SCHEDULE
19.8.23 in Målselv, Norway: 100 years anniversary concert for Aase Nordmo Løvberg with Norwegian Broadcasting Orchestra
10.09.23: Closing concert of Oslo Church Music Festival - Telemann Ich fahre zu meinem Vater and Bach Himmelfahrtsoratorium with Barokkanerne and Stephan Macleod.
October: Händel Giulio Cesare with Bach Collegium Japan and Masato Suzuki. Role: Cornelia.
Performances:
7.10 - Nishinomiya
11.10 - Tokyo Opera City
14.10 - Yokohama, Kanagawa
Mozart: Requiem with Oslo Voices and Ingrid Hanken.
21.10 - Hamar
22.10 - Oslo
26.10: Lied recital at Kalkmølla (nearby Oslo) with Håvard Gimse, piano
16.11: Mahler 3rd Symphony with Trondheim Symphony Orchestra and Han-Na Chang
18. and 19.11: Blaibach Concert hall, Germany
Schubertiade with Jos van Immerseel and Thomas Bauer
7.12: Christmas concert with Barokkanerne, Oslo
15. and 17.12 in Rotterdam: Vaughan Williams - Serenade to music and Beethoven 9th symphony with Rotterdam philharmonic orchestra and Andrew Manze
20., 21. and 22.12 in Lisbon: Bach Christmas oratorio with Gulbenkian orchestra and Florian Helgath
30. and 31.12 in München: Beethoven 9th symphony with München Philharmonic Orchestra and Pablo Heras-Casado
Salzburg Winterfestspiele: Mozart - Titus (role: Annio) with Jordi Savall and Le Concert des Nations.
Scenic setup: Rolando Villazón and Bettina Geyer.
Performances: 25.1, 28.1 and 2.2
9. 10. and 11.2: Lamento program with Oslo Circles
15.2: Songs by Alma Mahler with Helsingborg Symphony Orchestra
Looking for my repertory list?
Here it is
BIOGRAPHY
"A singer with such a charisma challenged her colleagues." (Dreh-Punkt-Kultur) Mezzo-soprano Marianne Beate Kielland is famous for her strong stage presence and musical integrity. Gramophone Magazine writes about her: "The mezzo-soprano is quite outstanding: strong, firm, sensitive in modulations, imaginative in her treatment of words, with a voice pure in quality, wide in range and unfalteringly true in intonation."
Marianne Beate Kielland - mezzo-soprano is an outstanding Norwegian concert singer. She is educated from Norwegian Academy of Music, where she studied with Svein Bjørkøy. She has also studied with Oren Brown and Barbara Bonney.
She is one of Europe’s foremost classical singers, and she regularly appears in the concert halls of Europe, Japan and America with conductors such as: Masaaki Suzuki, Juanjo Mena, Andrew Manze, Markus Poschner, Michel Corboz, Leonardo Alarcon, Herbert Blomstedt, Jordi Savall, Rinaldo Alessandrini and René Jacobs.
In 2012 she was US Grammy nominee in "Best Vocal Classical Album» for "Veslemøy Synsk" by Olav Anton Thommessen, and with this more than 60 other recordings and a wide range of repertoire and performances, she is established as a remarkable interpreter of music from baroque to contemporary era.
Marianne Beate Kielland is the artistic leader of Oslo Chamber Music Festival and is also part time associate professor at Norwegian Academy of Music in Oslo.
FOLLOW ME
Instagram: #mariannebeatekielland
CONTACT
General Management
Interartists Amsterdam
ROZEMARIJN
TIBEN
rozemarijn.tiben@interartists.nl
+31 634272282
DISCOGRAPHY - LATEST RELEASES
For streaming services, I strongly advise to listen to high-res streaming services and not Spotify, if you want to hear the quality of the recording.
For complete discography, CLICK HERE
VIDEOS
PRESS
NJ.com: Mahler songs with New Jersey Symphony
But the real power of these songs come from the vocal writing, and here Marianne Beate Kielland was truly golden in her interpretation. In possession of a rich, piercing Mezzo sound and excellent German diction Ms. Kielland made these old world songs feel fresh and immediate. She sang without the use of a score, as if the words and feelings were springing from her naturally. In her high notes, her voice throbbed with emotion. It was only 16-minutes long, but it made the whole concert worthwhile. "Songs of a Wayfarer" is one of the highlights of the NJSO season so far.
Ritmo.es:
Nebra with Al Ayre Espanol
Marianne Beate Kielland was the surprise of the evening. Kielland showed us an absolutely equal record in both the highs and the low ones. Her easy capacity for the legato left us precious phrases without prejudice to a great capacity for drama and power in the most forte passages. In addition her cadences were a delight.
Göran Forsling at Music web international about Mahler Einsamkeit:
I have lots of marvellous Mahler recording on my bending shelves, recordings that I will not voluntarily be separated from. This latest disc will now join those with Janet Baker, Christa Ludwig, Brigitte Fassbaender, Dietrich Fischer-Dieskau, Thomas Hampson and several others. I urge readers to follow my example.
About Sibelius Orchestrated Songs:
Kielland's even tone, flexibility and brilliant sensitivity to the text make this a rewarding collection (The Guardian)
- I don't know where Ms. Kielland has been hiding but I wish she'd get out more, she has a gorgeous instrument. (...) Svarta rosor is coming with me to the shower (Norman Lebrecht - The Critic)
- Norwegian mezzo-soprano Marianne Beate Kielland’s characterful performances are matchless, each song’s distinct character apparent. (Theartsdesk.com)
- Son timbre clair, sa diction nette et richement timbrée, son coloris parfois un rien morne cependant, rendent hommage au maître finlandais. (Resmusica.com)
DrehPunktKultur.at
«The incredible voice of Marianne Beate Kielland has left its mark on the 2019 Salzburger Festspiele | Salzburg Festival: "A particularly lucky choice had been made with Marianne Beate Kielland (Soprano II). She presented her Laudamus te in highly characteristic fashion, clearly articulated, also quick at hand with lyric elements. A singer with such charisma was almost a challenge for her colleagues. The three of them gave a well-balanced ensemble."
Bachtrack.com; Pergolesi and Durante with Freiburger BarockConsort
Kielland verzauberte mit einer Klarheit, Präsenz und inneren Anteilnahme, die ihre Grundlage in einem geeichten Kompass aus Phrasierung, Akzentuierung und wohlig geborgenem Timbre hatte. Er führte zu einer faszinierend-farbreichen Geschmeidigkeit und Öffnung, die die erste gesungene Klage Crimen adae quantum constat optimal ausleuchtete.
Kielland trumpfte dabei in noch anwärmenderem Charakter mit vibratolos angesetzen Leidenslängen ebenso auf, wie sie theatralisch, schlagkräftig und flammend dem aufrüttelnden Winden vor der Ermattung stupend effektvollen Nachdruck verlieh.
PHOTOS
Many of my portraits are taken by David Dawson.
Please follow him on Instagram: daviddawsonphoto
