|The Turn of the Screw||Gouverness|
|G. F. HAAS||Morgen & Abend||Signe/Hebamme|
|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|
|W.A. MOZART||The Magic Flute||Pamina|
|Cosi fan tutte||Fiordiligi|
|Don Giovanni||Donna Anna|
|Le nozze di Figaro||Contessa|
|H. PURCELL||Dido & Aeneas||Dido|
|G. ROSSINI||Il Barbiere di Siviglia||Rosina|
|J. STRAUSS||Die Fledermaus||Rosalinde|
|C.M. von WEBER||Der Freischütz||Agathe|
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Heinz Holliger, Sarah Wegener, Marie-Lise Schüpbach, Ernesto Morlinari, Philippe Jaccottet
EMC, 2019, EMC 2665
Sarah Wegener, Christophe Desjardins, Jörg Widmann, WDR Sinfonieorchester
Wergo, 2018, WER 73692
Sarah Wegener, Götz Payer
Cavi, 2018, LC 15080
Sarah Wegener, Marie Henriette Reinhold, Colin Balzer, Sebastian Noack, Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2017, Carus 83.281
Sarah Wegener, Sophie Harmsen, Colin Balzer, Felix Rathgeber, Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2016, Carus 83.284
Sarah Wegener, Johanna Winkel, Sophie Harmsen, Andreas Weller, Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2013, Carus 83.293
Kirchheimer Vokal-Consort, Tõnu Kaljuste
Carus, 2012, Carus 83.406
Romantic opera in two acts, Kammerchor Stuttgart, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2012, Carus 83.296
Orchesterwerke und Arien, Sarah Wegener, Hofkapelle Stuttgart, Frieder Bernius
Carus, 2011, Carus 83.228