Music

To this we’ve come

In 2022 I recorded this aria from the opera The Consul by Giancarlo Menotti, a piece that is creepily contemporary even though it’s composed in 1950. My character is named Magda, a mother and wife of rebel John. John flees and Magda goes to the consulate, trying to secure help for her family. But at the reception desk no one cares and Magda bursts out in a philosophival rant: is there anyone who still may care?

Vain, fluctuating state… Thou, God, most high

Recorded during the Semi finals of the Handel Singing Competition 2019 in Grosvenor Chapel, London.

This recit and aria Vain, flucuating state… Thou, God, most high is from the oratorio Bellshazzar by G.F. Händel. Accompaniment by Heather Tomala on harpsichord.

Banquo’s Buried

Contemporary classical music is one of my great loves and passion. To create new pieces, or reimagine old ones is such a joy. This piece is called Banquo’s buried, by British composer Alison Bauld. The text is from Lady Macbeth by Shakespeare. Recorded in 2022 with Maxime Snaterse in the Bizet Hall, Doetinchem, The Netherlands.

All our guiltiest pleasures

There is no feeling similar to that of the operetta… A perfect mix of silly entertainment, happy endings, great ensembles and catchy tunes. I love singing these pieces and have the audience enjoy them with me… Like the ever popular meine Lippen, sie küssen so heiß by Franz Lehár!

The power of the intimate

Where opera aims for a feeling of ‘larger than life’, the Art of Song finds its power in intimacy. The twist of a phrase, the tone of a syllable; music and language are entwined like none other. I particularly enjoy the quick changes in temperament a song cycle of program can provide: so much to hear, to feel!