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07 September 2018
“A singer with such charisma challenged her colleagues.” (Dreh-Punkt-Kultur) Mezzo-soprano Marianne Beate Kielland is famous for her strong stage presence and musical integrity. Gramophone Magazine writes about her: “The mezzo-soprano is quite outstanding: strong, firm, sensitive in modulations, imaginative in her treatment of words, with a voice pure in quality, wide in range and unfalteringly true in intonation.”
She graduated from the Norwegian Academy of Music, where she studied with Svein Bjørkøy. Her other teachers have included Oren Brown and Barbara Bonney. Considered today one of Europe’s leading singers, she performs regularly on major concert stages in Europe, America and The East with conductors such as Masaaki Suzuki, Andrew Manze, Petr Popelka, Michel Corboz, Leonardo Alarcon, Herbert Blomstedt, Jordi Savall, Rinaldo Alessandrini, Fabio Biondi and René Jacobs.
In 2012 she received a Grammy nomination in the category ‘Best Classical Vocal Solo’ for her recording of Veslemøy Synsk by the composer Olav Anton Thommessen. In 2021 she received a prestigious OPUS Klassik nomination in the category ‘Female Singer of the Year’ for her recording of Schumann Lieder. With more than sixty other albums in addition to a demanding concert schedule, Marianne Beate Kielland is established as an exceptional performer with a wide-ranging repertoire from baroque to contemporary.
Together with pianist Nils Anders Mortensen she has previously released 11 recordings on the LAWO Classics label: Früh (LWC1033), Sæle jolekveld (LWC1040), Grieg (LWC1059), Young Elling (LWC1072), The New Song (LWC1097), Whispering Mozart (LWC1111), Songs: Kielland/Dørumsgaard (LWC1145), Einsamkeit – Songs by Mahler (LWC1157), Eivind Groven Songs (LWC1178), Schumann Lieder (LWC1197) with baritone Johannes Weisser, and Så kort ein sommar menneska har – Songs by Gisle Kverndokk (LWC1220). In 2015 she released Påsketid (LWC1077) with violinist Elise Båtnes and organist Kåre Nordstoga, in 2017 Terra Nova (LWC1125) with composer and pianist Jan Gunnar Hoff, in 2020 The Lofoten Oratorio by Ketil Bjørnstad (LWC1202) with Lofoten Voices and MinEnsemblet, in 2022 Lamento (LWC1226), a collection of baroque laments, with Oslo Circles, as well as Jean Sibelius: Orchestral Songs (LWC1239) with the Norwegian Radio Orchestra.
During his own time, Gustav Mahler was considered as one of the major conductors of Europe, but nowadays he is considered to a major composer who bridged the Late Romantic period to the modern age.
Few composers are so connected with the symphonic repertory as Gustav Mahler. Composing symphonies was his "core business": in every aspect he developed the symphony towards, and sometimes even over, its absolute limits. Almost all of Mahler's symphonies are lenghty, demand a large orchestra and are particularly great in their expressive qualities. With rustic and mythical atmospheres (the start of the First Symphony), daunting chaos (the end of his Sixth), grand visions (end of his Second), cheerful melodies (opening Fourth), romantic melancholy (the famous adagio of his Fifth), evocations of nature (his Third), megalomanic eruptions in the orchestra (his Eighth), and the clamant atonality of his unfinished Tenth, Mahler's musical palette seemed inexhaustible.
His symphonies are captivating, but some could find it a bit 'over the top' at times. For those, his orchestral songs could undoubtedly show there is an incredibly subtle and refined side to his compositional style as well.
In the Netherlands, Mahler is particularly popular due to its close bond with the Royal Concertgebouw Orchestra, which was already established during his lifetime!