Foto: Daniel Pasche/Sony BMG
Guest of the National Theatre Opera.
Owing to her extremely successful debuts on the foremost European opera stages, Annette Dasch won the reputation of being one of the brightest young opera talents. In 1996 she began studying voice with Josef Loibl at Munich’s Hochschule für Musik and attending master classes given by Jan Philip Schulze, Wolfram Rieger and Helmut Deutsch. She launched her international artistic career in 2000, when she won prestigious voice competitions in Barcelona and Geneva.
Subsequently, she performed as a guest at the Bayerische Staatsoper in Munich, Deutsche Staatsoper in Berlin, Sächsische Staatsoper in Dresden, Théâtre des Champs Elysées Paris, Théâtre Royal de la Monnaie Brussels, at the New National Theatre in Tokyo, Vlaamse Opera Antwerpen, Grand Théâtre de Luxembourg, Oper Bonn, Opéra National de Montpellier and at Innsbrucker Festwochen. Her pivotal roles have primarily included the Mozart heroines Fiordiligi (Così fan tutte), Donna Elvira (Don Giovanni), Pamina (Die Zauberflöte), the Countess (Le nozze di Figaro) and Aminta (Il re pastore). In the role of Donna Elvira, she also debuted at Milan’s La Scala. Opposite Rolando Villazón she made her debut at Opéra National de Paris as Antonia in Offenbach’s Le contes d’Hoffmann. She performed with the Berliner Philharmoniker conducted by Sir Simon Rattle as Freia in Das Rheingold at Salzburger Osterfestspiele. At the Bremer Musikfest and the Bonner Beethovenfest she sang Aminta, at the Maggio Musicale Fiorentino music festival she appeared under Seiji Ozawa in a scenic version of Mendelssohn’s Elijah. Among her greatest successes to date is undoubtedly the title role of Haydn’s Armida at Salzburger Festspiele in 2007 conducted by Ivor Bolton and staged by Christoph Loy. Her most noteworthy roles of recent times include the Gänsemagd in a new production of Humperdinck’s Königskinder at Bayerische Staatsoper Munich, Cinna in Lucio Silla at Wiener Festwochen (conducted by Nikolaus Harnoncourt) and Pamina in the new production of Die Zauberflöte at Sächsische Staatsoper Dresden. She has further expanded her repertoire owing to numerous concert performances of operas; for example: Schumann’s Faust-Szenen under Nikolaus Harnoncourt at Styriarte Graz and Schumann’s Genoveva at Hessisches Staatstheater Wiesbaden under Marc Piollet.
Her concert activity includes appearances at the Schubertiade Schwarzenberg and Folle Journée de Nantes festivals, at Théâtre de la Ville Paris, at the Berliner Philharmonie, Philharmonie Köln, Musikhalle Hamburg, Leipziger Gewandhaus, Wiener Musikverein, Stefaniensaal Graz, Grosses Festspielhaus Salzburg, Palais des Beaux Arts Brussels, as well as in Barcelona, Parma and Florence. She has collaborated with a host of leading conductors, such as, besides the aforementioned, Marek Janowski, René Jacobs, Fabio Luisi, Marcello Viotti, Tomáš Netopil, Alessandro de Marchi, Enrique Mazzola, Attilio Cremonesi, Frans Brüggen, Hugh Wolff, Thomas Hengelbrock, Peter Schreier, Arnold Östman and Marcus Creed.
Update: January 2008