Sóla Braga

Sóla Braga

Spinto Soprano

Icelandic spinto soprano
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Bio

Sóla Braga                                                     Soprano   Nationality: Icelandic, born and raised. Given name:  Sólrún Bragadóttir Education: From early age of 5 started taking music lessons and singing in choirs.  From age of 7 piano lessons and age of 16 private voice lessons at the Music Conservatory of Music in Kópavogur and Reykjavík.                                                                                                                        Bachelor and Masters degree in Solo singing and Voice Pedagogy from Indiana University in Bloomington IN. USA, studying with Prof. Roy Samuelson and Virginia Zeani-Rossi Lemeni.  Roles sung on stage at the University;  Donna Anna in Don Giovanni, Tsarina in Rimsky Korsakovs, Tsar Saltan.  The last year of study an AI or assistant instructor with free tuition. Masterclasses in Lieder taken with Elly Ameling, Gerard Sousay, Dalton Baldwin and Erik Werba. Engagements: First engagement as the leading soprano at the theater in Kaiserslautern, Germany followed by an engagement at the opera in Hannover with guest contracts in Düsseldorf, München Staatsoper, Heidelberg, Kassel, Karlsruhe, Mannheim, Brehmen, Kiel, Gelsenkirchen, Bern, Torino, Tsuyama in Japan, Reykjavík, Liége, Avignion, Palm Beach Operahouse, Belfast. Roles: Mimi (La Bohéme), Suor Angelica (Suor Angelica), Marzelline (Fidelio) Die Kluge (Die Kluge), Donna Anna (Don Giovaanni) Martha (Martha), Blumenmädchen I/I (Parsifal), Wellgunde (Rheingold/Götterdämmerung) Ortlinde ( Walküre) Elisabetta (Don Carlo), Elettra (Idomeneo), Fiordiligi ( Cosí fan tutte), Nedda (I Pagliacci), Liú (Turandot), Leonora (Fidelio – in a Concert), Margarete (Faust – in a Concert) Countess (Marriage of Figaro) Michaela (Carmen), Antonia (The tales of Hoffmanns) Gilda (Rigoletto), Marie (The bartered Bride), Desdemona (Otello/Verdi), Angelica (Orlando Paladino, Haydn) Pamina (The Magic flute),   Oratorien and Concerts: Requiem of Mozart, Verdi, Brahms (again in Tivoli Hall in Copenhagen June 2014) and Fauré. Beethoven´s 9th and Christus auf den Ölberge, Mozart´s Litanei and C minor mass, 2. Soprano, Carmina Burana, Schubert Magnificat, Händel; Messiah and The King shall rejoice. Rossini´s Stabat Mater. Chausson´s:  Piano quintet with soprano; Chanson Perpétuelle,   La poeme de l´amour e de la mer, May 2014 in Reykjavík. Concert with Wienna Operettas in Reykjavík and in Germany. Dirigents: Mika Eichenholz, Páll Pampichtler Pálsson, Owain Arwel Hughes, Fabio Luisi, George Alexander Albrecht, Osmo Vänskä, Bernharður Wilkinson, Jón Stefánsson, Hörður Áskelsson, Lionel Friend, Hans Urbanek, Petri Sakari, Schirmer, Gabriel Chmura, Iain Sutherland Lieder abende: Many lieder abende in different countries on a regular basis with a big repertoire variety by composers like R. Strauss, Brahms, Schubert, Schumann, Duparc, Chausson, T. Rangström, Sibelius, Grieg, Atli Heimir Sveinssson and other Icelandic composers, Korngold, Hugo Wolf, Fauré and more. With pianist such as Einar Steen Nökleberg, Jónas Ingimundarson, Gerrit Schuil, Margaret Singer, Davide Osellame, Semion Balschem, Andreas Lucewitz and more. Sóla has developed her own Concert Concept where she spontaneously picks the songs and arias influenced by the atmosphere created by the audience.  Besides being active as a soloist in the classical world, Sóla has also developed her own song/sound- healing method based on a long experience working with meditation, different kind of energy perceptions and REIKI. In her workshops with singers and non singers she has been teaching breathing, singing and toning and working with sound meditations as well adding the method from the Joyful Evolution by Gordon Davidsson. With time Sóla´s voice has grown into more voluminous instrument and is more suited for the lirico spinto/dramatic repertoire.  Wagner roles such as Tannhäuser and Lohengrin and certainly Liebestod concertant and big Verdi roles would be good choices for her voice. She has sustained the agility and pure tone in her bel canto vocal technique approach.                                                                                               
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