Mezzo-soprano & Contralto

Anna Larsson

Introduction

Globally renowned for her interpretation of Mahler, Swedish mezzo soprano, Anna Larsson, has worked with the greatest Mahler conductors of our time including Claudio Abbado, Zubin Mehta, Daniel Harding, Esa-Pekka Salonen, Lorin Maazel and Kurt Masur.  On the operatic stage, she is a distinguished Wagnerian and her roles include Erda, Waltraute, Kundry and Brangäne, for which she is regularly in demand. She built and inaugurated the Vattnäs Concert Barn in Sweden which has been the stage for many community projects including a world premiere.  She is an intellectual and vocal commentator and ambassador for the future of opera and classical music.  In 2014 she was awarded the Royal Medal ‘Litteris et Artibus’ from the King of Sweden.


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  • More info  
    07 Sep 19 Wagner The Ring - Das Rheingold, Siegfried
    Deutche Staatsoper Berlin

    “En Erda, sa compatriote Anna Larsson déploie un timbre concentré, presque fantomatique, et un souffle long, qui lui permet de réaliser d’intenses lignes musicales ainsi qu’un contraste dramatique envers le discours hâtif du Wanderer.”

    [Translated] “In Erda, her compatriot Anna Larsson deploys a concentrated, almost ghostly timbre, and a long breath, which allows her to perform intense musical lines as well as a dramatic contrast to the Wanderer’s hasty speech.”
    Andreas Wahlberg, Olyrix, 25 October 2019

    “D’autant plus frappante devient ainsi l’apparition-élévation extraterrestre d’Anna Larsson en Erda, déesse-mère de la Terre : comme elle monte majestueusement des dessous du plateau, son chant dense et bien projeté s’étend vers le haut registre, tout en gardant son ton de deuil.”

    [Translated] “All the more striking thus becomes the extraterrestrial appearance-elevation of Anna Larsson in Erda, goddess-mother of the Earth: as she rises majestically from below the plateau, her dense and well-planned song extends upwards in register, while keeping a tone of mourning.”
    Andreas Wahlberg, Olyrix, 02 October 2019

    “Strength in depth is underlined by redoubtable Wagnerians such as…Anna Larsson as Erda.”
    Martin Kettle, The Guardian, 20 October 2019

    “Restent des moments forts, comme l’apparition d’Erda, qui depuis 2010 est Anna Larsson, toujours impressionnante dans ce rôle qu’elle aura décidément marqué, perchée et dominant le plateau.”

    [Translated] “Other strong moments, like the appearance of Erda, who since 2010 is Anna Larsson, always impressive in this role she will have decidedly marked, perched and dominating the plateau.”
    Guy Cherqui, Wanderer, 17 October 2019

    “Erda (handsomely sung by contralto Anna Larsson harbouring a warm and distinctive rich-textured voice) arrives from a trapdoor (where else!) looking radiant and tall adorned by long-flowing black hair to warn Wotan of the impending doom and gloom surrounding the holder of the ring.”
    Robert Hugill, Planet Hugill, 03 October 2019

    “Auch die Erda von Anna Larsson, ihre kurze aber eindrückliche Paraderolle, war an Intensität nicht zu übertreffen.”

    [Translated] “Also the Erda of Anna Larsson , her short but impressive parade role, was not to be surpassed in intensity.”
    Phillip Richter, Opern Magazine, 25 September 2019

    “Anna Larsson’s Erda responded to the Wanderer’s every word in subtle gestures and movement, her smooth voice full of sorrow and mystery, to create an image of a very human earth goddess.”
    Ako Imamura, Bachtrack, 12 September 2019

    “In her brief appearance, Anna Larsson as Erda, hoisted on a pedestal that raised her up and down, sang with stillness and wisdom. It was rare to experience an Erda who scaled the role’s height and depth with seeming ease and beauty.”
    Ako Imamura, Bachtrack, 09 September 2019

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    16 Jun 19 Wagner The Ring - Götterdämmerung
    Palace of Arts Budapest

    “For a contralto of Larsson’s calibre to appear in a one-scene role like Waltraute is a case of luxury casting if ever there was one.”
    David Karlin, Bachtrack, 17 June 2019

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    08 Aug 18 Wagner The Ring - Siegfried
    Edinburgh Fringe Festival

    “When The Wanderer summoned Erda from her sleep, Anna Larsson may have looked laid-back and barely awake, but the voice was all there in luscious languor”

    Catroina Graham, The Opera Critic, 8 August 2018

    “Anna Larsson’s smouldering mezzo convinced as Erda”

    ★★★★ David Smythe, Bachtrack, 10 August 2018

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    18 Apr 18 Gurrelieder Dutch National Opera
    Amsterdam

    “In the “Song of the Wood Dove” the orchestra and contralto Anna Larsson, on coruscating vocal form, were nothing short of sensational.”
    Jenny Camilleri, Bach Track, 20 April 2018

     

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    04 Feb 18 MAHLER Symphony No.2
    Barbican Centre

    “Anna Larsson’s pale-toned mezzo-soprano floated out of the orchestra, diction crystal clear and full of meaning. Larsson is known for her Mahler and the emphases she gave to each syllable were most enjoyable to hear.”
    Dominic Lowe, Bachtrack, 06 February 2018

    “Anna Larsson’s entry with the “Urlicht” (“Primal Light”) setting was wonderfully ethereal, her alto matching the colours of the poetry.”
    Ivan Hewett, The Telegraph, 7 February 2018

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    27 Jan 18 WAGNER Das Rheingold
    Royal Festival Hall

    “It was luxury casting to have Anna Larsson, one of the finest Erdas around today. She has a presence that fills the concert hall before a note is sung; and when she sings, she admits of no alternative interpretation.”
    Colin Clarke, Seen and Heard International, 28 January 2018

     

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    10 Jun 16 Wagner The Ring - Siegfried
    Deutsche Staatsoper, Berlin

    “Anna Larsson was again an exceptional Erda, with her rich dark voice opening up thrillingly for high notes.”
    ★★★★★ Ako Imamura, Bachtrack, 16 June 2016

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    05 Jun 16 Mahler Symphony No. 2
    Barbican Centre, London Symphony Orchestra

    “‘Urlicht’ entered with a delicate timbre so beautifully conjured by Anna Larsson; heart-stopping.”
    Edward Clark, Classical Source, 5 June 2016

    “Larsson’s obvious experience and connection to the text resulted in a strikingly intimate, almost conversational experience.”
    Kevin W Ng, Bach Track, 6 June 2016

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    29 Mar 15 Strauss Elektra
    Vienna State Opera

    “The second role debut was Anna Larsson as Klytamnestra – another outstanding debut.  Her striking height and dramatic timbre were convincing from the outset.”
    Sebastian Kranner, Der Neue Merker 31 March 2015

    “Anna Larsson as Klytamnestra was an unusually elegant and statuesque character and sang with beauty and lyricism.  This Klytamnestra was a physically frail and sorrowful figure…”
    ★★★★ Ako Imamura, Bachtrack, 2 April 2015

    “Swedish mezzo soprano Anna Larsson was an outstanding Klytamnestra…”
    José M Iruzun, Seen and Heard, 7 April 2015

    “Anna Larsson’s amazing Klytamnestra, a role debut, makes her entrance in a lift, with a dangerously deep, affecting voice.”
    Bo Löfvendahl, SvD Kultur, 31 March 2015

    “Anna Larsson appears as Klytamnestra… creepy and sinister.  Her long, sleek appearance looks so threatening.  Vocally she is very credible.”
    Der Neue Merker, 11 April 2015

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    01 Sep 14 Schoenberg Gurrelieder
    Netherlands Opera

    “Anna Larsson’s dungeon-deep contralto perfectly embodied the dread and despair in the Song of the Wood Dove, here a beautiful, statuesque Angel of Death.”
    ★★★★ Jenny Camilleri, Bachtrack, 03 Sept 2014

    “Anna Larsson’s wood-dove is sheer luxury”
    Shirley Apthorp, The Finacial Times, 3 September 2014

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    22 Oct 11 Oxford Lieder Festival Recital
    Holywell Music Room, Oxford

    “As well as recitals, there were workshops and talks in what was a very thorough exploration of an area of the song repertory that, outside Scandinavia at least, remains very neglected. Its standout event was a real coup for the festival – an appearance by the great contralto Anna Larsson, accompanied by Matti Hirvonen.”
    ★★★★ Andrew Clements, The Guardian, 23 October 2011

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    06 Aug 11 MAHLER: Symphony No. 2 `Ulricht`
    Royal Albert Hall, London

    “Swedish mezzo Anna Larsson, she sang the Urlicht as though an angel had got into her.”
    David Fanning, The Telegraph, 8 August 2011