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Ensemble - Deutsche Oper Berlin

Larissa Wäspy

Larissa Wäspy

© Felix Grünschloß
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Larissa Wäspy begann im Alter von elf Jahren ihre Gesangsausbildung bei Sylvia Heermann. 2006 nahm sie ihr Gesangsstudium an der Musikhochschule in Karlsruhe bei Maria Venuti, Klaus Dieter Kern und Ingrid Haubold auf. Seit dem Sommersemester 2009 studiert sie zusätzlich Operngesang am Institut für Musiktheater. Ergänzt wurde ihre Ausbildung durch Meisterkurse bei Brigitte Seidler-Winkler, Anne Le Bozec und Regina Werner. 2003 erreichte sie beim Wettbewerb „Jugend musiziert“ in der Kategorie „Duo Kunstlied“ den 2. Preis auf Landesebene.

2003 bis 2006 war sie an der Jungen Oper der Staatsoper Stuttgart als Choristin engagiert. Dort trat sie u. a. in Haydns DIE REISENDE CERES und Schostakowitschs MOSKAU-TSCHERJOMUSCHKI auf. Darüber hinaus sang Larissa Wäspy Solopartien in den Auftragswerken ERWIN, DAS NATURTALENT von Mike Svoboda und TRÄUMER von Matthias Heep und übernahm die Partie des Gretchen in Busonis DOKTOR FAUST an der Staatsoper Stuttgart.

Sie arbeitete mit Dirigenten wie Wolfgang Heinz, Mike Svoboda, Matthias Heep und Bernhard Epstein zusammen. Zu ihrem Repertoire gehören Blonde, Zerbinetta, Adele, Cunegonde und Morgana / ALCINA, die sie im Wintersemester 2009 in einer Fassung für Kinder am Institut für Musiktheater Karlsruhe sang.

Die Sopranistin war von der Spielzeit 2011/12 bis einschließlich 2013/14 Mitglied des Opernstudios am Staatstheater Karlsruhe und war hier u. a. als Feklusha / KATJA KABANOVA zu erleben. Außerdem sang sie Hirt / TANNHÄUSER, Héloise / RITTER BLAUBART, Gräfin Ceprano und Page / RIGOLETTO, Vrenchen (als junges Mädchen) / ROMEO UND JULIA AUF DEM DORFE, Frasquita / CARMEN, Taumännchen / HÄNSEL UND GRETEL, Papagena / DIE ZAUBERFLÖTE, Barbarina / FIGAROS HOCHZEIT, Erste Nichte / PETER GRIMES, Yvette / DIE PASSAGIERIN und Max / WO DIE WILDEN KERLE WOHNEN. Im Winter 2013 übernahm sie die Rolle der Ersten Nichte / PETER GRIMES an der Staatsoper Hamburg. 2014/15 gastierte die Stipendiatin der Hildegard Zadek Stiftung am Staatstheater als Xenia / BORIS GODUNOW, sang wieder Taumännchen / HÄNSEL UND GRETEL und Max / WO DIE WILDEN KERLE WOHNEN und war ebenso 2015/16 als Clizia / TESEO und im schauspiel als Marzellus / HAMLET zu erleben.

Gastengagements führten sie auch an die Dresdner Semperoper als Schneewittchen und als Yvette / TIE PASSAGIERIN sowie in Hamburg als Barbarina / LE NOZZE DI FIGARO und Wawa / MOSKAU, TSCHERJOMUSCHKI. An der Deutschen Oper Berlin gibt Larissa Wäspy als Gerda / DIE SCHNEEKÖNIGIN am 22. November ihr Hausdebüt.

Foto © Felix Grünschloß

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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.