AnnaProhaska

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Soprano
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News

  • 25 August 2021

    Anna Prohaska launches 2021/22 residency with Kammerakademie Potsdam

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  • 21 May 2021

    Anna Prohaska makes role debut as Vitellia at Salzburg Festival

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  • 29 April 2019

    Askonas Holt welcomes Anna Prohaska

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Press

  • Works by Byrd, Dowland, Gesualdo & Tallis

    Wigmore Hall with Phantasm Viol Consort
    Jan 2024

    • ★★★★★ Prohaska, a exceptionally versatile artist, is noted for a breadth of repertory that ranges from rare and specialist baroque to contemporary via the 18th and 19th century mainstreams, and is perfectly at ease in composers as far apart stylistically as Kurtág, Eisler, Mozart and Bach. At the Wigmore Hall, her way with music from the English and Italian Renaissance was characterised by impeccable assurance and deep sincerity, her tone a mixture of silk and silver, the words etched with admirable restraint.

    • Prohaska has a wonderfully plangent voice with a terrific sense of line, and if you simply sat back then you could enjoy they way she became part of the ensemble, a fifth part weaving around the four viols. Her commitment to and identification with the music was absolute... The second section, Hints of the Erotic, brought in a more perky sense of the dance in a sequence of very secular numbers by Byrd. The characterful Susannah Fair might deal with a sacred subject but the treatment was distinctly perky, whilst Amaryrillis danced in green in a very engaging manner. Prohaska brought a nice sense of narrative to In fields abroad, the opening rather serious but a sly sexiness creeping in the final verse.

    • Tallis’s Why fum’th in fight was heard...full of subtlety and contour and distinguished by Prohaska’s aptitude for storytelling...Opening the ‘Hints of the Erotic’ part of the programme...Prohaska’s diction natural and crystal clear, equalled by a light-on-its-feet Thou Amaryllis dance in green and a perfectly rhythmically-sprung In fields abroad...Finally, some Gesualdo, and a trip to another world: the utterly remarkable harmonies of Itene, o miei sospiri (‘Go now, O my sighs’), its phenomenal chromaticism perfectly honoured by all concerned, Prohaska imbuing the words with incredible levels of meaning...Byrd’s Miserere and Lullaby (edited Dreyfus and Gammie respectively) seemed inextricably linked, Prohaska truly touching in the latter (which also included the loveliest ‘dialogue’ between Prohaska and Dreyfus’s treble viol.

  • Orlando (Angelica)

    Teatro Real, Madrid with Ivor Bolton
    Oct 2023 - Nov 2023

    • Anna Prohaska (Angelica) cantó impecablemente su parte y fue la más segura en sus ornamentaciones vocales... Anna Prohaska (Angelica) sang her part impeccably and was the most confident in her vocal ornamentations...

  • Ravel Trois poèmes de Mallarmé

    Wigmore Hall, London with Ensemble Modern & Sir George Benjamin
    Sep 2023

    • The soprano Anna Prohaska had provided the concert’s centrepiece, wrapping her velvety tones sensuously around Ravel’s Trois Poèmes de Mallarmé, as Benjamin arranged the iridescent instrumental colours immaculately around her. And partnered by Ensemble Modern’s pianist Ueli Wiget, Prohaska also came up with more Varèse as an encore, his 1906 setting of Verlaine, Un Grand Sommeil Noir, to which she gave a compelling incantation-like intensity.

    • These baffling but tantalising verses were sung by Anna Prohaska with disarming intensity (no cloying sentimentality)...

  • World Premiere of Picture a Day Like This (Zabelle)

    Festival Aix d'en Provence with Sir George Benjamin
    Jul 2023

    • As Zabelle, the woman in the magic garden, Anna Prohaska can convey repressed rage and trauma in every polished note. ★★★★★

    • Finally, the collector sends the woman into a garden – rather creepily designed, in a lush video by Hicham Berrada – where she can encounter the mysterious Zabelle (the eloquent Anna Prohaska), who has achieved her own resolution to a similar tragedy, and can hint at a different outcome. It is an ambivalent and touching end to an exquisitely crafted little masterpiece. ★★★★★

    • Berlin formed soprano Anna Prohaska commanded the virtuoso lines of the garden keeper Zabelle with the required aplomb.

    • The honeyed, sympathetic tones of Anna Prohaska eventually resolves the mystery: the end result is ambiguous but utterly satisfying.

    • Finally, Anna Prohaska sings the insightful Zabelle with much care and attention...

    • Anna Prohaska, la soprano autrichienne pour qui Benjamin créera le rôle de Zabelle est la première interprète embarquée dans l’aventure. Prohaska incarne son rôle à travers un soprano léger, imprégné d’une émotion troublante et d’un érotisme fuyant. A la fois éthérée et puissante, Prohaska nous livre une Zabelle insaisissable qui, derrière ces injonctions « Ne me touche pas! » cache une douleur transformée et sublimée en ce jardin qui lui ressemble. Anna Prohaska, the Austrian soprano for whom Benjamin will create the role of Zabelle, is the first performer on board the adventure. Prohaska embodies her role through a light soprano, imbued with disturbing emotion and fleeting eroticism. Both ethereal and powerful, Prohaska gives us an elusive Zabelle who, behind these injunctions “Don’t touch me!” » hides a pain transformed and sublimated in this garden which resembles it.

    • Special care appears to have been given, as well, to the soprano Anna Prohaska as Zabelle, her sympathetic stage presence feeding Benjamin’s firm yet humane music for her, and vice versa.

    • Comme Mozart ou Britten, Benjamin aime composer pour des voix spécifiques qui, dit-il, en retour, l’inspirent. Ainsi Anna Prohaska pour qui il avait envie d’écrire depuis 2010, impressionnante en double virtuelle de l’héroïne. Like Mozart or Britten, Benjamin likes to compose for specific voices which, he says, in return, inspire him. Thus Anna Prohaska for whom he had wanted to write since 2010, impressive as the heroine's virtual double.

  • Mozartwoche Abschlusskonzert

    Stiftung Mozarteum, Salzburg with Ivor Bolton & Mozarteumorchester Salzburg
    Feb 2024

    • Überwältigend dramatisch ausgedeutet folgten das Leid der Königstochter und deren Verzweiflung im Abschied. Noch grandioser dann aber noch Fiordiligis „Felsenarie“ aus Così fan tutt – hier noch standhaft und entsetzt angesichts des Ansinnens, den Geliebten durch einen Anderen ersetzen zu sollen. Virtuos, in furioser Empörung, kamen die ihr abverlangten weit auseinander driftenden Töne und raschen Registerwechsel. Überzeugend, überwältigend, grandios. This was followed by an overwhelmingly dramatic interpretation of the suffering of the king's daughter and her despair in her farewell. Even more magnificent, however, was Fiordiligi's "Come scoglio immoto resta" from Così fan tutt - here still steadfast and horrified at the suggestion that the beloved should be replaced by another. The widely diverging notes and rapid changes of register demanded of her were delivered with virtuosity and furious indignation. Convincing, overwhelming, grandiose.

    • Bei der Leichtigkeit, die Anna Prohaska in die Worte legt, lässt kaum etwas an einen schweren Abschied denken: "Letzte Stunde, brich herein!", singt die Sopranistin beim Abschlusskonzert der Mozartwoche mit hellem, zartem Ausdruck. With the lightness that Anna Prohaska puts into her words, there is hardly anything to suggest a difficult farewell: "Letzte Stunde, brich herein!", the soprano sings with a bright, delicate expression at the final concert of the Mozart Week.