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Maria Riccarda Wesseling

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Maria Riccarda Wesseling
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Maria Riccarda Wesseling is Swiss and Dutch. Her international singing career was launched in 2006 at the Opéra de Paris, when she stepped in on very short notice as Iphigénie on the opening night of Warlikowski’s famous Iphigenie en Tauride production. „A discovery“ were the headlines of Les Echos. She sang the role of Iphigénie again in 2011 at the Teatro Real Madrid in a Robert Carsen production featuring Placido Domingo as Oreste.

In 2007 she sang the titelrol in the creation of Henze’s opera Phaedra at the Staatsoper Berlin, at La Monnaie in Brussels and at the Barbican Center in London. In 2008 she returned to the Opéra de Paris as Glucks Orpheus in the meanwhile legendary Pina Bausch production, which has been live on ARTE and is available on DVD. She has since then been Bausch’s Orpheus in Paris, at the Athens Festival (2008), at the Lincoln Festival New York (2012), at Teatro Real Madrid (2014) and in Paris again in april 2018.

At the Opéra de Lyon she sang Hedwig in Offenbach’s Rheinnixen, la Malaspina in Sciarrinos Luci mie traditrici, Bianca in Zemlinskys Tragédie Florentine (sung in Frankfurt and Tenerife as well) and Metella in Offenbach’s La Vie Parisienne in the production of Laurent Pelly (DVD/Virgin). At the National Opera of Helsinki she was the Pèlerin in Kaaia Saariahos opera L’amour de loin (Peter Sellars), at the Grand Théatre de Genève Giulietta in Les contes d‘ Hoffmann in the production of Olivier Py (DVD/BelAir). In 2009 she was Bizets Carmen and Sesto in Bilbao, at the DNO Amsterdam she sang Orlofsky in Die Fledermaus, at the Ruhrtriennale Claude Viviers Wo bist Du Licht and at the Opéra de Bordeaux Irma in Eötvös’s Le Balcon.

At the TCE Paris and the Schwetzinger Festspiele she sang in 2010 the role of Hermione in Andromaque by Grétry (CD Glossa). „Maria Riccarda Wesseling as Marie is a sensation“ wrote the press after her first Wozzeck production. in 2011 she was Iphigénie in Robert Carsens production at Teatro Real Madrid, La belle Hélène at the Opéra National de Bordeaux and Marguerite in La damnation de Faust at the Staatsoper Stuttgart. In 2012 she was Ottavia in the Warlikowski production of Poppea e Nerone at the Teatro Real Madrid, created the two female parts in Girauds new opera Caravaggio alongside Philippe Jarousky and debuted in New York before being Marguerite in Terry Guilliam’s production of La damnation de Faust in Gent.

In 2013 she sang much Berlioz: Marguerite in Stuttgart and Valencia, Marie in L’enfance du Christ in Barcelona and a song recital . In 2014 she sang the Königin in Heinz Holligers opera Schneewittchen (Achim Freyer) at Theater Basel, Gluck’s Orpheus in the Pina Bausch production at the Opéra de Paris and at Teatro Real Madrid and performed in Peter Eötvös‘ anniversary concert in Paris. In 2015 she sang Die tote Stadt by Korngold in Nantes and Nancy and returned to the Ruhrtriennale where she made her debut as Fricka in the highly acclaimed Rheingold production by Johan Simons and under the batton of Teodor Currentzis. In 2016 she made her debut at Teatre Liceu Barcelona as Marcellina and in 2017 she sang the title role in the world premiere of Annas Maske by David Philip Hefti. In 2018 she returned to the Paris opera for another run of Gluck’s Orpheus and toured with the Amaryllis string quartet in Northern Germany, performing the world premiere of An durchsichtigen Fäden, a piece written for Maria by David Philip Hefti.

Maria Riccarda Wesseling also adores the concert and Lied repertoire and performs in halls such as the Gewandhaus Leipzig (Johannespassion/Gewandhausorchester/Riccardo Chailly//Recital), the Concertgebouw Amsterdam (Les nuits d’été/Concertgebouworkest/David Zinman//Recitals), Tonhalle Zurich (Bernstein Jeremiah Symphony/Liederabend), the Essener Philharmonic (Poême de l’amour et de la mer/Minkowski), the Tschaikowski Hall Moscow (Fedosejev), the KKL Lucerne (Lied von der Erde)….
During the Wagner year 2013 Maria Riccarda Wesseling toured with an interesting recital programme of french and german Wagner songs in halls such as Gewandhaus Leipzig, Palazetto Bru Zane Venezia, Tonhalle Zürich, Auditori Barcelona.

Her solo CDs Wien 1900 (Zemlinsky/Mahler/Schönberg/Berg),  3 Handel Heroines and Sous l’eau du songe (songs by Alma Mahler, Lily Boulanger and Clara Schumann) have been released by the label Claves, the Handel operas Amadigi (title role) and Rodrigo (title role) by Naive/Ambroisie. Glossa music released Andromaque (role: Hermione) by Grétry and Semiramis (title role) by Catel. The Wesendoncklieder by Wagner and her newest CD: Lieder by Paul Juon, were recorded for Coviello.  Available on DVD: Medea in Handels Teseo (Arthaus), Metella in La Vie Parisienne (Virgin Records), Giulietta in Les contes d’Hoffmann (BelAir), Orpheus in Orpheus und Eurydike (BelAir)

From 2015 to 2018 Maria was the artistic director of the Dutch National Opera Academy. She is regularly invited for masterclasses and workshops at music academies, opera studios and festivals.

In the upcoming season Maria will debute as Herodias in the Serebrennikov Salome production at Staatsoper Stuttgart, sing Weise von Liebe und Tod des Cornets Christoph Rilke staged by Nigel Lowery and debute as Jezibaba (Rusalka) and Klytämnestra (Elektra).

In January 2018 Maria presented her first stage direction in an acclaimed production of The rape of Lucretia by Britten at the DNOA. In 2019/2020 she will stage The merry widow by Lehàr in Germany.

www.mariariccardawesseling.com

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