Margareta Hintermeier
Video & Audio
"Matching him decibel for decibel was the Venus of Margareta Hintermeier - soaring through this
demanding music with apparent ease AND great passion. I want to hear a lot more from this exciting singer!" (Greg Berg, Opera-l)
Margareta Hintermeier studied at the Conservatory in Vienna with Traute Skladal and in 1976 joined the Opera Studio of the Vienna State Opera, where she worked together with the famous soprano Hilde Konetzni. Afterwards she became a permanent member of the company which she remained until June 2007. Subsequently she became free lance artist, returning regularily also to the Vienna State Opera as guest artist.
Here she soon sang first roles in the Mozart repertoire, like Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte, or Annio in La clemenza di Tito. However her key roles were to become the Composer in Strauss’ Ariadne auf Naxos and Octavian in Der Rosenkavalier. The latter she also sang with outstanding success in various international guest appearances, for example for the re-opening of the famous Semper Opera in Dresden or within the first performances of the work in Pittsburgh in 1995. She achieved a remarkable personal triumph at the Vienna State Opera with performances of Dvořák’s Rusalkain which she sang both, the mezzo soprano part of the witch Jezibaba as well as the dramatic soprano role of the Foreign Princess.
In recent years she concentrated on the most demanding parts in Richard Wagner's operas like Venus in Tannhäuser, Fricka in Das Rheingoldand Walküre, Erda in Siegfried, Waltraute in Götterdämmerung, Magdalene in Die Meistersinger von Nürnberg and Adriano in Rienzi. At the same time she took first steps into the dramatic character repertoire with such roles as Countess Geschwitz (Berg’s Lulu), the Mother and the Witch in Humperdinck’s Hänsel und Gretel, Klytämnestra (Elektra) and Herodias (Salome). The latter she performed frequently under the baton of Seiji Ozawa (at the Vienna State Opera and for a guest performance in Valencia) as well as at the Amsterdam Concertgebouw under Ulf Schirmer.
Other important roles she sang in Vienna are the title role in Carmen, Silla in Pfitzner’s Palestrina, Clairon in Capriccio, Federica in Luisa Miller, Maddalena in Rigoletto, Jocaste in Enescu’s Oedipe, Giulietta in Les contes d’Hoffmann, Polina in Pikovaya Dama and the Lady in Hindemith’s Cardillac.
International guest engagements lead her to Liège (Idamante in Idomeneo, Verdi Requiem), Geneva (Lulu), Barcelona (Adriano in Rienzi), to the Teatro San Carlos Lisbon (Die Fledermaus) to the Milan Teatro alla Scala (Adelaide in Arabella, Waltraute in Die Walküre), to the Munich Bavarian State Opera (Magdalene in Die Meistersinger von Nürnberg), Cleveland (Das Rheingold) and to Japan (Die Fledermaus, Le nozze di Figaro). She is also a frequent guest at the Salzburg Festival (Die Zauberflöte, Der Rosenkavalier, Idomeneo, Mendelssohn’s Elijah’s, Elektra, Cerha’s Baal).
Her exceptionally large range let her create contralto parts like Erda just as easily and convincingly as some dramatic soprano roles like Giulietta, Lady in Cardillac or the Princess in Rusalka.
Margareta Hintermeier also frequently performs contemporary music. She sang for example in the world premieres of Cerha’s operas Baaland Der Riese vom Steinfeld, but also Frau von Schleyer in Von Einem’s Der Zerrissene at the Vienna Konzerthaus or the title role of Sutermeister’s Die schwarze Spinne at the Vienna Musikverein.
She also achieved the highest reputation as an exquisite concert and Lied singer. Her velvety, dark timbre makes her a perfectly suited singer in particular for the music of Gustav Mahler, especially his symphonies and orchestra songs. She sang for example his 2nd Symphony under the baton of Franz Welser-Möst for the Linz Bruckner Festival, the 3rd Symphony under Rafael Frühbeck de Burgos on a tour to all the musical capitals of Europe, the 8th Symphony under Lorin Maazel or the Lied von der Erde at the Vienna State Opera and in Venice. For further concerts and recitals she was invited to the Salzburg Festival, the Hohenems Schubertiade, the Carinthian Summer, the Flandern Festival, Istanbul, Budapest, Nice, Bologna, London, Amsterdam and Cleveland. More recently she sang Herodias in Salome at the Ravenna Festival.
Renown conductors she worked with include Herbert von Karajan, Karl Böhm, Lorin Maazel, Seiji Ozawa, Claudio Abbado, Giuseppe Sinopoli, Christoph von Dohnányi, Zubin Mehta, Carlos Kleiber, James Levine, Riccardo Muti, Daniele Gatti, Peter Schneider, Horst Stein, Colin Davis, Bernard Haitink, Pinchas Steinberg, Georges Prêtre, Giuseppe Patané, Václav Neumann, Sylvain Cambreling, Nikolaus Harnoncourt, Wolfgang Sawallisch, Michael Gielen, Adam Fischer, Yenuhi Menuhin, Charles Mackerras, Silvio Varviso, Nello Santi, Donald Runnicles, Franz Welser-Möst, Garcia Navarro and Rafael Frühbeck de Burgos.
Recent engagements included Strauss' Salomein Athens in the Theatre of Herodes Atticus, and in Braunschweig, the revival of Schnittke's Gesualdo(as Donna Sveva) at the Vienna State Opera as well as Elektra (as Klytämnestra) in Tokyo, again Jocaste in Enescu's Oedipe, Annina in Der Rosenkavalier Herodias in Salome and Marcellina in Le nozze di Figaro at the Budapest Festival 2006. Appearances during the last season included Herodias in Salome in Zaragoza as well as the Nurse in the new production of Boris Godunow at the Vienna State Opera with Daniele Gatti. From beginning of the Season 2007/2008 she works as a free-lance artist and will be singing Filipjevna in a new production of Jevgenij Onegin for the Nomori Opera in Tokyo, conducted by Seiji Ozawa.
In November 2008 she returned to the Vienna State Opera as Herodias in Salome, and in March 2009 she had an outstanding success as Filipjevna for the new production of Jevgenij Onegin with Seiji Ozawa again at the Vienna State Opera.
Also in October 2009 she returned to the Vienna State Opera for Jevgenij Onegin and she will repeat the role of Filipjevna there in May 2010.
The artist is also renown for her many TV and radio productions as well as for her CD-recordings (Das Rheingold, Die Walküre, Der Rosenkavalier, Idomeneo, Cerha’s Baaland Der Riese vom Steinfeld, Haydn’s Die sieben letzten Worte unseres Erlösers, Beethoven’s 9th Symphony, Schumann’s Requiem für Manon, Schmidt’s Das Buch mit sieben Siegeln, as well as Elektra and Moses und Aron on DVD).
March 2010
"Matching him decibel for decibel was the Venus of Margareta Hintermeier - soaring through this
demanding music with apparent ease AND great passion. I want to hear a lot more from this exciting singer!" (Greg Berg, Opera-l)
Margareta Hintermeier studied at the Conservatory in Vienna with Traute Skladal and in 1976 joined the Opera Studio of the Vienna State Opera, where she worked together with the famous soprano Hilde Konetzni. Afterwards she became a permanent member of the company which she remained until June 2007. Subsequently she became free lance artist, returning regularily also to the Vienna State Opera as guest artist.
Here she soon sang first roles in the Mozart repertoire, like Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte, or Annio in La clemenza di Tito. However her key roles were to become the Composer in Strauss’ Ariadne auf Naxos and Octavian in Der Rosenkavalier. The latter she also sang with outstanding success in various international guest appearances, for example for the re-opening of the famous Semper Opera in Dresden or within the first performances of the work in Pittsburgh in 1995. She achieved a remarkable personal triumph at the Vienna State Opera with performances of Dvořák’s Rusalkain which she sang both, the mezzo soprano part of the witch Jezibaba as well as the dramatic soprano role of the Foreign Princess.
In recent years she concentrated on the most demanding parts in Richard Wagner's operas like Venus in Tannhäuser, Fricka in Das Rheingoldand Walküre, Erda in Siegfried, Waltraute in Götterdämmerung, Magdalene in Die Meistersinger von Nürnberg and Adriano in Rienzi. At the same time she took first steps into the dramatic character repertoire with such roles as Countess Geschwitz (Berg’s Lulu), the Mother and the Witch in Humperdinck’s Hänsel und Gretel, Klytämnestra (Elektra) and Herodias (Salome). The latter she performed frequently under the baton of Seiji Ozawa (at the Vienna State Opera and for a guest performance in Valencia) as well as at the Amsterdam Concertgebouw under Ulf Schirmer.
Other important roles she sang in Vienna are the title role in Carmen, Silla in Pfitzner’s Palestrina, Clairon in Capriccio, Federica in Luisa Miller, Maddalena in Rigoletto, Jocaste in Enescu’s Oedipe, Giulietta in Les contes d’Hoffmann, Polina in Pikovaya Dama and the Lady in Hindemith’s Cardillac.
International guest engagements lead her to Liège (Idamante in Idomeneo, Verdi Requiem), Geneva (Lulu), Barcelona (Adriano in Rienzi), to the Teatro San Carlos Lisbon (Die Fledermaus) to the Milan Teatro alla Scala (Adelaide in Arabella, Waltraute in Die Walküre), to the Munich Bavarian State Opera (Magdalene in Die Meistersinger von Nürnberg), Cleveland (Das Rheingold) and to Japan (Die Fledermaus, Le nozze di Figaro). She is also a frequent guest at the Salzburg Festival (Die Zauberflöte, Der Rosenkavalier, Idomeneo, Mendelssohn’s Elijah’s, Elektra, Cerha’s Baal).
Her exceptionally large range let her create contralto parts like Erda just as easily and convincingly as some dramatic soprano roles like Giulietta, Lady in Cardillac or the Princess in Rusalka.
Margareta Hintermeier also frequently performs contemporary music. She sang for example in the world premieres of Cerha’s operas Baaland Der Riese vom Steinfeld, but also Frau von Schleyer in Von Einem’s Der Zerrissene at the Vienna Konzerthaus or the title role of Sutermeister’s Die schwarze Spinne at the Vienna Musikverein.
She also achieved the highest reputation as an exquisite concert and Lied singer. Her velvety, dark timbre makes her a perfectly suited singer in particular for the music of Gustav Mahler, especially his symphonies and orchestra songs. She sang for example his 2nd Symphony under the baton of Franz Welser-Möst for the Linz Bruckner Festival, the 3rd Symphony under Rafael Frühbeck de Burgos on a tour to all the musical capitals of Europe, the 8th Symphony under Lorin Maazel or the Lied von der Erde at the Vienna State Opera and in Venice. For further concerts and recitals she was invited to the Salzburg Festival, the Hohenems Schubertiade, the Carinthian Summer, the Flandern Festival, Istanbul, Budapest, Nice, Bologna, London, Amsterdam and Cleveland. More recently she sang Herodias in Salome at the Ravenna Festival.
Renown conductors she worked with include Herbert von Karajan, Karl Böhm, Lorin Maazel, Seiji Ozawa, Claudio Abbado, Giuseppe Sinopoli, Christoph von Dohnányi, Zubin Mehta, Carlos Kleiber, James Levine, Riccardo Muti, Daniele Gatti, Peter Schneider, Horst Stein, Colin Davis, Bernard Haitink, Pinchas Steinberg, Georges Prêtre, Giuseppe Patané, Václav Neumann, Sylvain Cambreling, Nikolaus Harnoncourt, Wolfgang Sawallisch, Michael Gielen, Adam Fischer, Yenuhi Menuhin, Charles Mackerras, Silvio Varviso, Nello Santi, Donald Runnicles, Franz Welser-Möst, Garcia Navarro and Rafael Frühbeck de Burgos.
Recent engagements included Strauss' Salomein Athens in the Theatre of Herodes Atticus, and in Braunschweig, the revival of Schnittke's Gesualdo(as Donna Sveva) at the Vienna State Opera as well as Elektra (as Klytämnestra) in Tokyo, again Jocaste in Enescu's Oedipe, Annina in Der Rosenkavalier Herodias in Salome and Marcellina in Le nozze di Figaro at the Budapest Festival 2006. Appearances during the last season included Herodias in Salome in Zaragoza as well as the Nurse in the new production of Boris Godunow at the Vienna State Opera with Daniele Gatti. From beginning of the Season 2007/2008 she works as a free-lance artist and will be singing Filipjevna in a new production of Jevgenij Onegin for the Nomori Opera in Tokyo, conducted by Seiji Ozawa.
In November 2008 she returned to the Vienna State Opera as Herodias in Salome, and in March 2009 she had an outstanding success as Filipjevna for the new production of Jevgenij Onegin with Seiji Ozawa again at the Vienna State Opera.
Also in October 2009 she returned to the Vienna State Opera for Jevgenij Onegin and she will repeat the role of Filipjevna there in May 2010.
The artist is also renown for her many TV and radio productions as well as for her CD-recordings (Das Rheingold, Die Walküre, Der Rosenkavalier, Idomeneo, Cerha’s Baaland Der Riese vom Steinfeld, Haydn’s Die sieben letzten Worte unseres Erlösers, Beethoven’s 9th Symphony, Schumann’s Requiem für Manon, Schmidt’s Das Buch mit sieben Siegeln, as well as Elektra and Moses und Aron on DVD).
March 2010
