Dorothea Spilger, mezzo-soprano

Biography

Mezzo-soprano Dorothea Spilger, born in Landshut, Germany, graduated from the University of Music and Performing Arts in Munich in 2013. There she studied under the tutelage of Prof. Fenna Kügel-Seifried, earning a degree in both opera and concert-singing.

Her recent and future engagements include La Ciesta (Gianni Schicchi) at Copenhagen Opera Festival and Amneris (Aida) at Den Jyske Opera. Being a part of Badisches Staatstheater Karlsruhe ensemble she will sing Amneris (Aida), Carmen (Carmen), Foreign princess (Rusalka), 3rd Magd (Elektra) in season 2022/23.

In 2019 she performed Lisa in Die Passagierin by Weinberg and La Serveuse in L‘Invisible by Reimann at the Staatstheater Braunschweig, and also sang Wagner’s Wesendonck-Lieder and performed Tisbe (La cenerentola) at National Theatre Prague.

During previous seasons she sang Fenena in Nabucco, Olga in Eugene Onegin, Suzuki in Butterfly, Mezzo soprano in Marc-Anthony Turnage’s opera for mezzo soprano solo Twice Through the Heart, Maddalena in Rigoletto and Scaramouche in Schiebeck’s Fetes Galente, also Lisa in Weinberg’s The Passenger at Danish National Opera and Amalia in Giordano’s Mala Vita at the Wexford Festival Opera in Ireland.

In the 2014/15 season she sang Nerone in L’incoronazione di Poppea and Siébel in Faust at the Theater Erfurt (Germany). In 2015/16 she worked as a guest-singer at Staatstheater am Gärtnerplatz in Munich, the National Theatre Prague and Tiroler Festspiele Erl. In 2016/17 she performed as a soloist at Teatro alla Scala in Milano, where she could be seen in Die Meistersinger von Nürnberg and as the alto-soloist in Bach’s Weihnachtsoratorium under the baton of Fabio Luisi. In September 2017 she gave her debut as Hänsel in Humperdinck’s Hänsel und Gretel at the Teatro alla Scala.

Some of her highlights on the opera-stage have been Prinz Orlofsky in Die Fledermaus, Ruggiero in Alcina, Ramiro in La finta giardiniera, Dorabella in Così fan tutte and Sesto in La clemenza di Tito. She has performed at Opéra National de Lyon where she gave her debut as Lapak in Janáček’s Cunning little Vixen and also sang the 3rd Lady in Mozart’s Die Zauberflöte.

During her studies, Dorothea Spilger has been a scholar of the Hanns-Seidel-Stiftung and received a scholarship from Yehudi Menuhin Live Music Now, in 2014. She is a laureate of the competition Kammeroper Schloss Rheinsberg, the Competizione dell’opera, the International Johannes-Brahms Competition for Song, and the International Antonín-Dvořák-competition for Opera and Song.

Calendar
Repertoire
Opera roles

Wilhelmine Von Bayreuth

ARGENORE/ Martesia

Manuel de Falla

LA VIDA BREVE/ Carmela

Umberto Giordano

MALA VITA/ Amalia

Charles Gounod

FAUST/Siebel

Georg Friedrich Händel

ALCINA/Ruggiero

Engelbert Humperdinck

HÄNSEL UND GRETEL/Hänsel

Leoš Janácek

THE CUNNING LITTLE VIXEN/ Lapák

Claudio Monteverdi

L'INCORONAZIONE DI POPPEA/ Nerone

Wolfgang Amadeus Mozart

COSI FAN TUTTE/Dorabella
LA CLEMENZA DI TITO/Sesto
LA FINTA GIARDINIERA/Ramiro
DIE ZAUBERFLÖTE/2. Dame
DIE ZAUBERFLÖTE/3. Dame

Giacomo Puccini

EDGAR/ Tigrana
GIANNI SCHICCHI /La Ciesca
MADAMA BUTTERFLY/Suzuki

Aribert Reimann

L'INVISIBLE/ La Servante

Gioacchino Rossini

LA CENERENTOLA/Tisbe

Johann Strauss

DIE FLEDERMAUS/Orlofsky

Poul Schierbeck

LA FÊTE GALANTE/ La Scaramouche

Pyotr Ilyich Tchaikovsky

EUGENE ONEGIN/Olga

Mark-Anthony Turnage

TWICE THROUGH THE HEART/ Mezzo soprano

Giuseppe Verdi

AIDA /Amneris
NABUCCO/ Fenena
RIGOLETTO/Maddalena

Mieczysław Weinberg

PASSAGERIN/ Lisa
Concert repertoire

Carl Ph. E. Bach

Magnificat

Johann Sebastian Bach

Weihnachtsoratorium
St. John Passion BWV 245
St. Matthew Passion BWV 244
Various cantatas

Ludwig van Beethoven

Mass in C Major
Missa Solemnis
Symphony No. 9 in D minor, Op. 125, "Choral"

Hector Berlioz

L'enfance du Christ

Antonin Dvorak

Stabat Mater

Edward Elgar

The Dream of Gerontius
Sea Pictures

Georg Friedrich Händel

Judas Macchabaeus
The Messiah, HVW 56

Franz Joseph Haydn

Nelson Mass

Paul Hindemith

Requiem

Gustav Mahler

Das Lied von der Erde
Rückert-Lieder
Symphony no. 2 in C Minor

Felix Mendelssohn

Elias

Claudio Monteverdi

Vespro della Beata Vergine

Wolfgang Amadeus Mozart

Mass in C Major, KV 167
Requiem KV 626
Various concert-arias
Various masses

Giovanni Battista Pergolesi

Stabat Mater

Gioacchino Rossini

Petite Messe Solenelle
Stabat Mater

Jakub Jan Ryba

Missa pastoralis bohemica

Alfred Schnittke

Requiem

Giuseppe Verdi

Requiem

Richard Wagner

Wesendonk-Lieder
Review
AIDA, Badisches Staatstheater Karlsruhe 2022
badisches-staatstheater-karlsruhe.blogspot.com
Besonders neugierig durfte man auf Dorothea Spilger sein. Sie ist neu im Ensemble und wird hier im Januar 2023 als Carmen debütieren. Ihr gestriger Auftritt als Amneris setzte ein Ausrufezeichen: mit ausdrucksstarker, farbiger Stimme sang sie eine hochdramatische Amneris. Der Beginn des vierten Akts gelang ihr außerordentlich intensiv. Amneris zeigte Charakter, Aida und Radames blieben hingegen eindimensional. BRAVO!
AIDA, Badisches Staatstheater Karlsruhe 2022
Badische Neueste Nachrichten
Die Herzen im Staatstheater erobert diese verschmähte Pharaonentochter im Sturm. Dorothea Spilger singt betörend leidenschaftlich, mit Glut und großem Volumen, dramatisch und sinnlich.
ARGENORE, Das Theater Münster 2021
Burkard Knöpker, erlesenesmuenster.de
Dorothea Spilger gives the role of mere companion the depth it needs, the emotional strength, great, heartbreaking arias, which is what brings me to the music in the first place.
ARGENORE, Das Theater Münster 2021
Thomas Molke, omm.de
The same applies to Dorothea Spilger as Martesia, who unfortunately cannot present the information that would have prevented the catastrophe until too late. With a full mezzo-soprano, she lets Martesia's desperation run free, who on the one hand loves Leonida and on the other hand wants to save her supposed brother Ormondo.
TWICE THROUGH THE HEART, Braunschweig Staatstheater 2019
Braunschweiger Zeitung
…and despite this, the careworn delinquent manages to quickly direct all attention to herself. With a dark lamentation, a confession in expressionistic lyric highlights. Not oversensitive, mostly with cool composure, but still far from cold. Dorothea Spilger creates this with her vivid, distressfully glowing mezzosoprano. Quite impressive.
TWICE THROUGH THE HEART, Braunschweig Staatstheater 2019
www.deropernfreund.de
However, this did not meaningfully impact the performance of Dorothea Spilger. She delivered an immensely gripping psychogram of the woman who reflected on her story of suffering in nine non-chronological parts. There were many quite piercing sequences of notes, but also – especially for positive memories – wonderfully calm and lyrically coloured passages. All of this was created with distinctively complex expression by the mezzosoprano who had already left a resounding impression in the “Passagierin” at the beginning of the year.
MALA VITA, Wexford Festival Opera 2018
Opera Today
Spilger was a powerful presence especially in Act 2, which Amalia dominates, communicating all of Amalia’s selfishness, recklessness and wilfulness. Her mezzo-soprano is powerful and focused, and in the lunchtime recital which she gave the following day, in St Iberius’s Church, she revealed its full range of colour, vibrancy and intensity, the dense layers of the bottom being complemented by strikingly intense and pure top notes. Spilger moved effortlessly between high and low, too, and her presentation of songs by Brahms, Schumann and Richard Strauss, and an aria from Lehár’s Zigeunerliebe, confirmed her flawless technique and assurance, and dramatic range.
MALA VITA, Wexford Festival Opera 2018
bachtrack.com
There was power and brilliance to mezzo soprano Dorothea Spilger’s Amalia. Her encounter with Cristina at the clothes-line was delightfully shrewish while her winning back of Vito was forcefully passionate.
MALA VITA, Wexford Festival Opera 2018
Online Musik Magazin
Dorothea Spilger glänzt als Amalia mit farbigem und verführerischem Mezzosopran und überzeugt auch darstellerisch als Femme fatale, die keine Grenzen akzeptiert. Ein musikalischer Glanzpunkt ist ihr Schlagabtausch mit Tiburzi im zweiten Akt, wenn Amalia auf ihre Rivalin Cristina trifft. Hier punkten Tiburzi und Spilger mit dramatischen Höhen und intensivem Spiel.
MALA VITA, Wexford Festival Opera 2018
Kieler Nachrichten
Dafür sind die Mezzosopranistin Dorothea Spilger als eifersüchtige Amalia und die Sopranistin Francesca Tiburzi als leidgeprüfte Cristina umso authentischer. Sie kämpfen um den geliebten Mann mit allen einer Frau zur Verfügung stehenden Mitteln. Wenn beide ihrem vulkanischen Temperament freien Lauf lassen, dann ist das atemberaubend spannend.
HÄNSEL UND GRETEL, Teatro alla Scala 2017
L‘Impiccione Viaggiatore
Sara Rossini, che ormai è una conferma più che una promessa, Gretel e Dorothea Spilger, Hansel. Voci duttile e ben assortite tra loro. La prima ritratto dell’ingenuità, ma anche con un corpo vocale consistente e tutt’altro che sbiancato, la seconda irruente nel tratto adolescenziale, dotata di bello e schietto colore di mezzosoprano. Come interpreti entrambe irresistibili, abili pure nel ballo e sciolte nei movimenti.
HÄNSEL UND GRETEL, Teatro alla Scala 2017
teatrionline.com
Le due protagoniste, Dorothea Spilger nel ruolo di Hänsel e Sara Rossini nel ruolo di Gretel, ci hanno presentato una coppia di bambini perfettamente credibili, in particolare la Spilger che ha interpretato il monello Hänsel, regalando sincero divertimento al pubblico. Padrone della voce, dei fraseggi e di tutti i registri le due cantanti lavorano in un perfetto unisono.
Press Service

Photo by Mark Noormann

Photo by Mark Noormann

Photo by Mark Noormann

Photo by Mark Noormann

Photo by Mark Noormann

Photo by Thomas M. Jauk

Photo by Thomas M. Jauk

Photo by Thomas M. Jauk

Photo by Christian Pogo Zach

Photo by Christian Pogo Zach

Representation:
General