Diana Damrau is a regular guest on the stages of the world’s leading opera houses and concert halls. Her extensive repertoire lies in the lyric and coloratura fach and includes, among others, the title roles in Donizetti’s "Lucia di Lammermoor", Massenet’s "Manon", as well as the Queen of the Night in Mozart’s "The Magic Flute". She regularly performs at major houses such as the Bavarian State Opera, the Metropolitan Opera in New York, and La Scala in Milan. Roles were specially composed for her in the operas "A Harlot’s Progress" by Iain Bell (Theater an der Wien, 2013) and "1984" by Lorin Maazel (Royal Opera House, 2005). Diana Damrau has released numerous award-winning CD and DVD recordings. As a recitalist, she regularly appears in prestigious concert halls such as London’s Wigmore Hall, New York’s Carnegie Hall, and the Berlin Philharmonie. She maintains a close artistic partnership with pianist Helmut Deutsch and tenor Jonas Kaufmann, with whom she presented a successful Lieder recital tour for the thrid time in the spring and summer of 2025, including performances at the Festival d’Aix-en-Provence and the Salzburg Festival. On the opera stage, she recently sang the Marschallin ("Der Rosenkavalier") at the Berlin State Opera and at the Zurich Opera House. She is a Kammersängerin of the Bavarian State Opera, recipient of the Bavarian Maximilian Order for Science and Art, as well as the Order of Merit of the Federal Republic of Germany. Since autumn 2024, she has taught voice as a principal lecturer at the Zurich University of the Arts.
19. March 2018
Songs by Hugo Wolf and Richard Strauss
Before appearing as Donizettis Maria Stuarda on the stage of the Zurich Opera House in April, Diana Damrau will be performing in a song recital. Together with the pianist Helmut Deutsch she devotes herself to the Italian song book/Italienisches Liederbuch by Hugo Wolf in the first part of her program. In these charming, often ambiguous miniatures, Wolf succeeds in capturing the message of the text musically with the utmost precision - regardless of whether it is about an enthusiastically exuberant declaration of love or a small, well-placed malice. The second part is dedicated to compositions by Richard Strauss. The Four Last Songs/Vier letzten Lieder, seldom accompanied by the piano, are a rarity.

