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Maison symphonique de Montréal
The soprano Sarah Wegener is on the best path to a great career (…). Sarah Wegener wants to, and can, sing everything. SWR, 2012
Sarah Wegener enthrals listeners with the richness and warmth of her voice and approaches every role in a chamber musical way, whether it be contemporary, classical or romantic repertoire. She regularly works with Philippe Herreweghe, Thomas Hengelbrock, Emilio Pomàrico, Tonu Kaljuste, Heinz Holliger, Frieder Bernius and Michael Hofstetter. Concerts and recitals have taken her to the Schleswig-Holstein Musik Festival, RuhrTriennale, Rheingau Music Festival, Konzerthaus Berlin, Tonhalle Zurich, Wiener Konzerthaus, and to the Bozar Brussels.
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.
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), Beethoven’s Funeral Cantata and Mass in C major (Hans-Christoph Rademann, Deutsche Kammerphilharmonie Bremen, Gächinger Kantorei Stuttgart), and, in a sensational concert in Graz, Strauss‘ Vier letzte Lieder. In 2015 she made her debut with the NDR Symphony Orchestra under Thomas Hengelbrock performing Jörg Widmann’s Dunkle Saiten. The composer previously dedicated the solo part in his work Labyrinth III to her, which she premiered in 2014 to great acclaim at the Kölner Philharmonie with the WDR Symphony Orchestra under Emilio Pomàrico. Further performances of the piece took her to the Concertgebouw Amsterdam (Emilio Pomàrico, Radio Filharmonisch Orkest) and Casa da Música (Peter Rundel, Orquestra Sinfónica do Porto).
Sarah Wegener has formed a close artistic relationship with the composer Georg Friedrich Haas. In the 2015/16 season she made her debuts at the Royal Opera House London and Deutsche Oper Berlin in his new opera Morgen und Abend. The composer also dedicated the Lieder cycle …wie stille brannte das Licht to the soprano, drawing on her unique ability to interpret microtonal music. She was nominated for “Singer of the Year” by Opernwelt magazine in 2011 for her interpretation of the main role of Nadja in his opera Bluthaus, which she performed at the Schwetzinger SWR Festival, Theater Bonn, Wiener Festwochen, Kampnagel Hamburg and Staatstheater Saarbrücken. She returned to Schwetzingen in 2013 with the opera Thomas and Dido for string quartet and soprano. She also sang Haas’s composition ATTHIS with the Ensemble musikFabrik at the Philharmonie Luxembourg and with musicians of the Bavarian Radio Symphony Orchestra as part of musica viva.
Her discography comprises recordings with Frieder Bernius of arias by Justin Heinrich Knecht (Carus), Korngold’s Die stumme Serenade (CPO) and Schubert’s Lazarus (Carus), as well as Rossini’s Petite Messe solennelle under Tonu Kaljuste (Carus) and a CD with the Stuttgart Radio Symphony Orchestra under Heinz Holliger (Hänssler Classic).
Sarah Wegener will kick off the 2016/17 season with her first collaboration with Kent Nagano and the Orchestre Symphonique de Montréal: she will perform Mozart’s Requiem, Beethoven’s Symphony No. 9, Bach’s St.Matthew’s Passion and Brahms’s Ein Deutsches Requiem in several concerts in Montréal. She will also sing Bach’s Christmas Oratorio on tour with the Basel Chamber Orchestra as well as Mozart’s Litaniae and Schubert’s Mass No. 5 with the Radio Filharmonisch Orkest at the Concertgebouw Amsterdam. In celebration of the inauguration of the Hamburg Elbphilharmonie she will perform Mahler’s 8th Symphony with the Philharmonisches Staatsorchester Hamburg and Eliahu Inbal. Recitals will also take her to the SWR RheinVokal Festival and the Halle Handel Festival.
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
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 51 Jauchzet Gott in allen Landen|
|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|
|Kantate auf den Tod Kaiser Josephs II.|
|Symphony No. 9 - Ode to Joy|
|A. BERG||Sieben frühe Lieder for soprano and orchestra / for soprano and string quartet|
|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. DVO?ÁK||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)|
|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 two sopranos violins and basso continuo|
|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|
|M. HAYDN||Missa brevis a tre voci|
|J. A. HASSE||Marc Antonio e Cleopatra|
|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|
|G. MAHLER||Symphony No. 4|
|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|
|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|
|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|
|R. SCHUMANN||Scenes from Goethes "Faust" (Gretchen Una Poenitentium Sorge)|
|Sechs Gesänge op. 107 for soprano and string quartet (arr. A. Reimann)|
|H. SCHÜTZ||Musikalische Exequien|
|R. STRAUSS||Vier letzte Lieder|
|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)|
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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