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Mahler Rückert-Lieder with Ensemble Ernst and Petr Popelka.
Caldara "Maddalena ai Piedi di Christo" with Freiburg Barockorchester and Rene Jacobs
10.4 Madrid - Auditorio Nacional
12.4 Berlin Philharmonie
14.4 Freiburg Konzerthaus
16.4 Paris Philharmonie
Lied recital with Nils Mortensen, piano. Music by Mozart, Grieg and Sibelius
Schumann "Frauenliebe und Leben" with Lucas Blondeel - pianoforte
30.4 Concertgebouw Brugge
Mozart Requiem with Le Concert des Nations and Jordi Savall
Hensel "Faust" and Mendelssohn "A midsummer night's dream" with Le Cercle de l'Harmonie and Jérémie Rhorer
Mozart "Mass in c minor" with Oslo Philharmonic Choir and Lithuanian National Symphony Orchestra
6.4.22, Spjelkavik, Norway: Lied recital with Nils Mortensen, piano. Music by Sigurd Lie and Franz Schubert.
25.-27.6 Styriarte Festival, Austria: Johann J. Fux - La Corona d'Arianna with Ensemble Zefiro and Alfredo Bernardini.
30.6.22 Risør Kammermusikkfestival:
Berio Folk Songs
23 and 24.7.22 Salzburg Festspiele:
Haydn "Stabat Mater" with Mozarteumorchester Salzburg and Andrew Manze.
12.-21.8: Oslo Chamber Music Festival
Händel Giulio Cesare (title role) at New National Theatre in Tokyo. Opera production with Laurent Jelly and Rinaldo Alessandrini.
Performances: 2.10, 5.10, 8.10 and 10.10
Mozart Requiem with Orchestra of the eighteenth century, Capella Amsterdam and Daniel Reuss.
Mahler Das Lied von der Erde with Helsingborg Symphony Orchestra.
"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, Andrew Manze, 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.
WHAT PEOPLE SAY
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.
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 Schumann Lieder:
As a matter of fact Marianne Beate Kielland is just as marvelous as I had hoped for. And question is whether she has ever sung as lovingly beautiful as here. Now in her mid-forties her tone has adopted a youthful silvery sheen that is wholly enticing.
«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.