Norwegian soprano Solveig Kringelborn is one of the most celebrated sopranos to emerge from Scandinavia in recent times. Equally sought after in opera and on the concert platform, she regularly works with conductors such as Mariss Jansons, Zubin Mehta, Sir Simon Rattle, Herbert Blomstedt, Neeme Järvi, Esa-Pekka Salonen, Claudio Abbado, Sir Neville Marriner and Sir Colin Davis. In concert she is particularly well known for her interpretation of Scandinavian music, whilst she dazzles on the operatic stage with the combination of her silvery-toned voice and intense stage presence.
Recent highlights have included the title role of Rusalka and the Countess Le nozze di Figaro (Norwegian Opera); Marietta Die tote Stadt (Teatro Real Madrid and La Fenice); Marschallin Der Rosenkavalier (Teatro Carlo Felice Genova, Komische Oper Berlin, Norwegian Opera, Opéra National de Paris); Marie Wozzeck (La Monnaie Brussels); and Elisabeth Tannhäuser (Baden-Baden Festival). Her other operatic roles include Ellen Orford Peter Grimes (La Monnaie); Rosalinde Die Fledermaus, Tatyana Eugene Onegin and Eva Die Meistersinger (all Metropolitan Opera); Katerina Izmailova Lady Macbeth of Mtsensk (San Fancisco Opera, Zurich Opera, Dresden Semperoper, Bayerische Rundfunk, Saito Kinen Festival); Lisa Pique Dame (Liceu Barcelona); Donna Elvira Don Giovanni (Metropolitan Opera, Paris Opera and with Antonio Pappano and the Israel Philharmonic Orchestra); Marenka The Bartered Bride (Glyndebourne Festival); and Ariadne auf Naxos (Opéra National de Paris).
Kringelborn’s concert repertoire includes Strauss’ Four Last Songs, Zemlinsky’s Lyric Symphony, Schumann’s Das Paradies und die Peri, Haydn’s The Creation, Beethoven’s Missa Solemnis and Lutoslawski’s Chantefleurs et Chantefables, which she premiered at the BBC Proms. Her recordings for BMG/RCA, Chandos and Virgin include Grieg Songs with Rozhdestvensky, Grieg’s Haugtussa and Olav Tryggvason, Sibelius’ Luonnotar, Lutoslawski songs and most recently a solo recital CD with Malcolm Martineau entitled Black Roses, which won a Norwegian Grammy. She has also recorded Beethoven’s Symphony No.9 for Deutsche Grammophon under Giuseppe Sinopoli and made a celebrated recording of Sibelius’ opera The Maiden in the Tower for Virgin.
Solveig Kringelborn is represented by Intermusica.
August 2012/322 words. Not to be altered without permission. Please destroy all previous biographical material.
La Fenice / Marietta Die Tote Stadt
“…with an assured impersonation that was beautiful, blond, sexy, fearless, and vibrantly sung. Mariettas Lied, the opera’s best known tune, was voiced with silvery tone and lovely limpid phrasing.”
James Sohre, Opera Today, March 2009
R. Strauss Four Last Songs
Munich Klangverwaltung Orchestra / Birmingham Symphony Hall
“Tentative at first, she relaxed and let her voice soar for a radiant Beim Schlafengehen.”
Norman Stichcombe, Birmingham Post, November 2008
Refka / Saariaho Adriana Mater
BBC Symphony Orchestra
“But some outstanding singers certainly galvanised this performance. Solveig Kringelborn volatile and distraught as the sister.”
Richard Morrison, The Times, April 2008
“Solveig Kringelborn completed the excellent cast.”
Fiona Maddocks, Evening Standard, April 2008
Marenka / The Bartered Bride
“As Marenka, Solveig Kringelborn is engagingly girlfish yet also determined, even fiery, her voice conveying both strength of personality and an appealing rosy-cheeked freshness.”
Stephen Pettitt, The Art, June 2005
“Her silvery timbre and her plangently truthful portrayal”
Michael Church, The Independent, June 2005