1 CD |
€ 19.95
|
Preorder |
Label Challenge Classics |
UPC 0608917200386 |
Catalogue number CC 720038 |
Release date 07 November 2025 |
The third collaboration between mezzo-soprano Olivia Vermeulen and Jan Philip Schulze (piano/synthesizer), In Heaven follows their earlier themed albums Dirty Minds and Hello Darkness, albums which were highly rated and won for instance an Edison Award and a Preis der Deutschen Schallplattenkritik. While the first two albums explored earthly themes of eroticism and mortality, this programme turns upward toward the heavens. The concept imagines a cosmic odyssey, blending art song, contemporary music, pop, and psychedelic classics into a voyage through utopian visions, distant planets, and the eternal human fascination with space. Interspersed with NASA sound recordings, the album situates the listener between heaven and earth, fantasy and reality, intoxication and transcendence .
The repertoire is strikingly eclectic: David Bowie’s Life on Mars opens with real Martian storm sounds, while George Crumb, Brahms, Schubert, and Wolf provide lyrical reflections on stars, dreams, and transcendence. The programme flows seamlessly into Augusta Holmès’s exuberant drinking song Le vin, Rebecca Clarke’s opium-tinged Lethe, and Grace Slick’s psychedelic anthem White Rabbit. French and German masters like Saint-Saëns, Mahler, and Messiaen appear alongside Stockhausen’s Tierkreis, Monty Python’s satirical Galaxy Song, and Pink Martini’s Una notte a Napoli. The album closes with Robert Schumann’s radiant Abendlied, underscoring the dialogue between the infinite cosmos and human longing .
Together, Vermeulen and Schulze create a soundscape that is at once virtuosic, witty, and deeply imaginative. Supported by percussion and bass in selected tracks, their performances draw on colour, theatricality, and stylistic versatility to transform familiar works into cosmic meditations. In Heaven ultimately reflects on humanity’s dreams of escape, intoxication, and utopia while acknowledging the grounding reality of earthbound existence. The result is a kaleidoscopic journey—playful yet profound, rooted in classical artistry yet open to pop culture—that challenges boundaries and offers listeners a musical mission into space .
Praised for the “exceptional wealth of colors” of her voice (Opernwelt) and her singing of “exquisite, inexhaustible sweetness” (Frankfurter Allgemeine Zeitung), Olivia Vermeulen has established herself as one of the leading vocal artists in today’s classical music scene. Her performances span a wide range of repertoire, from early music to 21st-century works, stunning audiences worldwide.
After celebrating her debut at the Opéra national de Paris in 2019 in a landmark production of Scarlatti’s Il primo omicidio conducted by René Jacobs and directed by Romeo Castellucci, Olivia Vermeulen joined the Freiburg Baroque Orchestra for an international tour as Donna Elvira in Mozart’s Don Giovanni. She also returned to Berlin’s Staatsoper Unter den Linden, where in 2016 she had made her tumultuously celebrated debut in the lead role of Turno in Steffani’s Amor Vien dal Destino. In 2018, she debuted with the Berliner Philharmoniker in Mozart’s Great Mass in C Minor conducted by Daniel Harding.
Other recent engagements include her debut at the Opernhaus Zurich as Cherubino in Le nozze di Figaro, Fyodor in Boris Godunov in Amsterdam under Pablo Heras-Casado, Musica and Messagiera in Monteverdi’s L’Orfeo at the Teatro Liceu in Barcelona and Amanzio in Vivaldi’s Il Giustino at the Berlin Staatsoper.
Upcoming highlights include her debut at the Salzburg Festival in Beethoven’s 9th Symphony under Jordi Savall, her debut at the Teatro Real in Madrid as Idamante in Idomeneo, and her appearance as the alto soloist in Mozart’s Requiem in Tokyo with the Yomiuri Nippon Symphony Orchestra. In 2025 she will also debut at the Oper Köln in the world premiere production of Die letzten Tage der Menschheit by Philippe Manoury.