MEZZO-SOPRANO | ALTO
Ida Aldrian
Representation: World
- Alexander Brunner
- +43 (0)5 06 80-011
- brunner@machreich-artists.com
GALLERY
BIOGRAPHY
Austrian mezzo-soprano Ida Aldrian was born in Bruck an der Mur and received her first singing lessons with Sigrid Rennert. As a student at the University of Music and Performing Arts Vienna with Leopold Spitzer and Karlheinz Hanser, she graduated with distinction in Stage Performance as well as Lied and Oratorio with KS Marjana Lipovšek. She attended master classes with Ann Murray, Bernarda Fink, Reri Grist, Peter Kooij, Andrew Watts, Thomas Hampson, Wicus Slabbert, Alan Titus and Brigitte Fassbänder, among others.
After appearing in several productions of the International Opera Studio of the Hamburg State Opera between 2012 and 2015, she became a permanent ensemble member of the Staatstheater Nürnberg for the following three seasons. Her varied roles included Penelope (Il Ritorno d'Ulisse in patria), Idamante (Idomeneo), Cherubino (Le nozze di Figaro), Rosina (Il barbiere di Siviglia), Isabella (L'italiana in Algeri), Adalgisa (Norma), Hänsel (Hänsel und Gretel), Mercédès (Carmen), Prince Orlowsky (Die Fledermaus) and Maddalena (Rigoletto).
Ida Aldrian made her debut as the Third Lady in Mozart's Die Zauberflöte at the Staatsoper Berlin, a role she subsequently took to Opernhaus Zürich. After stepping in last-minute as Dorabella for the new Hamburg State Opera production of Così fan tutte staged by Herbert Fritsch, she became a permanent ensemble member in 2019/2020 and can be heard this season as Fjodor (Boris Godunow), Zweite Magd (Elektra), Hänsel (Hänsel und Gretel), Rosette (Manon) and Flora Bervoix (La Traviata). At the Handel Festival Halle, Ida Aldrian made her debut in the title role of Handel's Ariodante with the Lautten Compagney Berlin conducted by Wolfgang Katschner.
Equally devoted to the concert stage, Ida Aldrian has worked with numerous European ensembles and orchestras such as Concentus Musicus Wien, L'Orfeo Barockorchester, the Wiener Akademie orchestra, the Haydn and Minetti Quartets, the baroque orchestras Capella Leopoldina, Neue Hofkapelle Graz and Barucco, the Norwegian ensemble Barokksolistene, the Bach Consort Wien and the French ensemble Pygmalion.
Key highlights of her concert career to date have included a New Year's Eve matinee with the Hamburg Philharmonic State Orchestra conducted by Kent Nagano and a concert tour of the Balthasar Neumann Choir & Ensemble led by Thomas Hengelbrock. Further notable performances included Beethoven’s Symphony No. 9 under Simone Young in Hamburg and Mozart’s Requiem under Pablo Heras-Casado in Salzburg. At the Styriarte Festival she appeared in Henry Purcell's Dido and Aeneas, while at the Brucknerfest Linz and Theater Magdeburg she sang in Telemann’s Miriways, and was engaged as Singer in Residence at the Trigonale and Osterklang Festival.
Further engagements took Ida Aldrian to the Vienna Konzerthaus with Robert Schumann's Requiem für Mignon under Cornelius Meister and the Vienna RSO. At the Vienna Musikverein she sang as soloist in Johann Sebastian Bach's St Matthew Passion and St John Passion, as well as his Mass in B minor under Martin Haselböck, and in Mendelssohn’s A Midsummer Night's Dream under Fabio Luisi and the Wiener Symphoniker. At the International Baroque Days at Melk Abbey she could be heard in Handel’s oratorio Israel in Egypt under the direction of Christopher Moulds, while at the Attergauer Kultursommer, the Donaufestwochen in Strudengau and at the Festival Musica Sacra in St. Pölten she sang the solo part in Mendelssohn’s oratorio Elijah. Together with the Jena Philharmonic Orchestra under its principal conductor Simon Gaudenz, the mezzo-soprano made her debut as a soloist in Gustav Mahler's Symphony No. 3. As part of the Wagner-Lesarten project, she gave guest performances with Concerto Köln as Wellgunde in Wagner's Das Rheingold and Die Walküre under the baton of Kent Nagano in Cologne, Prague, Amsterdam, Lucerne, at the Ravello Festival and the Dresden Music Festival. In the current season, Ida Aldrian is also making her debut with the Osnabrück Symphony Orchestra as a soloist in Mahler's Second Symphony ("Resurrection Symphony").
As an artist with a particular devotion to Lied singing, Ida Aldrian has appeared at numerous venues including the Vienna and Graz Musikverein. At the Ocean Sun Festival on the MS Europa, she was accompanied for the first time by Helmut Deutsch, with whom she has since given recitals at the Staatstheater Nuremberg, deSingel International Art Centre in Antwerp, the Deutschlandsberg Klavierfrühling concert series and the Lied Festival "Der Zwerg" in Sindelfingen. In autumn 2019, Ida Aldrian was a guest at Schloss Walpersdorf together with the baritone Konstantin Krimmel and Helmut Deutsch at the piano as part of a song gala. Together with the tenor Jan Petryka, Ida Aldrian performed a duo recital at the Musikverein Regensburg.
2024 | 2025
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorized by artist management.
DISCOGRAPHY
Erich J. Wolff: Complete Songs, Vol. 2
Ida Aldrian (mezzo-soprano), Klaus Simon (piano)
Label: Naxos | August 2024
Mahler, Scartazzini: Complete Symphonies Vol. 2
Jana Baumeister (soprano), Evelyn Krahe (contralto), Ida Aldrian (contralto)
Philharmonischer Chor der Jenaer, Philharmonie Knabenchor der Jenaer Philharmonie, Jenaer Philharmonie,
Conductor: Simon Gauden
Label: Odradek Records | November 2023
Kammerkonzert: Music of Arnold Schoenberg
Pina Napolitano, Ida Aldrian, Christoph Filler
Wiener Concert-Verein
Conductor: Michael Zlabinger
Label: Odradek Records | Ocktober 2023
Georg Philipp Telemann: Miriways
Ida Aldrian, Markus Volpert, Ulrike Hofbauer, Julie Martin du Theil, Gabriele Hierdeis, Stefan Zenkl, Susanne Drexl, Ilja Werger
L’Orfeo Barockorchester
Conductor: Michi Gaigg
Label: CPO | 2014
CALENDAR
Texts from “Capriccio” by Richard Strauss and Clemens Krauss
Richard Strauss: Sextet for strings from the opera “Capriccio”
Ludwig van Beethoven: String Quartet No. 9 in C major op. 59 No. 3
Toshiro Mayuzumi: Prelude for string quartet
Poems from the “Book of Songs” by Heinrich Heine
Robert Schumann: Poet's Love op. 48 - arrangement for voice and string quartet by Wim ten Have
Ida Aldrian, mezzo-soprano
Iris Icellioglu, viola
Merllin Schirmer, violoncello
Amaris Quartett:
Hibiki Oshima, violin
Felix Heckhausen, violin
Maria Rallo Muguruza, viola
Clara Grünwald, violoncello
Making music together in the Amaris Quartet is like a refreshing breath for my artistic work in the orchestra. These concerts are undoubtedly the most musically exhilarating moments that I can experience as a musician. They sharpen my hearing and subtly inspire my love of music.
Felix Heckhausen, second violinist
Given the cruelty of the Second World War, Richard Strauss' "Capriccio" seems removed from the world: using the musical means of the late 19th century, the time of the late 18th is described here in the 20th century. In the string sextet with which the action begins, this “rapture” is captured as if in a snapshot. Ludwig van Beethoven's third string quartet was also considered to be incomparably out of time. The “crazy” music, described as “a madman’s patchwork,” was met with incomprehension among the audience. Beethoven consciously sought to confront expectations when he took chamber music out of the living rooms and brought it into the large halls. The music of the Japanese Toshirō Mayuzumi is also permeated by the adventure-seeking desire to experiment: his music oscillates between the traditional style of late romanticism, jazz, early electronic sounds and the musical idioms of Asia. Schumann also took a big leap when he began his “poet love” in 1840. Until then he had only published piano music for ten years. At the moment of emotional emergency, Schumann had just married Clara Wieck, the musical monument of Heinrich Heine's great words and, above all, of great love was created.
Arnold Schoenberg: Peace on Earth, Op. 13
Gustav Mahler: Symphony No 2 in C minor, "Resurrection"
Susann Vent-Wunderlich, soprano
Ida Aldrian, alto
Andreas Hotz, conductor
Osnabrücker Symphonieorchester
Sierd Quarré | Clemens Breitschaft, chorus masters
‘Unheard of! What a sound! Extremely exciting,’ wrote Anton Webern to Arnold Schönberg in November 1928 about his setting of Friede auf Erden after the poem by Conrad Ferdinand Meyer. ‘It all sounds like something from another world. And - I don't think anyone will be able to escape the effect. - You are knocked to the ground with clubs and then lifted to the highest heights on angels‘ parakeets,’ wrote Gustav Mahler about his Symphony No. 2. Everything comes together in this music: Folk song and high literature, childlike faith and metaphysical speculation. In both works, it is the hope for a better world that comes to the fore in this programme and is needed today more than ever.
Ida Aldrian, Prinzessin
Katja Pieweck, die Königin
Hellen Kwon, Kammerjungfrau
Tigran Martirossian, König
Peter Galliard, Schlächter
Aebh Kelly, der Gänsehüter
Carlo Silvester Duer, Falada, das Pferd | Prinz
Claudia Chan, conductor
Tobias Kratzer, production
Matthias Piro, co-production
Rainer Sellmaier, stage and costumes
Michelle Stoop, dramaturgy
Musiker:innen des Philharmonischen Staatsorchesters Hamburg
Iris ter Schiphorst's opera for children was premiered in Vienna in 2010. Together with her librettist Helga Utz, the Hamburg-born composer created a touching and captivatingly imaginative work of music theater from the Grimm fairy tale. A princess, accompanied by her maid, sets off from the protection of her parental home to meet her bridegroom. Despite a difficult journey and numerous obstacles, everything turns out well in the end and she is able to marry her prince. Tobias Kratzer is staging Die Gänsemagd as part of the opening of the opera stabile's artistic direction and season one day after Das Paradies und die Peri, the opening production on the main stage. Musical theater for the youngest generations is not a niche product for him, but a top priority. Here, young audiences experience it at close quarters: As a flock of geese, the children become part of the action, immersing themselves in the story together with the musicians and ensemble singers - opera as a lively, accessible art form full of enchanting melodies that shows how valuable resilience, self-confidence and trust in others are on the journey through life.
FURTHER INFORMATION & TICKETSIda Aldrian, Prinzessin
Katja Pieweck, die Königin
Hellen Kwon, Kammerjungfrau
Tigran Martirossian, König
Peter Galliard, Schlächter
Aebh Kelly, der Gänsehüter
Carlo Silvester Duer, Falada, das Pferd | Prinz
Claudia Chan, conductor
Tobias Kratzer, production
Matthias Piro, co-production
Rainer Sellmaier, stage and costumes
Michelle Stoop, dramaturgy
Musiker:innen des Philharmonischen Staatsorchesters Hamburg
Iris ter Schiphorst's opera for children was premiered in Vienna in 2010. Together with her librettist Helga Utz, the Hamburg-born composer created a touching and captivatingly imaginative work of music theater from the Grimm fairy tale. A princess, accompanied by her maid, sets off from the protection of her parental home to meet her bridegroom. Despite a difficult journey and numerous obstacles, everything turns out well in the end and she is able to marry her prince. Tobias Kratzer is staging Die Gänsemagd as part of the opening of the opera stabile's artistic direction and season one day after Das Paradies und die Peri, the opening production on the main stage. Musical theater for the youngest generations is not a niche product for him, but a top priority. Here, young audiences experience it at close quarters: As a flock of geese, the children become part of the action, immersing themselves in the story together with the musicians and ensemble singers - opera as a lively, accessible art form full of enchanting melodies that shows how valuable resilience, self-confidence and trust in others are on the journey through life.
FURTHER INFORMATION & TICKETSIda Aldrian, Prinzessin
Katja Pieweck, die Königin
Hellen Kwon, Kammerjungfrau
Tigran Martirossian, König
Peter Galliard, Schlächter
Aebh Kelly, der Gänsehüter
Carlo Silvester Duer, Falada, das Pferd | Prinz
Claudia Chan, conductor
Tobias Kratzer, production
Matthias Piro, co-production
Rainer Sellmaier, stage and costumes
Michelle Stoop, dramaturgy
Musiker:innen des Philharmonischen Staatsorchesters Hamburg
Iris ter Schiphorst's opera for children was premiered in Vienna in 2010. Together with her librettist Helga Utz, the Hamburg-born composer created a touching and captivatingly imaginative work of music theater from the Grimm fairy tale. A princess, accompanied by her maid, sets off from the protection of her parental home to meet her bridegroom. Despite a difficult journey and numerous obstacles, everything turns out well in the end and she is able to marry her prince. Tobias Kratzer is staging Die Gänsemagd as part of the opening of the opera stabile's artistic direction and season one day after Das Paradies und die Peri, the opening production on the main stage. Musical theater for the youngest generations is not a niche product for him, but a top priority. Here, young audiences experience it at close quarters: As a flock of geese, the children become part of the action, immersing themselves in the story together with the musicians and ensemble singers - opera as a lively, accessible art form full of enchanting melodies that shows how valuable resilience, self-confidence and trust in others are on the journey through life.
FURTHER INFORMATION & TICKETS
