Hermine Haselböck

Hermine Haselböck (born 7 March 1967 in Melk, Lower Austria) is an Austrian mezzo-soprano in opera, concert and lied.

Career

After graduating from Stiftsgymnasium Melk[1] Haselböck studied with Rita Streich at the Vienna Music Academy and continued at the Hochschule für Musik Detmold, with Ingeborg Ruß, finishing with diplomas for both performing and vocal education. She received further vocal training by Brigitte Fassbaender, Sena Jurinac, Marjana Lipovšek, Christa Ludwig and Eva Randová, and took master classes with Kurt Equiluz, Kurt Widmer and Edith Sélig-Papée.

Her operatic career began with the role of Mercedes in Carmen, when Nikolaus Harnoncourt discovered her for his production at Styriarte in 2005. She performed Dorabella (Così fan tutte) at the Concertgebouw Amsterdam, and the Second Lady (The Magic Flute) at the Mozart Festival Reinsberg, the Theater an der Wien and the Grand Théâtre de Luxembourg. 2006 she sang the role Frauenschatten in Erwin Schulhoff's Flammen. Two trouser roles followed, Hansel (Hansel and Gretel, Volksoper Wien) and Ramiro (La finta giardiniera, National Opera Tokyo and Bruckner Festival Linz). 2009 she first sang Magdalene (Die Meistersinger von Nürnberg), 2012 Brangäne (Tristan und Isolde) and 2013 Azucena (Il Trovatore) at the Tyrolian Festival Erl and Gertrud/Mother, (Hansel and Gretel at the Graz Opera House. 2013 she debuted as Flosshilde (Rheingold) in the Sala Santa Cecilia in Rome and made 2014 her debut as Fricka in Das Rheingold and Die Walküre at the Tyrolian Festival Erl, Austria. 2015 she performed Flosshilde (Rheingold) with the Hongkong Philharmonic Orchestra under the baton of Jaap van Zweden. 2015 she was singing the role of Fricka]] at the first staged performance of Das Rheingold and Die Walküre in Beijing and Shanghai. 2016 followed the role of the daughter in the Austrian premiere of Ella Milch-Shariff s Baruchs Schweigen at the EntarteOpera Festival, Vienna.

Hermine Haselböck has collaborated with orchestras such as Wiener Symphoniker, Münchner Philharmoniker, L'Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestre National de Lille, RSO Vienna,MDR Sinfonieorchester, Hongkong Philharmonic Orchestra, Residence Orchestra Den Haag, Dresdner Philharmonie, Budapest Philharmonic Orchestra, and under conductors such as Bertrand de Billy, Vladimir Fedoseyev, Rafael Frühbeck de Burgos, Martin Haselböck, Manfred Honeck, Gustav Kuhn, Fabio Luisi, Kirill Petrenko, Martin Sieghart, Jean-Christophe Spinosi, Christian Thielemann, Franz Welser-Möst, Jaap van Zweden.

Symphonic and lieder repertoire plays an important role, performed in the Brucknerhaus Linz, Carnegie Hall, Frauenkirche in Dresden, Gewandhaus, Konzerthaus Vienna, Mozarteum Salzburg, Musikverein Vienna, Musée d'Orsay, Paris, and Teatro San Carlo Naples. Her repertoire includes the major works by Bach, Haydn, Händel, Mendelssohn, Beethoven, Mahler, Mozart, Schubert, Zemlinsky (Maeterlinck Songs), Wagner (Wesendoncklieder) and Verdi (Requiem).

Hermine Haselböck is Guest Professor for Voice at the University of Music and Performing Arts Graz.

Awards

In 2005, Haselböck was awarded for her debut CD "Songs by Zemlinsky" the International Zemlinsky Award at the Musikverein Vienna and the Pasticcio Prize of the Austrian classical radio station.

2014 Haselböck's CD recording of *Gustav Mahler: Lieder eines fahrenden Gesellen, Kindertotenlieder, Rückert Lieder, Russell Ryan, piano, 2011: bridge records 9341 received the SUPER SONIC classic music award of the magazin PIZZICATO, Luxemburg.

Discography

Sources

„... Hermine Haselböck, a magnificent Fricka, has enormously developed further since her Brangäne 2012, her voice has gained homogeneity and roundness and she is as person and stage appearance an excellent actress with strong presence ...“ THE OPERATIC MUSICOLOGIST - Daniel Url 12.7.2015 >> „As Brangäne Hermine Haselböck once again impressed me with her powerful and still very beautiful voice. She has the perfect voice for Wagner's demanding mezzo roles and has a very warm tender timbre. Her guarding song during the love scene in act 2 was magic and lured the audience into another world. Also her diction is really exemplary and impressively precise.“ http://operaticmusicologist.blogspot.co.at/2015/07/richard-wagner-tristan-und-isolde_12.html

References

  1. ↑ Hermine Haselböck – CV at medeaproductions.com
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