Vita

Austrian soprano Kristiane Kaiser was born in Vienna and studied at the Mozarteum in Salzburg and with KS Margarita Lilowa at Vienna´s University of Music before going on to win numerous competitions. Her earliest guest appearances took her to the Dresden, Berlin, Munich and Hamburg State Operas and to Düsseldorf, Karlsruhe and Frankfurt for Konstanze (Die Entführung aus dem Serail).

Since 2004/05 Kristiane Kaiser has been a member of the Vienna Volksoper, where her repertoire includes Donna Anna (Don Giovanni), Countess Almaviva (Le nozze di Figaro), Micaela (Carmen), Martha (Der Evangelimann), Violetta (La traviata) and Rosalinde (Die Fledermaus). She has also been heard in a number of new productions and has enjoyed particular acclaim as Mařenka (The Bartered Bride), Agathe (Der Freischütz) and Dvořak's Rusalka. In recent years she has taken on several new roles, including Liù (Turandot), Mimì (La bohème) and Nedda (Pagliacci), garnering particular praise as Leonora (Il trovatore), Diemut (Strauss's Feuersnot) and Fiordiligi (Così fan tutte).

Guest appearances have taken Kristiane Kaiser to Zurich and Cologne for Pamina (Die Zauberflöte), to Dresden for Countess Almaviva, to Düsseldorf for Cleopatra (Giulio Cesare) and, most recently, to Tallinn for her role debut as Strauss's Arabella. Her appearances as Rovena in Nicolai's Il templario mark her Salzburg Festival debut in 2016.

Plans for next season include two more new roles: Giulietta (Les Contes d'Hoffmann) and Rezia (Oberon).

A live recording of Kristiane Kaiser's role debut as Violetta at the St.Margarethen Opera Festival is available on CD and DVD. She has also appeared in leading roles in operettas and operatic rarities – most notably in works by Humperdinck, Lachner and Schubert – at the Prinzregententheater in Munich and on CDs for the CPO label. Regular appearances in the concert hall have taken Kristiane Kaiser to Paris, Brussels, Rome, Montpellier and the Musikverein in Vienna.

 

„Die Sopranpartie der Rovena lag Kristiane Kaiser bestens in der Kehle; sie machte aus dieser Rolle eine durchaus prägnante Figur – mit Verve und Agilität in den Koloraturen, sicheren Höhen und interessantem, irisierendem Timbre.“

Opernglas Oktober 2016