Konradi’s timbre has a delicate fragrance, the voice seems weightless and light as a feather.
Opernwelt
Whether in opera, operetta or lied, Katharina Konradi is a storyteller who imbues her characters
with verve, intimacy, temperament and intensity. Her full and warm soprano, praised by Opernglas
for its wonderfully agile, fascinating palette of nuances, captivates audiences and critics alike with
its great radiance and cultivated emotionality. My aim is to rediscover myself in every opera and in
every song, to lend my own ego to the role and become one with the character I portray, is how the
singer describes herself.
In the season 2023/24 Katharina Konradi will make guest appearances at the Royal Opera House
Covent Garden, London, as Woglinde in Wagner’s Das Rheingold and as Susanna in Mozart’s Le
nozze di Figaro at the Vienna State Opera. At the Bavarian State Opera she will be seen as Adele in
Strauss’s Die Fledermaus and at Zurich Opera House in the role of Valencienne in Lehár’s The Merry
Widow.
At Hamburg Opera, where she performs regularly, she sings Servilia in Mozart’s La clemenza
di Tito and makes her role debut as Adina in L’elisir d’amore. Lied recitals will again take Katharina
Konradi to the Wigmore Hall London and to the Schubertiade Hohenems / Schwarzenberg, as well as to
the Teatro de la Zarzuela in Madrid, to the Palau de la Música Catalana in Barcelona, to the Festival
de Granada, to Weimar and to the Schubertiada in Vilabertran.
If you would open any biography of Franz Liszt, you would probably mostly read about his disquiet life as a piano virtuoso, his passionate love life, and the return to his catholic roots at the end of his life. Although all of this might be true, it only scratches the surface of his comprehensive musical personality. Liszt was a pianist, conductor, teacher and organiser, but above all he was a composer of a voluminous, capricious body of work. Even though his piano works formed his core business, he gave rise to the symphonic poem, got rid of the organ's stuffy appearance, and reinvigorated the oratorio. Moreover, with his piano transciptions of Bach's organ works and Berlioz's Symphonie Fantastique, he was an advocate of both old and new music.
Together with his son-in-law Richard Wagner, he was in the forefront of the Romantic movement and anticipated the musical revolutions of the early 20th century with his new composition techniques.
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