top of page
MBKport237 web.jpg


7.5.23 in Tokyo Opera City, Tokyo:
G. F. Händel: La 
Resurrezione with Bach Collegium Japan and Masato Suzuki.

19.5.23 at May Festival, Cincinnati, US:
J. S. Bach: Magnificat with Cincinnati Symphony Orchestra and Juanjo Mena.

24.6.23 Styriarte Festival in Graz, Austria: 
J. J. Fux - Costanza e Fortezza, concert version with Zefiro Baroque Orchestra and Alfredo Bernardini.


28.6.23 in Lausanne - cathedral: Mozart c-minor mass with Ensemble Vocal Lausanne and Daniel Reuss

1.7.23 in Hannover: Mahler Symphony no 2 with NDR Symphony Orchestra and Andrew Manze

6.7.23 Smôga Festival - Sweden: Songs by Kjell Habbestad and Edvard Grieg with Lina Braaten.



August: Oslo Chamber Music Festival: 

5.8.23: Ravel Sheherazade with Nils Anders Mortensen - piano

7.8.23: Mahler Des Knaben Wunderhorn with Johannes Weisser and Nils Anders Mortensen - piano

13.8.23: Mussorgsky Songs and Dances of Death with Denis Kozhukhin - piano

11.8.23 at Innsbruck Festwochen: "Stabat Mater" music by Vivaldi and contemporaries with Rinaldo Alessandrini and Concerto Italiano

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. 


Looking for my repertory list?
Here it is



"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."


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 concert 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 around 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.


Instagram: #mariannebeatekielland

  • Spotify
  • Apple-Music-Png
  • Tidal Social Icon
  • Deezer streaming
  • Idagio
  • Facebook Social Ikon
  • YouTube Social Ikon


Takk for innsendingen din!

General Management​

Interartists Amsterdam


+31 634272282


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.

Lie Sanger vol 1
CD 59 Sibelius.jpg
Mozart Requiem Savall
Skjermbilde 2022-01-29 kl. 18.02.35.png
DVD L'orfeo Savall
CD 54 Schumann.png

For complete discography, CLICK HERE

PRESS 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.

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. (

- Son timbre clair, sa diction nette et richement timbrée, son coloris parfois un rien morne cependant, rendent hommage au maître finlandais. (

«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."; 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.


Many of my portraits are taken by David Dawson. 
Please follow him on Instagram: daviddawsonphoto

bottom of page