Trine Møller, soprano


Trine Møller started out as a lyric mezzo-soprano, studying in London at the Royal Academy Opera School, at the National Opera Studio, and in Copenhagen at the Royal Danish Academy of Music.

Trine Møller has recently changed from mezzo-soprano to soprano and she made her soprano debut in the role of Tosca (Puccini’s Tosca) at Slotsoperaen in Denmark in 2018. Quickly adding more dramatic roles to the spinto repertoire, she sang her first Turandot (Puccini’s Turandot) at the 2019 Immling Festival in Bayern, Germany.

Her future engagements include Brünnhilde in Wagner’s Die Walküre at the Royal Danish Opera and in Siegfried and Götterdämmerung at Den Ny Opera, Esbjerg, also Brünnhilde in the Der Ring des Nibelungen at Theater Basel in Switzerland, Turandot at Theater Magdeburg and the title role in Elektra in Lübeck .

As a mezzo, she had her Royal Danish Opera debut in David McVicar’s production of Monteverdi’s L’incoronazione di Poppea, in the roles of Amore and Valetto, a debut for which she received the prestigious Reumert Talent Award.

Other Danish Royal Opera engagements include Rosmira (Handel’s Partenope), Cherubino (Mozart’s Le nozze di Figaro), Olga (Tchaikovsky’s Eugene Onegin) and Mercedes (Bizet’s Carmen). For the Danish National Opera she has sung Dorabella (Mozart’s Cosi fan tutte), Rosina (Rossini’s Il barbiere di Siviglia) and Cherubino. At Den Ny Opera in Esbjerg, Trine has sung Rosina, Ramiro (Mozart’s La finita giardiniera), Waltraute (Wagner’s Die Walküre) and Wellgunde (Wagner’s Das Rheingold). For the Rued Langgaard Festival in Ribe she sang Kundry (Wagner’s Parsifal) and Gådestemningens Ekko (Langgaard’s Antikrist).

International engagements include Angelina (Rossini’s La cenerentola) and Idamante (Mozart’s Idomeneo) for Tiroler Landesteater, Innsbruck, Austria, Rosina for Oper Schloss Hallwyl in Swizerland, and Olga in Eugene Onegin for Oper Leipzig in Germany.

Trine Møller has received many prizes including the Lucille Graham Award, the Axel Schiøtz Prize, the Elisabeth Dons Memorial Scholarship, and the Aalborg Opera Prize.

Opera roles

Ludwig van Beethoven


Rued Langgaard

ANTIKRIST/Gådestemningens ekko

Giacomo Puccini


Richard Strauss

ELEKTRA / Elektra
ELEKTRA/ Chrysothemis

Giuseppe Verdi

DON CARLO/ Elisabetta
NABUCCO/ Abigaille
MACBETH / Lady Macbeth

Richard Wagner

DIE WALKÜRE/ Brünnhilde
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
Trine Møllers Brünnhilde hat mich regelrecht vom Sessel gehauen: Welch eine wunderbare Stimme, so frisch, unangestrengt und rein habe ich die Hojotoho -Rufe noch selten gehört. Ergreifend in der Todesverkündigung, kämpferisch attackierend im Einstehen für das Geschwisterpaar, Mitleid erregend im Annehmen der Strafe des Göttervaters. - Kaspar Sannemann
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
Valkyrie seizes the day. As Brünnhilde the Royal Opera surprisingly has given Danish Trine Møller the chance. And she takes advantage of that opportunity to a very high degree. Insanely intense was her act. - Thomas Michelsen
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
There is also much good to be said about Brünnhilde, embodied by the young Dane Trine Møller, whose endearing, free and effortless soprano is very promising. (…) (she) has the potential to become one of the great Brünnhildes. - Søren Kassebeer
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
The title role as Brünnhilde is sung by the soprano Trine Møller, who has a supple, sweet and fully covering voice for the role, which otherwise mostly goes to thunder-sopranos in corresponding warrior equipment. Seeing this empathic rebel woman, it is as if Wagner’s role model from the antiquity becomes more than apparent. According to Sophocles, the brave Antigone challenges the powerful king Kreon and without complaint goes to her death for having performed the funeral rite for her fallen brother, who has died a traitor. Her fate we now experience in Wagner’s ingenious variation, where Brünnhilde spares Siegmund, whose death Wotan has ordered. Always the ancient Greek glow is hovering over Trine Møller’s endearing, pure Brünnhilde, fully in conflict with the inhumanly experimenting Wotan (…). - Peter Johannes Erichsen
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
Trine Møller brachte als Brünnhilde eine ungewöhnlich jugendliche Erscheinung auf die Bühne, spielte mit Hingabe und hat einen geradlinigen Stimmklang ohne jegliche Verschleißerscheinungen. Ihre Stimme ist nicht riesengroß, dafür aber ausgeglichen, mit leicht ansprechendem Ansatz und einer makellosen Höhe und befand sich stets in guter Balance mit dem Orchester. - Dr. Martin Knust
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
Brünnhilde is sung by Trine Møller, who makes a great debut in the role. Together with Tomasz Konieczny she delivers the most emotional moment, when Wotan transforms her from god to human (…). - Pia Stilling
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
Frederiksborg Amts Avis
And Brünnhilde (…) is put into the hands of Trine Møller. She underlined in the greatest way, that this Valkyrie is a dramatic and delicate person, warm-blooded, fragile and vulnerable. Sharp around the edges. - Svend Klarskov
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
And last but not least a terrific breakthrough for Trine Møller as Brünnhilde. Wow! - Jens Winther
BRÜNNHILDE /DIE WALKÜRE, Danish National Opera, 2022
Operamagasinet Ascolta
Trine Bastrup Møller sang Brünnhilde into all hearts – Wotan’s included. - Henrik Marcussen
Press Service

Photo by Jeanette Philipsen

Photo by Jeanette Philipsen

Photo by Jeanette Philipsen

Photo by Jeanette Philipsen

Photo by Jeanette Philipsen