Christianne Stotijn

© Marco Borggreve


Lyric mezzo-soprano Christianne Stotijn has performed in many of the world’s most prestigious venues including Concertgebouw Amsterdam, Musikverein Vienna, Théâtre des Champs-Elysées Paris, Mozarteum Salzburg, Carnegie Hall New York and the Philharmonie Berlin working with leading conductors including Claudio Abbado, Vladimir Jurowski, René Jacobs, Yannick Nézet-Séguin and Bernard Haitink. Haitink has had a profound influence on Christianne’s career, working under his direction with the Royal Concertgebouw Orchestra, Boston, Chicago and London Symphony Orchestras.

Christianne is a passionate interpreter of art songs working regularly with Joseph Breinl and Julius Drake.  Her discography includes recordings of Schubert, Berg and Wolf with Breinl, Mahler songs with Drake, Tchaikovsky lieder with Drake (winning the BBC Music Magazine Vocal Recording Award), and lieder by Pfitzner, Strauss & Mahler accompanied by Breinl.  Recently signing with Warner Classics she has released her first album for the label – If the Owl Calls Again (Gramophone Editor’s Choice).

Highlights of Christianne’s 2019/20 season include her role debut as Kundry Parsifal at the Opéra du Rhin, Marguerite La damnation de Faust with the National Taiwan Symphony Orchestra, Mahler’s Symphony no. 2 with Orquesta Sinfónica y Coro Radio Televisión Española and a tour of Das Lied von der Erde with Stuart Skelton and the Australian Chamber Orchestra.


  • More info  
    Mahler: Symphony No. 2 - Resurrection

    Label: LPO

    Release Date: 28 Jun 11

    Soprano: Adriana Kucerova
    Mezzo-soprano: Christianne Stotijn
    Conductor: Vladimir Jurowski

    London Philharmonic Orchestra and Choir

  • More info  
    Schubert, Berg, Wolf Lieder

    Label: Onyx Classics

    Release Date: 01 Jan 06

    Mezzo-soprano: Christianne Stotijn
    Piano: Joseph Breinl

  • More info  
    Tchaikovsky Romances

    Label: Onyx

    Release Date: 01 Jan 09

    Mezzo-soprano: Christianne Stotijn
    Piano: Julius Drake
    BBC Music Magazine Award Winning CD

  • More info  
    Stimme der Sehnsucht

    Label: Onyx

    Release Date: 01 Jan 11

    Mezzo-soprano: Christianne Stotijn
    Piano: Joseph Breinl
    Lieder by Pfitzner, Strauss and Mahler

  • More info  
    Mahler: Urlicht

    Label: Onxy

    Release Date: 01 Jan 06

    Mezzo-soprano: Christianne Stotijn
    Piano: Julius Drake

  • More info  
    Frank Martin - Die Weise von Liebe und Tod des Cornets Christoph Rilke

    Label: MDG

    Release Date: 22 Jan 08

    Conductor: Jac van Steen
    Orchester Musikkollegium Winterthur

  • More info  
    Michel Van Der Aa: Spaces of Blank

    Label: Disquiet Media

    Release Date: 01 Jan 10

    Conductor: Ed Spanjaard
    Royal Concertgebouw Orchestra

  • More info  
    If the Owl Calls Again

    Label: Warner Classics

    Release Date: 06 Apr 15

    Piano: Joseph Breinl
    The Oxalys Ensemble
    From works by Martin, Ravel and Mussorgsky to a world premiere by Dutch composer Fant de Kanter

  • More info  
    13 May 18 VAN DER AA Spaces of Blank
    Congresshalle Saarbrucken

    “Christianne Stotijn britete die Affekte eindrucksvoll aus, wenn auch elektrisch verstarkt, um der wuchernden Instrumentierung zur trotzne.”
    Saarbrücker Zeitung, 14 May 2018

  • More info  
    28 Nov 17 The Poet's Echo With Joseph Breinl
    Concertgebouw Amsterdam

    “Hemels genot met multitalent Stotijn
    Vertrouwde partner Joseph Breinl gaf de fluwelen mezzo vleugels op haar muzikale reis.
    Neem ‘Tombeau dans un parc’. Stotijn, vrij recent moeder geworden, zette haar tederste tonen in om een kindergraf te schetsen. Met gevoelig raffinement veranderde Breinl de statische ondersteunende akkoorden in de vlucht van een troostende duif. Gedurende de hele avond, maar vooral in deze beeldschone cyclus was ik geïmponeerd door het meesterschap waarop Stotijn haar lang aangehouden noten van kleur en intensiteit liet verschieten.”

    Heavenly pleasure with multitalent Stotijn
    Trusted partner Joseph Breinl gave the velvet mezzo wings on her musical journey.

    Take ‘Tombeau dans un parc’. Stotijn, who recently became a mother, used her tenderest tones to sketch a children’s grave. With sensitive refinement, Breinl changed the static supporting chords into the flight of a comforting pigeon. During the whole evening, but especially in this beautiful cycle, I was impressed by the mastery in which Stotijn let her long-held notes of color and intensity go by.

    Martin Toet, Opera Magazine, 29 November 2017

  • More info  
    21 Sep 17 Berlioz 'La mort de Cléopâtre' & Mahler Symphony No. 2 Seattle Symphony Orchestra

    “Christianne Stotijn proved a remarkable and intelligent soloist, easily handling the wide vocal range and illuminating Cleopatra’s angry passion. She returned in the Mahler for the beautiful solo passages of the fourth movement, and was later joined by soprano soloist Malin Christensson and the Seattle Symphony Chorale for the sublime finale of the “Resurrection” Symphony.”
    Melinda Bargreen, The Seattle Times, 22 September 2017

    “…beautiful solo contributions [Mahler 2] by mezzo-soprano Christianne Stotijn…and Guerrero made a strong case for this early work [Berlioz], which also benefited from Stotijn’s expressive range. The conductor shaped the music beautifully, with an understated intensity that underscored the singer’s dramatic vocalism.”
    Zach Carstensen, Seen and Heard International, 25 September 2017

    “Stotijn’s…top notes had enormous impact, as did her dramatic forcefulness in rendering the gripping final moments of the fallen queen’s demise.”
    Erica Miner, Bach Track, 24 September 2017

    “And the soloist, Dutch mezzo Christianne Stotijn, credibly inhabited her character as the desperate Cleopatra facing the ultimate humiliation from her latest Roman conqueror, Octavian…Stotijn used the music’s fascinatingly unpredictable blend of anxiety, pride, shame, and sorrow to shape Cleopatra’s awareness of being trapped–and, ultimately, her restored sense of power by choosing her quietus to make….
    Stotijn sang a moving “Urlicht” over radiant brass and a serene bank of beautifully balanced string harmonies.”
    Thomas May, Memeteria, 23 September 2017

  • More info  
    01 Jan 16 RUBENSTEIN The Demon
    La Monnaie, Brussels

    “The outstanding gallery of low registered voices in this production would not be complete without…the deep voluminous mezzo of Christianne Stotijn. In her role of Angel she showed herself as formidable opponent of Demon.”
    Olga de Kort, Bachtrack, 28 January 2016 

  • More info  
    01 Jun 15 If the Owl Calls Again
    Warner Classics CD

    “Christianne Stotijn’s voice is hauntingly beautiful…you’ll surely be struck by her warm tone and nuanced delivery of poetry…A personal favourite is the ‘Kaddish’ from Ravel’s Deux Mélodies Hébraïques. Here, Stotijn’s singing is truly magnificent and moving, and her delivery of the Hebrew is both grief-stricken and otherworldly. It’s a treat to hear Stotijn sing in her native Dutch in the three Fant de Kanter songs, particularly the unaccompanied ‘Abboen’. Various instruments perform throughout, including flute, double bass, viola, and duduk, working to evoke the image of the splendid owl, as Stotijn set out to achieve. A superb album.”
    Alexandra Mathew, Readings, 24 June 2015 

    “…the varied sonorities and idioms, and Stotijn’s range of colour and emotional intensity, preclude any whiff of monotony.
    Stotijn also proves herself something of a linguistic virtuoso, whether singing in idiomatic French, English or (in two neo-Straussian songs by Joseph Marx) German, or intoning the contemporary Dutch composer Fant de Kanter’s Aramaic and Yiddish prayers with keening urgency.
    In the Mussorgsky Stotijn finds a child-like purity of tone, without affectation – a nicely judged touch of breathiness, too, for the flustered boy’s ‘Evening Prayer’. She is simple and sincere in Martin’s ‘Christmas Song’, adorned by chaste flute melismas, and by turns ardent and movingly intimate in the three Bridge songs, where the copper glow of her mezzo is complemented by the dusky-toned viola.”
    Gramophone Editor’s Choice, July 2015 

  • More info  
    01 Jun 15 MAHLER 3 Seattle Symphony Orchestra
    Ludovic Morlot

    “As the soloist, mezzo Christianne Stotijn impressed with the warmth of her voice…”
    Thomas May, Bachtrack, 19 June 2015

    “Dutch mezzo-soprano Christianne Stotijn brought her rich voice to a setting of Friedrich Nietzsche’s “Midnight Song” in the fourth…”
    Philippa Kiraly, The Seattle Times, 19 June 2015

  • More info  
    01 Apr 15 Recitals with Julius Drake
    Toronto & Montreal

    “Her Russian is excellent and her voice roams widely; it can narrow to a sorrowful point and as suddenly bloom in throaty contralto range. In high range it is exceptionally clear and calm…Stotijn adds interior movements to her phrasing, like a dance inside a single syllable, and it’s wonderfully suited to these lines…”
    Lev Bratishenko, Musical Toronto, 14 April 2015 

    “One of the very few truly superb recitalists in front of the public today, mezzo Stotijn offers a beautiful voice with consummate musical intelligence and exemplary communicative power in her recitals.”
    La Scena Musicale, 17 April 2015 

  • More info  
    01 Mar 15 ELIJAH Boston Handel & Haydn Society
    Symphony Hall Boston

    “Christianne Stotijn’s voice was substantial and rich in its variety of color… her deep mahogany sound cut deep with a solid iron strength, a voice that seemed to come from another time, spanning generations, timeless in its maturity.”
    Samuel Kjellberg, The Boston Music Intelligencer, 7 March 2015

    “Mezzo-soprano Christianne Stotijn had weight and warmth as an angel and made a nasty Jezebel…”
    Jeffrey Gantz, Boston Globe, 8 March 2015 

  • More info  
    01 Mar 15 ADES Totentanz
    New York Philharmonic Orchestra

    “Christianne Stotijn, in magnificent voice…”
    David Allen, The New York Times, 13 April 2015

    “…and the mezzo-soprano Christianne Stotijn exerted dauntless pathos as his varied victims.”
    Martin Bernheimer, Financial Times, 15 March 2015 

  • More info  
    01 Sep 14 MAHLER 2 Swedish Radio Symphony Orchestra / Harding
    BBC Proms

    “The hushed voices of the Swedish Radio Choir and the Philharmonia Chorus were so well blended that their impact was enhanced: an image of vast panoramas and repose, from which Christianne Stotijn’s voice rose with dignity.”
    Anne Ozorio, Opera Today, 31 August 2014 

  • More info  
    17 Jul 13 ADES BBC Prom - Totentanz
    Royal Albert Hall

    “He [Simon Keenlyside] was almost outdone however by Christianne Stotijn, whose still-growing range of vocal colours and power created a constantly metamorphosing play of sound and character.”
    The Arts Desk, 18 July 2013

    “It makes huge demands on the baritone and mezzo-soprano who must carry the drama and hold their own against the percussion-heavy orchestra, but in Simon Keenlyside and Christianne Stotijn Tom Ades had struck gold: both made utterly convincing sense of their daunting melodic lines, often in grotesque duet: Keenlyside’s suggesting giant inexorability, and Stotijn’s a nightmarish torment.”
    Michael Church, The Independent, 18 July 2013

    “Stotijn found a remarkable range of colours and moods to convey the various human ‘voices’, complemented by an ever-changing orchestral landscape – for example, lyrical gesturing from the violins accompanies the Pope’s submission”
    Opera Today, 19 July 2013

  • More info  
    01 Apr 12 MUSSORGSKY Songs and Dances of Death
    Amsterdam Sinfonietta

    “This allowed for the real star of the evening, mezzo-soprano Christianne Stotijn to become the focal point. Stotijn is an incredible singer: her voice is clear, warm and powerful and her stage presence is mesmerizing. But what made this performance memorable was her understanding and execution of the songs. In the first song, ‘Lullaby’, Stotijn demonstrated the different characters, the mother and Death, with intonation and body language, and she continued this throughout the song cycle. This meant that even for someone who does not understand a word of Russian, it is entirely clear what the songs mean and what is going on. Mussorgsky’s figure of Death has many different faces; he is seductive, soothing, aggressive, even joyful – and all of these elements were present in Stotijn’s performance.”, April 2012

  • More info  
    20 Nov 13 MAHLER Das Lied von der Erde
    London Symphony Orchestra, conducted by Daniel Harding, Barbican

    “…“The Farewell” has the mezzo and orchestra lead the audience on a journey from the darkest despair to the sublimation of life into the beauty of nature, and Stotijn engaged totally with the text’s character. With an admirable range of colours in her voice, by the last, repeated “Ewig” (“forever”) Stotijn’s total commitment and dramatic intensity had completely won me over.”
    George Slater-Walker, Bachtrack, 22 November 2013 

  • More info  
    01 May 13 BBC Music Magazine, May 2013
  • More info  
    01 Jun 12 WAGNER & BERG Wesendonck Lieder, Berg Four Songs
    Ojai Festival, USA

    “Meanwhile the most effective performance by Stotijn was of Berg’s neglected Four Songs, Opus 2.”
    LA Times, June 2012

    “Another popular performer brought the audience to its feet in the second half of the morning concert, when mezzo-soprano Christianne Stotijn delivered a group of “Cabaret Songs” set in rousing period mode by William Bolcom, with lyrics by the late Arnold Weinstein.”
    Ventura Star, June 2012

    “The mezzo-soprano Christianne Stotijn sang the Wagner songs with glowing voice and deep sensitivity, supported by the excellent Norwegian Chamber Orchestra and Mr. Tonnesen.”
    The New York Times, June 2012

  • More info  
    01 Mar 12 WAGNER Tristan und Isolde - Brangane
    City of Birmingham Symphony Orchestra

    “Christianne Stotijn was Brangäne, carefully characterised, with lovely inflections in the voice that chimed with the dilemma in which she is after all instrumental in creating.”
    ClassicalSource, March 2012

  • More info  
    01 Oct 11 RECITAL Recital with Mark Padmore and Julius Drake
    Wigmore Hall, London

    “Christianne Stotijn was a suitably seductive Zefka, and Julius Drake provided superbly dramatic accompaniment. Stotijn began the evening with a heartfelt performance of Schumann’s Liederkreis Op. 39, at times recalling Janet Baker in her directness and sensitivity.”
    OMH review, October 2011

  • More info  
    01 Feb 11 RECITAL Recital with Julius Drake
    Wigmore Hall, London

    “Stotijn kept a commanding presence even – especially – when singing quietly, a quality that made ‘Hamlet’s dialogue with his conscience’ completely captivating…“None but the lonely heart”, Tchaikovsky’s most popular song, was beautifully performed, stretching its sense of longing, while the powerfully wrought “Why?” doubled back on itself with a strangely ruminative coda. “My Genius, My Angel, My Friend” found her eschewing all vibrato for a striking closing verse, while in the glorious “Whither the day reigns”, Stotijn cast off all inhibitions, filling the hall with song. Her exuberance extended to the first of two Tchaikovsky encores, “The Cuckoo”. Here she charmingly inhabited the characters, introduced in an amusing synopsis by Julius Drake, while “How fair this spot” found her indulging us in a self-proclaimed favourite of the composer.”
    Classical Source, February 2011

  • More info  
    01 Aug 10 RECITAL Edinburgh Festival Recital with Joseph Breinl
    Edinburgh International Festival

    “Triumph she did. Christianne Stotijn’s was a benchmark Queen’s Hall recital from which Handel was excluded and the morning was devoted to a compelling combination of Strauss and Schoenberg…Stotijn’s soft-edged but always luminous, deeply-felt singing had sprinkled beauty, and the finest sense of phrasing and colour, on everything she touched, each line shot through with the gleaming responsiveness of Joseph Breinl’s piano playing.These qualities also distinguished the succinct passion of the 15 songs that form Schoenberg’s momentous Book of the Hanging Gardens, not least because Breinl’s accompaniments, particularly the postlude to the 14th song, were models of articulacy. Among the encores, Strauss’s Morgen had surely been hopefully awaited by the audience. It was exquisitely sustained.
    Star rating: *****”
    heraldscotland, August 2010

    “In music where the composer’s own emotional turmoil is never far away, Stotijn and Breinl brought engaging integrity to these meaningful settings.”, August 2010

  • More info  
    01 Apr 10 TCHAIKOVSKY 'Tchaikovsky Romances' CD with Julius Drake
    Julius Drake

    “The Dutch mezzo-soprano is best known for her interpretation of Mahler, both in recital and in highly-acclaimed performances conducted by Bernard Haitink, whose protégé she has been. Christianne Stotjin was a BBC New Generation Artist and recipient of a Borletti Buitoni Trust Award (2005).’Christianne Stotijn is that artist in a thousand whose personality shines through everything she does.”
    Magazine, April 2010, BBC Music Magazine Awards

  • More info  
    01 Oct 09 MAHLER Das lied von der Erde
    London Symphony Orchestra, conducted by Haitink

    “This Mahler performance was yet another chance for Haitink to work with his protégée, the Dutch mezzo Christianne Stotijn…As The Lonely One in Autumn she sat rapt, visualising the scene until imagination was fleshed out in the simplest of song. And she was minutely sensitive to each orchestral soloist: her duetting with the principal flute, threading each word through the melodic line, created a muted and sensuous yearning in the final Abschied that will remain long in the memory.”
    The Times, October 2009, London Symphony Orchestra / Bernard Haitink

  • More info  
    01 Jul 09 MAHLER Symphony no. 2
    London Philharmonic Orchestra, conducted by Vladimir Jurowski

    “The one touch of transcendence came at the start of Urlicht, which Christianne Stotijn sang with clairvoyant grace.”
    Financial Times, September 2009

    “The protracted pace of Jurowski’s fourth movement allowed the mezzo soloist, Christianne Stotijn, to linger rapturously over Urlicht”
    Evening Standard, September 2009

    “Then, with the Scherzo’s final gong-stroke still vibrating on the air, mezzo-soprano Christianne Stotijn’s voice stole in with a folk poem about heaven. This was a brilliant stroke, which suggested that the murky, trivial aspects of life and the transcendent are separated by only a hair’s breadth – an idea of which Mahler would surely have approved.”
    Telegraph, September 2009





Miroir de Peine


Sieben frühe Lieder


Les Nuits d’Été

La Mort de Cléopatre

Romeo et Juliette


Alto Rhapsody 




Poème de l’amour et de la Mer


Sea Pictures


Fünf Neapolitanische Lieder


The Neruda Songs


Lieder eines fahrenden Gesellen

Rückert Lieder

Lieder aus dem Knaben Wunderhorn

Das Klagende Lied

Symphony No. 2

Symphony No. 3
Symphony No. 8

Das Lied von der Erde


Songs and Dances of Death


Ivan the Terrible
Alexander Nevsky





Orchestrated Lieder


Marina Tsvetaeva Songs Op.143


Orchestrated Lieder


Spaces of Blank


Wesendonck Lieder

Tristan und Isolde (Brangäne)


Orchestrated Lieder


Maurice Maeterlinck Lieder



St Matthew Passion

St. John Passion


L’Enfance du Christ


Le Miroir de Jésus





Dream of Gerontius