Intermusica Artists' Management



Intermusica represents Ann Peterson for management in America, Canada, Australia and Asia, and for concerts worldwide outside of Scandinavia.

Director/Head of Vocal & Opera:
Julia Maynard

Associate Manager:
Eleanor Dee

Ann Petersen


“The outstanding Isolde of Danish soprano Ann Petersen. Her voice, shiningly assured up top and unusually flexible, remained fresh and beautiful throughout, and her acting was remarkable for its humanity and detail. With Heppner, she brought a rare intimacy to the whopping Act II duet. The evening closed with the mesmerising image of Petersen standing transfigured and statuesque in post-Liebestod glow”
The Telegraph, May 2012

Danish soprano Ann Petersen is increasingly establishing herself as a leading soprano excelling in particular in the roles of Wagner and Strauss. Recent operatic highlights include Freia Das Rheingold in Strasbourg, Elsa Lohengrin and the Marschallin Der Rosenkavalier at the Royal Danish Opera, Elsa in Cologne, Marschallin for Graz Opera and her debut as Ariadne Ariadne auf Naxos. Petersen has sung Freia Das Rheingold at the Bastille Opera in Paris, Marietta Die Tote Stadt with Danish National Opera, Leonore in Beethoven's Leonore at Komische Oper Berlin, Kaiserin Frau ohne Schatten for the Royal Danish Opera, Elsa Lohengrin at Colón de Buenos Aires, Isolde Tristan und Isolde for Opera Lyon and most recently Isolde at Welsh National Opera, to great critical acclaim.

Future engagements include, Freia Das Rheingold at the Royal Opera House, Covent Garden, a Wagner Gala in Baden-Baden conducted by Christian Thielemann, Elisabeth Tannhäuser for the Royal Danish Opera, Copenhagen, Senta Der Fliegende Holländer for the Teatro Regio di Torino, in a production conducted by Gianandrea Noseda and directed by Willy Decker, Senta Der Fliegende Holländer with Torsten Kerl at the outdoor Orange Arena in France, and two Wagner Galas in Montecarlo. In future seasons, Ann will also make her debut with Dallas Opera.

Ann Petersen was born in Denmark, studying at the Royal Danish Academy of Music with Susanna Eken and afterwards at the Opera Academy of the Royal Danish Opera. Petersen made her stage debut as the First Lady Die Zauberflöte at the Royal Danish Opera, Copenhagen, in 1999, followed by engagements at the National Opera in Aarhus as Donna Anna Don Giovanni and Fiordiligi Così fan tutte. She then went on to become a principal artist at the Graz Opera, singing roles including Tatjana Eugene Onegin, Governess Turn of the Screw, Rosalinde Die Fledermaus, Ellen Orford Peter Grimes, Arminda La finta giardiniera and Elisabetta Don Carlo. Roles elsewhere included Freia Das Rheingold at the New Opera in Esbjerg, Tatjana in Aarhus, Denmark, Desdemona Otello, Leonore Fidelio and The Marschallin Rosenkavalier, continuing with that role in Copenhagen. Petersen has also sung Liù Turandot, Helmwige Walküre and The Governess in Turn of the Screw, all for the Royal Danish Opera in Copenhagen, and Desdemona Otello in Braunschweig.

Ann Petersen is represented by Intermusica.
August 2012 / 434 words. Not to be altered without permission. Please destroy all previous biographical material.

Senta Die Fliegende Holländer / Chorégies d’Orange
Dir. Mikko Franck

“It is ultimately the beautiful Senta, Ann Petersen, who will leave the most lasting impression… she manages to inhabit her character with intensity while mastering the tessitura with the least exertion.”
Le Figaro, July 2013

Isolde in Wagner Tristan und Isolde
Welsh National Opera / Cond. Lothar Koenigs

“The Danish soprano, Ann Pedersen, with her long auburn tresses, looks and sounds like a young woman lost in love – not, for once, like a diva. Her voice rings out ripe and effortlessly: she shapes her character and her fate in sentient detail, carries Heppner with her in duet, and unleashes her Liebestod with total freedom and wonderful instinct”
Hilary Finch, The Times, May 2012

“The outstanding Isolde of Danish soprano Ann Petersen. Her voice, shiningly assured up top and unusually flexible, remained fresh and beautiful throughout, and her acting was remarkable for its humanity and detail. With Heppner, she brought a rare intimacy to the whopping Act II duet. The evening closed with the mesmerising image of Petersen standing transfigured and statuesque in post-Liebestod glow”
Hugo Shirley, The Telegraph, May 2012

“Fortunately, Ann Petersen’s portrayal of the Irish princess was so strong as to command the attention: a wonderful voice, accurate and wholly flexible with a comparable physical litheness, and radiating emotional intensity throughout. (…) the expressivity of Petersen’s Isolde (…) are as fine as anything you’ll hear – redeeming, if not quite obliterating, the elements that fell short of the ideal”
Rian Evans, The Guardian, May 2012

“Generally speaking the music reaches the standards set by WNO at its best. Danish soprano Ann Pedersen is the production’s star by some margin and with an already established profile in Wagner and Strauss, she seems set for an enduring and distinguished career. Hers is not a full-blown dramatic soprano voice: she sings a mix of lyric and dramatic roles and it will be interesting to watch the choices she makes in the future, but there is an easy flexibility to her sound throughout ist whole compass that adds enormously to the intrinsic beauty of her singing. She acts well too and provided a fine foil to Ben Heppner throughout the whole performance."
Lyn Kenny, Seen and Heard International, May 2012

“Gorgeous Isolde is utterly compelling (…) From the opening scene it was clear that in Ann Pedersen we have a gorgeous Isolde singing and acting with power, sharpness and richness of interpretation. The night belonged to the utterly compelling Isolde who held our attention from the passionate Act One curse to the ectasy of the Liebestod at the close”
Mike Smith, Western Mail, May 2012

“When the curtain does go up, (...), we’re treated to half an hour of some of the most beautiful Wagner singing I can remember, (...). Ann Petersen is immediately perfection as Isolde, and mostly she stays that way. Hers is a lighter, more lyrical voice than the conventional Wagner soprano, and she floats Isolde’s lines as if they were Schubert, lovely and effortless, though with ample power when needed, hardly ever sounding forced.

One might sit back, shut one’s eyes and simply listen. But one would miss a great deal, because this is a Wagnerian who can act, with presence and total engagement, and she even looks the part. When Brangaene enquires: “Who could see Isolde and not die happy?” for once one doesn’t wince at the irony. Above all, Petersen knows how to carry her looks into the role; her Isolde is a creature who loves and who one can imagine loving, something that in this work usually has to be supplied by the imagination.”
The Arts Desk, May 2012

Marietta Die tote Stadt / Danish National Opera
”Ann Petersen´s Marietta is tremendous melodious safe and effortless, almost sumptuous.”
Weekendavisen, August 2010

”Nevertheless, -the Queen of the Night is Ann Petersen in the role as Marietta! She sings better and better for every minute. The red Hair looks better for every minute. Does she sometimes act a little too beautiful, or maybe not enough decadent? Only until she gathers the gentlemen around her sofa…exactly like that was the art in the time of the expressionism, and then, when her face is transmitted onto half of the wall in the background, then…first you Maybe think ” oh no, how vulgar can it be!” But her light vibrating eyelids conquers everything!”
Søren Schauser, Berlingske Tidende, August 2010

“Ann Petersen sang very beautiful the double-role as the dead Marie and the living Marietta. She developed the last person strong inward-looking, in the female scene with the dead. What a wonderful performance she made”
John Christiansen, Jyllandsposten, August 2010

“Ann Petersen, with her Wagnerian-Soprano, made her debút as Marietta very beautiful. Ann Petersen has to dance erotic, show her long naked wriggled legs, as well as, which is the most difficult thing, sing a varied and vocally very demanding role… she manages to carry the performance totally right to the very end…and the song of Marietta in the first act was beautiful, drown out in the most candy like sound in co-operating with the experienced conductor!”
Politiken, August 2010

Prima Ariadne auf Naxos / Royal Danish Opera
“Ann Petersen as the Prima donna of the cast is a strong card. Her many- facetted dramatic soprano is ranking among the best in the world”
Politiken, November 2009

“Ann Petersen really made Ariadne into a strong character. Her voice apparently continues to get more power and conciseness”
Jakob Wifel, Børsen, November 2009

“It is nothing less than a magnificent performance Ann Petersen is delivering in the role as the deeply despaired Ariadne. As audience you get totally into her careless emotion and you nearly feel on your own body the bitter love agonies, which she is carrying around”
Christine Christiansen, Jyllandsposten, November 2009

“Ann Petersen is singing all the performances of Ariadne, and already here the World-class level is made”
Weekendavisen, December 2009

Marschallin Das Rosenkavalier / Royal Danish Opera
“A soprano of infinite confidence of style and maturity both vocally and dramatically, Ann Petersen “is” this intelligent, unhappy Marschallin, who brings the two young people together and hides her grief with lofty dignity. Ann Petersen has sung the Marschallin before, but now this dramatic soprano draws to a new Danish level!”
Politiken, September 2008

“Very often the role of the Marschallin is sung by sopranos who are too mature. With Ann Petersen as the Marschallin, we get both beautiful singing, and also a still young and strong Marschallin; at the same time she is attractive, authoritative and even frail. The way that Ann Petersen plays Act 1 is reason alone to make this Rosenkavalier an attraction.”
Jakob Levinsen, Jyllandsposten, September 2008

“Ann Petersen sings the Marschallin with a restrained purity, the like of which I have never heard before! Instead of turning up the effect, she almost turns it down; but still she transmits to us with such clarity and purity, when she sings about this creature of that age. A wild, but beautiful under acting of the climax of the opera! The peak in this production of the Rosenkavalier is the Marschallin’s monolog in the first act about the times, sung by Ann Petersen. An outstanding and sensibly strong Marschallin.”
Peter Nielsen, Dagbladet Information, September 2008

Elsa Lohengrin / Royal Danish Opera
"First of all, we have in Ann Petersen got a new strong female Wagner-singer in DK. Congratulations to all of us! She is able in her acting to perform a convincing change from girl to woman with flowing hair and sexy nightdress, and you are just sold, when Ann P. starts to let go as erotic Elsa. Ann P. sings and plays it all through with strength and power and convincing gesture."
Søren Kassebeer, Berlingske Tidende, January 2007

"Ann Petersen is a magnificent Elsa, with an innocent, pure, glittering power in her voice and a homeless, invocation gesture."
Weekendavisen, January 2007

"Ann Petersen fascinates with her powerful acting and her wonderful lyrical soprano with the shining high notes."
Børsen, January 2007

"Ann Petersen got a ´bang´ of a role-début as Elsa. Scenically presence, lyric flexible, but also with the dramatic bite, which the 3 act demands, when she, alone with Lohengrin in the bride bed, can’t stand the pressure and the doubt any longer."
Politiken, January 2007

"As the lightning opponent to Ortrud, Ann Petersen acted moving consistent as Elsa, and sang impressive competent and precisely with bright high notes."
Jyllandsposten, January 2007


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