Maria Bengtsson

Maria Bengtsson

Die schwedische Sopranistin Maria Bengtsson studierte an der Staatlichen Hochschule für Musik in Freiburg. Von 2000 bis 2002 war sie Ensemblemitglied der Volksoper in Wien und anschließend, von 2002 bis 2007, an der Komischen Oper Berlin unter der musikalischen Leitung des GMDs Kirill Petrenko.

Als freischaffende Sängerin trat Maria Bengtsson u. a. am Royal Opera House Covent Garden in London, an der Staatsoper Unter den Linden in Berlin, an der Bayerischen Staatsoper in München, an der Oper Frankfurt, an der Opera national de Paris Bastille, an der Opéra national de Bordeaux, an der Oper Köln, an der Opéra national de Lyon, am Teatro la Fenice in Venedig, an der Teatro San Carlo in Neapel, an der Vlaamse Oper, am Theater an der Wien, an der Mailänder Scala, am Moskauer Bolschoi, an der Wiener Staatsoper und bei den Festspielen in Salzburg und in Aix en Provence auf.

Als Konzertsängerin und Liedinterpretin war die schwedische Sängerin u. a. in der Elbphilharmonie, bei den Berliner Festspielen, in der Berliner Philharmonie und im Konzerthaus, im Konzerthaus und im Musikverein in Wien, beim Gewandhausorchester Leipzig, bei den Israel Philharmonics in Tel Aviv, Haifa und Jerusalem, bei der Gulbenkian Foundation und am Teatro Nacional Sao Carlo in Lissabon, an der Felsenreitschule in Salzburg und an der Alten Oper in Frankfurt zu hören.

An den renommierten Opernhäusern und Konzertsälen arbeitete Maria Bengtsson mit Dirigenten wie Kirill Petrenko, Bertrand de Billy, Thomas Hengelbrock, Daniel Barenboim, Sebastian Weigle, Stefan Soltesz, Simone Young, Antonio Pappano, Antonello Manacorda, Riccardo Chailly, Philippe Jordan, Asher Fisch, Vladimir Jurowsky, Michael Gielen, Riccardo Muti und mit Regisseuren wie Hans Neuenfels, Sebastian Baumgarten, Peter Konwitschny, Damiano Michieletto, Herbert Fritsch, Calixto Bieito, Claus Guth, Jonathan Miller und Philippe Arlaud.

Derzeit sind ihre wichtigsten Rollen u. a. Donna Anna und Donna Elvira / DON GIOVANNI, Fiordiligi / COSI FAN TUTTE, Contessa / LE NOZZE DI FIGARO sowie die Strauss-Partien Daphne, Marschallin / DER ROSENKAVALIER, Arabella und Gräfin / CAPRICCIO.

Zu ihren geplanten zukünftigen Rollen gehören u. a. Rusalka von Dvorak, Katja Kabanova und Jenufa von Janecek, Ellen Orford in PETER GRIMES von Britten und Blanche in DIALOGUES DES CARMELITES von Poulenc.

Schedule

In performances like

Videos

Oceane: Publikumsstimmen zur Premiere
Video – 01:59 min.

Oceane: Publikumsstimmen zur Premiere

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)

Detlev Glanerts OCEANE
Video – 02:10 min.

Detlev Glanert: Oceane

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02
DEC

Advents-Verlosung: Das 2. Fensterchen

In today's Advent calendar window, we are giving away 3 DVDs of "Der Schatzgräber" - an opera in a prelude, four acts and a postlude by Franz Schreker. If you would like to win one of the three DVDs, please send an e-mail today with the subject "The 2nd window" to advent@deutscheoperberlin.de.

DER SCHATZGRÄBER (THE TREASURE HUNTER) by Franz Schreker was a triumph at its world premiere in Frankfurt in 1920 and went on to play 44 times at assorted venues over the next five years. It then fell victim to a shifting zeitgeist and slipped from opera-house programmes, with a National Socialist ban on performances sealing its demise. Even after 1945 the Schreker revival was a long time coming – and THE TREASURE HUNTER has not featured prominently in the renaissance.

As with the vast majority of Schreker’s libretti, the story of Els and Elis explores the relationship between fantasy and reality, between art and life. Soulmates in the sense that they are both at the mercy of the king’s disposition, Els and Elis set off in search of different treasures. Elis, the minstrel, uses his magic lute to locate a stash of jewels and do humanity a good turn. Els, an innkeeper’s daughter who has grown up motherless in a tough, male-chauvinist world, becomes a liar, cheat and murderess in pursuit of her goal, tasking her suitors to steal the queen’s jewels and then having them killed once they have returned with the haul of treasure. Yet even with the gold in their possession, the pair are not content, and so, true to form, Schreker turns his attention to the theme of yearning per se, which is the actual “treasure” that the composer is interested in, “a dream of happiness and redemption”. Elis and Els are caught up in a swirl of dreams, memories, premonitions, songs and music. Their stories take on a dreamlike quality in a world beset by greed, murder and emotional inconstancy. For Franz Schreker the path to redemption could only be via art. Composed during the turmoil of the First World War, the TREASURE HUNTER score amounts to Schreker’s personal confession of artistic faith, executed in florid strokes of late-Romantic musical colour.

Conductor Marc Albrecht; Staging Christof Loy; Set design Johannes Leiacker; Costume design Barbara Drosihn; With Tuomas Pursio, Doke Pauwels, Clemens Bieber, Michael Adams, Joel Allison, Michael Laurenz, Thomas Johannes Mayer, Seth Carico, Daniel Johansson, Gideon Poppe, Stephen Bronk, Elisabet Strid, Patrick Cook, Tyler Zimmerman a. o.; Chorus and Orchestra of the Deutsche Oper Berlin



Closing date: 2 December 2023, the winners will be informed by email on 4 December 2023. The DVDs will then be sent by post. Legal recourse is excluded.