+49 30 214 594-235
+49 30 214 594-233
Heiliggeistkirche im Dominikanerkloster, Frankfurt a.M.
Het Concertgebouw Amsterdam
Maison symphonique de Montréal
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 enthrals listeners with the richness and warmth of her voice, for example in performances of Mahler’s 8th Symphony under 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 recently presented at the SWR Schwetzingen Festival. Her “marvellously radiant voice, as powerful as it is rich in colour” (Frankfurter Allgemeine Zeitung) marks her out as a Lieder singer of the highest order, as shown on her highly-praised current CD Into the Deepest Sea. On the opera stage, she made successful debuts at the Royal Opera House in London and the Deutsche Oper Berlin in Georg Friedrich Haas’ Morgen und Abend.
Her remarkable versatility has ensured long-standing collaborations with her musical partners, such as the conductors Kent Nagano, Emilio Pomàrico, Peter Rundel, Tonu Kaljuste, Heinz Holliger and Frieder Bernius. Concerts and recitals have taken her to the 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 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, in a sensational concert in Graz, Strauss‘ Vier letzte Lieder. 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. With the NDR Symphony Orchestra under Thomas Hengelbrock she performed Dunkle Saiten by Jörg Widmann, who also dedicated the solo part in his work Labyrinth III to her; a recording of the work with the WDR Symphony Orchestra was released in summer 2018.
Sarah Wegener’s discography includes recordings of Korngold’s Die stumme Serenade, Schubert’s Lazarus and Mozart’s C minor Mass as well as Fauré’s Pélleas et Mélisande and Rossini’s Petite Messe solennelle.Into the Deepest Sea, her first Lieder recording with the pianist Götz Payer, was released in November 2017 on CAvi-music.
The 2017/18 season was crowned by Sarah Wegner’s debut at the Salzburg Festival under the direction of Kent Nagano, performing Penderecki’s St. Luke Passion with the Orchestre Symphonique de Montréal. This season, she will return to the Musikkollegium Winterthur, followed by a performance of Schoenberg’s Six Orchestral Songs with the Deutsche Radio Philharmonie in Saarbrücken. Now a regular guest with the Orchestre Symphonique de Montréal, she will return to the orchestra to perform Handel’s Messiah, as well as performing Mozart’s Requiem in February with the Bach-Collegium Stuttgart. With Le Concert Lorrain she will take Handel’s Brockes Passion on tour, and she will make her second appearance at the Elbphilharmonie with the Hamburg Philharmonic State Orchestra under Kent Nagano, where Mahler’s 2nd Symphony and Ligeti’s Requiem will be on the programme.
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.
The soprano enchants with her timbre, sensitive musicality and sinuous legato which are irresistible.
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.
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|
|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|
|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|
|G. MAHLER||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|
|Mass No. 5, D 678|
|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|
|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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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