Lydia Catherine Ackermann

Lydia Catherine Ackermann

Soprano

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«Mit ihrer klaren Sopranstimme brillierte besonders Lydia-Catherine Ackermann in den hohen Lagen, ohne dass auch nur ein Hauch von Härte in Ihrer Stimme zu hören gewesen wäre.»
RT, Markus Herr, 22.11.2016, zum Verdi Requiem in der Tübinger Stiftskirche (2017)
«Das dynamische Gegenpol das oratorisch volle Tutti, selbst noch im Fortissimo von der jungen Sopranistin Lydia-Catherine Ackermann bis zum hohen C hinauf überstrahlt. (...)und krönte die Aufführung mit brilliantem Glanz.»
Tübinger Tagblatt, 22.11.2016 (2017)
«Beim Wetteifern ums Gutmenschentum konkurrieren Lydia Ackermann mit lupenreinem kräftigen Sopran....»
Deutschlandradio Kultur, 12.3.2011, zu Kaija Saariaho’s Adriana Mater im Theater Osnabrück (2017)

Bio

The German British Soprano Lydia-Catherine Ackermann was raised into a musicians family, starting to play instruments by the age of 4.In Freiburg she started studying singing with Prof. Reginaldo Pinheiro and had private complementary lessons with Elaine Ortiz Arandes.Great influences were the masterclasses and acting classes with renowned singers, musicians and directors such as for instance Mirella Freni, Françoise Pollet, Prof. Wolfram Rieger, René Jacobs, Prof.Gerd Heinz and Anthony Pilavachi. During her studying time she already picked up working at Freiburg Theatre as Ariel in Sibelius' adaption to Shakespeare's stage play "The tempest", at the Freiburg "Fest der Innenhöfe" Festival and at Osnabrück Theatre as Ophelia in the German premiere of Hendrick Hellstenius "Ophelias: Death by Water Singing". 2011 Osnabrück Theater asked her to sing in the Fausto nominated production of Kaija Saariaho’s "Adriana Mater" as Refka and also fetched for her as a jump in 2012 in several performances of Jerry Bock's Musical "The fiddler on the roof" as Zeitel / Grandma Zeitel.In 2010/2011 she was part of the jung artists program "international elite operastudio" at Lübeck Theatre and was to be seen as Gretel in Humperdincks 'Hänsel and Gretel ',  Zeitel in Jerry Bocks "Anatevka: the fiddler on the roof", Frasquita and Michaela in Bizet's "Carmen", she was also asked to do the understudy for Rheinmaiden and Norne in Wagners "Götterdämmerung", Alice Ford in Verdis "Falstaff". Since 2013 she is part of the opera chorus of the Staatstheater Darmstadt , but also singing Soloparts there as for instance Giannetta in Donizetti's "Elisir d'amor", Cercatrice in Puccini's "Suor Angelica", Venus in Offenbach's "Orphée aux enfers", Solosoprano in Christian Jost "Angst", and currently Aunt/Aristocrat in A.L.Webbers "Evita". The Staatstheater Darmstadt has used her expertise on contemporary music in the Ensembles of Luigi Nono's "Prometeo" and Dallapiccola's "Il prigioniero" and also as sight-reading  jump-in for two performances of the especially for the Staatstheater Darmstadt composed works "Augenblicke" in 2016.Next to her work in Darmstadt she has sung Michaela in Bizet's "Carmen" in 2013 at the Musiktheater Friedrichshafen and gave her debut with the Verdi Requiem at the Stiftskirche in Thübingen in Dezember 2016.
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