Soprano

Anna Prohaska

‘Anna Prohaska as Mélisande is the powerhouse of the opera. One could completely lose oneself in the sound of her naturally flowing, lyrical soprano. But its beauty is in the best sense only a side aspect of Prohaska’s compelling representation. Her pianissimo knows innumerable gradations of fear, grief, loss. She makes it possible for us to sympathise with this Mélisande, but she does not snatch the secret from the character. This is high art.’

Verena Fischer-Zernin, Hamburger Abendblatt, 16 November 2019 

© Marco Borggreve

Introduction

Austrian-English soprano Anna Prohaska made her debut aged 18 at Berlin’s Komische Oper as Flora in Britten’s The Turn of the Screw and soon after with the Staatsoper Unter den Linden Berlin, entering the ensemble at age 23. She has since gone on to have an extraordinary international career with some of the world’s greatest opera houses and orchestras, though the Staatsoper remains her artistic home.

Noted for her diverse repertoire with the Staatsoper, her roles include Anne Trulove, Susanna, Sophie, Oscar, Blonde, Poppea, Euridice, as well as world premieres by Beat Furrer and Peter Ruzicka. Conductors she has worked with include Daniel Barenboim, Sir Simon Rattle, Philippe Jordan, Gustavo Dudamel and René Jacobs.

Operatic highlights include La Scala Zerlina Don Giovanni; Royal Opera House Constance Les Dialogues des Carmélites; Paris Opera Blonde Die Entführung aus dem Serail; Festival d‘Aix-en-Provence Morgana Alcina; Baden-Baden Sophie Der Rosenkavalier; Amsterdam Iphis Jephtha; Theater an der Wien as Anne Trulove, Marzelline and in Purcell’s Fairy Queen; Bavarian State Opera Blonde and Adele Die Fledermaus and Phani in the 2016 Munich Opera Festival’s production of Les Indes Galantes. In the 2016/17 season Anna was the “Focus” artist at the Alte Oper Frankfurt.

In high demand on the concert platform, Anna has performed regularly with the Berliner Philharmoniker since her debut with them aged 24, performing under Rattle, Harding and Abbado. Other orchestras include the Vienna Philharmonic under Boulez; the Bavarian Radio Symphony Orchestra under Jansons, Harding, Blomstedt and Nézet-Séguin; the LSO under Rattle; Los Angeles Philharmonic under Dudamel; the Cleveland Orchestra under Welser-Möst and the Boston Symphony Orchestra under von Dohnányi. Recent seasons have included artistic residencies at Konzertahus Dortmund, Alte Oper Frankfurt and the Philharmonie Luxembourg.

Highlights of the 19/20 season include several notable role debuts: Anna Die lustigen Weiber von Windsor, cond. Daniel Barenboim and Ilia Idomeneo for the Deutsche Staatsoper; title role Pelléas et Mélisande and L’Ange St Francois d’Assise for Hamburgische Staatsoper and the world premiere of Kaija Saariaho’s opera Innocence at the Aix-en-Provence Festival. Also for Deutsche Staatsoper, Anna reprises the role of Silvia in Beat Furrer’s Violetter Schnee. On the concert platform Anna embarks on a Matthew Passion tour RIAS Kammerchor and appears in recital with Igor Levit at the Philharmonie Cologne. Tours next season include Camerata Bern & Patricia Kopatchinskaja, a further European tour of Anna’s “Paradise Lost” programme with pianist Julius Drake, concerts in Spain and Germany of Anna’s “Night Music” programme with Ensemble 1700 and joining La Folia Barockorchester in Weimar for their “Glorious Revolution” programme.


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    01 May 20 CD: Paradise Lost
    Alpha Classics

    Prohaska is especially gripping in the songs more usually associated with male singers, giving febrile, no-holds-barred accounts of Schubert’s Auflösung and Warte, warte, wilder Schiffmann from Schumann’s Op. 24 Liederkreis.

    Katherine Cooper, Presto Classical, April 2020

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    16 Nov 19 DEBUSSY Pelléas et Mélisande (Mélisande)
    Hamburgische Staatsoper

    ‘Anna Prohaska als Mélisande ist das Kraftzentrum der Oper. Man könnte sich restlos verlieren im Klang ihres natürlich fließenden, lyrischen Soprans. Doch dessen Schönheit ist im besten Sinne nur ein Nebenaspekt von Prohaskas bezwingender Darstellung.

    Allein ihr Pianissimo kennt unzählige Abstufungen von Angst, Trauer, Verlorenheit. Sie macht es möglich, dass wir mit dieser Mélisande mitfühlen, aber sie entreißt der Figur nicht ihr Geheimnis. Das ist hohe Kunst.

    Sie teilt sich allen mit. Ein so aufmerksames Publikum erlebt man nicht alle Tage. Großer Jubel für einen großen Abend.’

    Anna Prohaska as Mélisande is the powerhouse of the opera. One could completely lose oneself in the sound of her naturally flowing, lyrical soprano. But its beauty is in the best sense only a side aspect of Prohaskas compelling representation. Her pianissimo knows innumerable gradations of fear, grief, loss. She makes it possible for us to sympathise with this Mélisande, but she does not snatch the secret from the character. This is high art.

    She shares it all. Such an attentive audience is not experienced every day. Great cheers for a great evening.

    Verena Fischer-Zernin, Hamburger Abendblatt, 16 November 2019 

     

     

    ‘…ist Anna Prohaska die in sich ruhende Femme fragile, die mit ihrem silberklaren Sopran jede Regung der Titelfigur in edlen Farbnuancen nachvollzieht – ein Wesen, nicht ganz von dieser Welt.’

    Anna Prohaska is the self-contained Femme fragile , who with her silver-clear soprano tracks every movement of the title character in noble shades of color – a being, not quite of this world.

    Peter Krause, Die Welt, 19 November 2019

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    14 Apr 19 HANDEL Orlando (Angelica)
    Theater an der Wien

    ‘Angelika ist hin- und hergerissen zwischen Liebe und Treue, was Anna Prohaska großartig umzusetzen versteht und dabei auch stimmlich die Grenzen der Emotionalität auszureizen bereit ist.’

    Angelika is torn between love and faithfulness, which Anna Prohaska knows how to do so well and is also vocally ready to reach the limits of emotionality.

    Michael Wruss, Nachrichten, 16 April 2019 

     

    ‘Denn vokal geben eindeutig die Frauen den Ton an. So wie die Sopranistin Anna Prohaska, die als vielfach begehrte Angelica mit makellosem Gesang und darstellerischer Intensität zu punkten vermag.’

    Because vocally the women clearly set the tone. Like the soprano Anna Prohaska, who as a much sought-after Angelica scores with flawless vocals and dramatic intensity.

    Kurier, 16 April 2019

    ‘Eine ihrer besten Leistungen der vergangenen Jahre erbringt als Möchtegerngeliebte Angelica Anna Prohaska mit großem Schmelz, anschmiegsamer Weichheit und flüssigen Koloraturen…’

    One of her best achievements of the past few years as a would-be Angelica, Anna Prohaska delivers with great melting, cuddly softness and fluid coloratura…

    Salzburger Nachrichten, 15 April 2019

     

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    07 Jul 18 VERDI Falstaff (Nannetta)
    Royal Opera House

    “Anna Prohaska’s pure-voiced Nannetta stood out, soaring above the mayhem.”

    Fiona Maddocks, The Guardian, 14 July 2018

    “…Anna Prohaska’s Nanetta, shimmering so sweetly with young love alongside Frédéric Antoun’s Fenton…”

    Geoff Brown, The Times, 10 July 2018

    “Still, there is much pleasure to be had from an excellent cast. Anna Prohaska and Frédéric Antoun radiate much charm as the young lovers Nannetta and Fenton…”

    Rupert Christiansen, The Telegraph, 8 July 2018

     

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    09 Nov 16 HANDEL Jephtha (Iphis)
    Dutch National Opera

    “The biggest applause was for Anna Prohaska: her light, colorful voice was so deeply moving that from every corner of the hall soft sobbing could be heard.”

    Merlijn Kerkhof, de Volkskrant, 11 November 2016

    “Top-flight singing came from Anna Prohaska as Iphis and countertenor Bejun Mehta as her beloved, Hamor. Their penetrant voices blended gorgeously. As actors they conveyed an unfettered joy in each other’s physicality, making Iphis’ enforced virginity all the more tragic. Prohaska employed her bell-like soprano with complete stylistic mastery.”

    Von Jenny Camilleri, Bachtrack, 10 November 2016

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    16 Oct 16 CD: Serpent and Fire Il Giardino Armonico
    Alpha Classics

    ‘Another stunner from soprano Anna Prohaska. Following her wonderful disc of war-related music, she now turns her attention to two tragic heroines, Dido and Cleopatra. Both have inspired great music across the centuries, but Prohaska resists the attention to go as far as Berlioz, and frames this baroque collection with the start and finish of Purcell’s Dido and Aeneas…. It’s all beautifully planned and paced, with riveting instrumental interludes from Il Giardino Armonico, including Matthew Locke’s astonishingly modern Curtain Tune.’

    Nicholas Kenyon, The Guardian, 16 October 2016

Discography

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    Oboe Concertos Et Cantatas

    Label: Accent

    Release Date: 10 Aug 18

    Collegium 1704

    Concerto in G minor BWV 1056 R
    Cantata Ich bin vernüngt mit meinem Glücke BWV 84
    Concerto in C major BWV 1061
    Cantata Falsche Welt, dir trau ich nicht! BWV 52
    Concerto in A major BWV 1055

    Collegium 1704 & Collegium Vocale 1704
    Xenia Löffler | Oboe
    Anna Prohaska | Soprano
    Václav Luks | Conductor

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    Serpent & Fire

    Label: Alpha

    Release Date: 30 Sep 16

    Album by Anna Prohaska, Giovanni Antonini, and Il Giardino Armonico

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    Behind the Lines

    Label: Deutsche Grammophon

    Release Date: 01 Jan 14

    Album by Anna Prohaska and Eric Schneider

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    Enchanted Forest

    Label: Deutsche Grammophon

    Release Date: 15 Mar 13

    Album by Anna Prohaska, Arcangelo, and Jonathan Cohen

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    Sirène

    Label: Deutsche Grammophon

    Release Date: 11 May 11

    Album by Anna Prohaska and Eric Schneider