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Ensemble - Deutsche Oper Berlin

Nicole Haslett

Nicole Haslett

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Die Sopranistin Nicole Haslett, die von der New York Times für ihre „technisch versierten Koloraturen“ und ihre „schwebende Lyrik“ gelobt wurde, kehrt in dieser Saison in der Rolle der Zerbinetta in ARIADNE AUF NAXOS an die Arizona Opera zurück und singt erneut die Rolle der Kristina in OCEANE an der Deutschen Oper Berlin. An der Opera Hong Kong debütierte sie als Gilda in RIGOLETTO und wurde später für ihr Rollendebüt als Ophélie in Thomas' HAMLET engagiert, das jedoch aufgrund von Covid-19 abgesagt werden musste. Kürzlich gab sie ihr Rollendebüt als Ännchen in DER FREISCHÜTZ an der Heartbeat Opera, kehrte als Hirte in DINORAH an die Deutsche Oper Berlin zurück, kreierte die Rolle der Kristina in der Uraufführung von Detlev Glanerts OCEANE an der Deutschen Oper Berlin und trat dem Ensemble für das vierte Blumenmädchen in PARISIFAL und Hirt in TANNHÄUSER bei. Außerdem gab sie ihr Debüt beim Toronto Symphony Orchestra in der Aufführung von CARMINA BURANA unter Maestro Donald Runnicles und kehrte für die Produktion von Nico Muhlys MARNIE an die Metropolitan Opera zurück.

An der Deutschen Oper Berlin war sie in letzter Zeit häufig zu hören, unter anderem als Adele in DIE FLEDERMAUS unter Sir Donald Runnicles, Berthe in LE PROPHÈTE, Semele in DIE LIEBE DER DANAE, Papagena in DIE ZAUBERFLÖTE, First Niece in PETER GRIMES und Frasquita in CARMEN. Zu ihren jüngsten Auftritten gehören ihr Rollendebüt als Zerbinetta in ARIADNE AUF NAXOS beim Berkshire Opera Festival, ihr Debüt als Gilda in RIGOLETTO an der Lyric Opera of Kansas City, Adele in DIE FLEDERMAUS an der Cincinnati Opera, Chloé in Offenbachs DAPHNIS ET CHLOÉ an der Heartbeat Opera sowie Sophie in Pickers EMMELINE und Echo in Smetanas DER KUSS am Opera Theater of Saint Louis. Außerdem war sie an der Metropolitan Opera in IOLANTA und an der Lyric Opera of Chicago in LUCIA DI LAMMERMOOR zu hören. Als junge Künstlerin sang sie die Nannetta in FALSTAFF mit Martina Arroyos „Prelude to Performance“, Sarah und die Titelrolle von THE BALLAD OF BABY DOE mit der Chautauqua Opera und Susanna in LE NOZZE DI FIGARO mit Opera in the Ozarks.

Sie ist außerdem eine ehemalige Resident Artist der Portland Opera. Im Sommer 2012 verbrachte sie mit dem Programm I SING BEIJING sechs Wochen in Peking und wurde im darauffolgenden Frühjahr als Sängerin in einem Konzert von Yan Jinxuans „The White-Haired Girl“ in der New Yorker Alice Tully Hall vorgestellt. Zu den jüngsten Konzertauftritten gehört Händels „Messias“ mit der New Choral Society.

Schedule

Videos

Maria Bengtsson, Nikolai Schukoff, Christoph Pohl, Nicole Haslett singen „Denn sie erinnert mich an etwas ...“ aus OCEANE
Video – 04:23 min.

„Denn sie erinnert mich an etwas ...“ (Oceane)

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Detlev Glanerts OCEANE
Video – 02:10 min.

Detlev Glanert: Oceane

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22
DEC

Advents-Verlosung: Das 22. Fensterchen

On 7 March 2025, the first part of Tobias Kratzer's Strauss trilogy, ARABELLA, celebrates its revival as part of our ‘Richard Strauss in March’ weeks, with Jennifer Davis as Arabella , Heidi Stober as Zdenka/Zdenko, Thomas Johannes Mayer as Mandryka, Daniel O'Hearn as Matteo and, as in the premiere series, Doris Soffel and Albert Pesendorfer as the Waldner couple. Today we are giving away our DVD, which will not be available in shops until 14 February 2025. We would like to express our heartfelt thanks to NAXOS for giving us the very special opportunity to put ARABELLA in our lottery pot for you almost eight weeks before the official sales launch.

In today's Advent Calendar window, we are giving away two DVDs of ARABELLA – a lyrical comedy in three acts by Richard Strauss and Hugo von Hofmannsthal. If you would like to win one of the two DVDs, please write an e-mail with the subject ‘The 22nd window’ to advent@deutscheoperberlin.de.

Vienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening. At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto. Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

Richard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day. In the category of stage design, Manuel Braun, Jonas Dahl and Rainer Sellmaier were honoured with the renowned German Theatre Award DER FAUST 2023 for this production.

In this recording, under the baton of Sir Donald Runnicles, you will experience Albert Pesendorfer, Doris Soffel, Sara Jakubiak, Elena Tsallagova, Russell Braun, Robert Watson, Thomas Blondelle, Kyle Miller, Tyler Zimmerman, Hye-Young Moon, Lexi Hutton, Jörg Schörner and others, as well as the chorus and orchestra of the Deutsche Oper Berlin. The performances on 18 and 23 March 2023 were recorded by rbb Kultur and Naxos for this DVD.

We would like to thank the Naxos label for the great collaboration over the past few years, which documents recordings of DER ZWERG, DAS WUNDER DER HELIANE, FRANCESCA DA RIMINI, DER RING DES NIBELUNGEN, DER SCHATZGRÄBER, DIE MEISTERSINGER VON NÜRNBERG and ANTIKRIST. Richard Strauss' ARABELLA and INTERMEZZO will be released in the course of 2025.


Closing date: 22 December 2024. The winners will be informed by email on 23 December 2024. The DVDs will then be sent by post. There is no right of appeal.