"Konradi’s timbre has a delicate fragrance, the voice seems weightless and light as a feather."
Opernwelt
Soprano Katharina Konradi was born in Bishkek and is the first soprano from Kyrgyzstan to have
an international career as a Lied, concert and opera singer. Her “crystal-clear” voice and “dazzling
vocal technique,” (Backtrack) has a “fascinating palette of colour shades,” (Das Opernglas) which
she employs for roles such as Sophie (Der Rosenkavalier), Gilda (Rigoletto) and Susanna (Le Nozze
di Figaro), and on the concert and recital stage.
Her love of singing developed in childhood, and her move to Germany with her family at age 15 – and subsequent German citizenship – nurtured her love of classical music. Balancing her time between opera, Liederabend and concert work, she has performed at leading opera houses such as the Bayerische Staatsoper, Wiener Staatsoper, and Opernhaus Zürich, recitals at Wigmore Hall and Konzerthaus Wien, and concerts with the Berlin and Munich Philharmonic, among many others.
An acclaimed recording artist, she is featured on over a dozen recordings. Her first recording for CAvi-music was Liebe (Love) with Lieder by Schubert, Mozart and R. Strauss. She frequently collaborates with Daniel Heide, both on recordings and in performances.
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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