Marie-Sophie Pollak © Shirley Suarez
Marie-Sophie Pollak © Shirley Suarez
SOPRANO

Marie-Sophie Pollak

Representation: World

BIOGRAPHY

Born in Bietigheim-Bissingen near Stuttgart, German soprano Marie-Sophie Pollak studied with Prof. Gabriele Fuchs at the University of Music and Performing Arts Munich where she completed her studies with distinction.

At the Innsbruck Festival of Early Music, Marie-Sophie gave her early debut as Vespetta in Georg Philipp Telemann’s musical comedy Pimpinone or The Unequal Marriage in 2011, subsequently followed by Alessandro Scarlatti’s La Dirindina and Johann Sebastian Bach’s Mass in B minor, both conducted by Alessandro De Marchi. At the Bruckner Festival in Linz she could be heard as Bemira in Georg Philipp Telemann’s opera Miriways under Michi Gaigg and L’Orfeo Barockorchester, whereas the Music Festival Potsdam Sanssouci invited her for a Handel pasticcio entitled The golden Apple and for a scenic adaption of Johann Sebastian Bach’s so-called “Peasant Cantata” BVW 212 with the Belgian B’Rock Orchestra under Olof Boman.

Further roles on the opera stage include Despina in Mozart’s Così fan tutte, Blonde in Die Entüfhrung aus dem Serail, Merab in Handel’s Saul, Almirena in Rinaldo as well as Belinda in Purcell’s Dido and Aeneas.

First important highlights of her international career include Haydn’s oratorio The Seasons under the baton of Kent Nagano at the Audi Summer Concerts and her debut at the Vienna Musikverein in Handel’s Susanna. Marie-Sophie Pollak gave her debut at Théâtre du Châtelet in Paris as Tamiri in Mozart’s Il re pastore under Jean-Christophe and Ensemble Matheus, sang Mozart’s concert aria “Ch'io mi scordi di te“ K 505 with the Orchestra della Svizzera Italiana led and accompanied by Christian Zacharias at the piano, and subsequently performed Handel’s Messiah under Václav Luks and Collegium 1704 in Prague and Dresden. Further appearances saw her performing in Bach’s Christmas Oratorio and Mass in B minor at the Herkulessaal Munich and the Vienna Musikverein, followed by a program with three selected Bach cantatas at the Vienna Konzerthaus led by Luca Pianca.

During the season 2017/2018 she appeared as soloist in a recital featuring orchestrated Schubert songs along with Camerata Salzburg, and in an adapted scenic version of Bach’s Christmas Oratorio choreographed by John Neumeier and conducted by Alessandro de Marchi. In October 2017 Marie-Sophie sang Haydn’s oratorio The Seasons at Hamburg’s Elbphilharmonie under the baton of Kent Nagano, followed by a tour with The Creation under Thomas Hengelbrock and his Balthasar-Neumann-Chor und –Ensemble. With the latter, Marie-Sophie also gave her debut at the Tonhalle Zürich in Mendelssohn’s Elias along with the Balthasar-Neumann-Chor und -Ensemble. Accompanied by the Berlin-based Akademie für Alte Musik, Marie-Sophie sang the role of Amore in Gluck’s Orfeo ed Euridice under Alexander Liebreich in Katowice, appearing furthermore as soloist in Mozart’s Great Mass in C minor under Kent Nagano and the Philharmonic State Orchestra Hamburg. Besides participating in the traditional New Year’s Eve concerts at Hamburg’s Elbphilharmonie, Marie-Sophie Pollak also appeared as L'Amour in a new production of Gluck's Orphée et Eurydice (French version of 1774) at Hamburg’s State Opera, choreographed by John Neumeier and conducted by Alessandro De Marchi.

Further highlights of the upcoming season 2019/2020 include a collaboration with the recently-founded Vox Orchester under Lorenzo Ghirlanda featuring Handel’s Alexander’s Feast, Gluck’s Orphée et Eurydice at the Festspielhaus Baden-Baden, Beethoven’s Egmont with Sir Roger Norrington and Camerata Salzburg, a choir concert at the Schubertiade Festival in Hohenems, her debut with the Orchestre Symphonique de Montréal in Bach’s Christmas Oratorio under Kent Nagano, Handel’s Messiah with Montréal’s Les Violons du Roy as well as with Ottawa’s National Arts Centre Orchestra, both under Bernard Labadie. Marie-Sophie Pollak will eventually appear as L’Amour in Hector Berlioz’ Orphée – an arrangement of Gluck’s tragédie-opéra Orphée et Eurydice from 1774 - in the frame of the Salzburg Whitsun Festival in 2020.

A recording of Lutherian cantatas of Bach under the direction of Christoph Spering was released with the label Harmonia Mundi. Together with her Ensemble392 – of which Marie-Sophie Pollak is a co-founder – a recording featuring a collection of French Cantatas and Chansons was released with the label fra bernardo.

2019 | 2020

www.marie-sophie-pollak.de

This biography is to be reproduced without any changes, omissions or additions, unless expressly authorized by artist management.

DISCOGRAPHY

Album Cover

Arien für Nancy Storace
Marie-Sophie Pollak, Katharina Ruckgaber
Accademia di Monaco
Conductor: Joachim Tschiedel
Label: Coviello Classics | 2017

More on covielloclassics.de

Album Cover

Biber & Biber: Concerto Stella Matutina
Works by Carl Heinrich Biber, Heinrich Ignaz Franz Biber
Marie-Sophie Pollak, Kaspar Kröner, Hans Jörg Mammel, Michael Kranebitter
Concerto Stella Matutina
Conductor: Johannes Hämmerle
Label: Fra Bernardo | 2017
 

More on frabernardo.com

Album Cover

Bouillabaisse: French Chansons & Cantatas
Works by Élisabeth Jacquet de Guerre, Jean-Philippe Rrameau
Ensemble 392
Label: Fra Bernardo | 2016

More on frabernardo.com

Album Cover

Gaetano Donizetti & Johann Simon Mayr: Messa di Gloria and Credo in D
Siri Karoline Thornhill, Marie-Sophie Pollak, Marie-Sande Papenmeyer, Mark Adler, Martin Berner
Simon Mayr Chorus | Members of the Bavarian State Opera Chorus, Concerto de Bassus
Conductor: Franz Hauk
Label: Naxos | 2016

More on www.naxos.de

VIDEOS

CALENDAR

Georg Friedrich Händel : Messiah

Marie-Sophie Pollak, soprano
Avery Amereau, alto
Aaron Sheehan, tenor
Matthew Brook, bass

Bernard Labadie, conductor
National Arts Centre Orchestra
La Chapelle de Québec

FURTHER INFORMATION & TICKETS

Georg Friedrich Händel : Messiah

Marie-Sophie Pollak, soprano
Avery Amereau, alto
Aaron Sheehan, tenor
Matthew Brook, bass

Bernard Labadie, conductor
National Arts Centre Orchestra
La Chapelle de Québec

FURTHER INFORMATION & TICKETS

Johann Sebastian Bach: Christmas Oratorio, BWV 248

Manuel Günther, tenor and Evangelist
Marie-Sophie Pollak, soprano
Katja Pieweck, alto
Wilhelm Schwinghammer, bass

Alessandro De Marchi, conductor
John Neumeier, choreography| costumes | light
Ferdinand Wögerbauer, set
Eberhard Friedrich, chorus master
Philharmonisches Staatsorchester Hamburg


When Johann Sebastian Bach's Christmas Oratorio opens with the words "Rejoice, exult", one surrenders willingly to the sensation of floating. The rousing joy of this chorus and its unquestioning optimism seem boundless. According to John Neumeier, the opening chorus of the six-part oratorio "projects a relentlessly rushing joy – not yet aware of original sin". The chorus sings of hope, not of an already fulfilled redemption. John Neumeier adds: "Salvation is not a forgone conclusion, but is rather something that needs to be constantly earned and prepared for. As soon as the music of the 'Rejoice' chorus begins – and this is the wonderful thing about Bach's music – a flame inside us ignites, lighting up the irresistible feeling of joy. When the music ends, silence reigns again and we return to our own life on earth".

FURTHER INFORMATION & TICKETS

Johann Sebastian Bach: Christmas Oratorio, BWV 248

Manuel Günther, tenor and Evangelist
Marie-Sophie Pollak, soprano
Katja Pieweck, alto
Wilhelm Schwinghammer, bass

Alessandro De Marchi, conductor
John Neumeier, choreography| costumes | light
Ferdinand Wögerbauer, set
Eberhard Friedrich, chorus master
Philharmonisches Staatsorchester Hamburg


When Johann Sebastian Bach's Christmas Oratorio opens with the words "Rejoice, exult", one surrenders willingly to the sensation of floating. The rousing joy of this chorus and its unquestioning optimism seem boundless. According to John Neumeier, the opening chorus of the six-part oratorio "projects a relentlessly rushing joy – not yet aware of original sin". The chorus sings of hope, not of an already fulfilled redemption. John Neumeier adds: "Salvation is not a forgone conclusion, but is rather something that needs to be constantly earned and prepared for. As soon as the music of the 'Rejoice' chorus begins – and this is the wonderful thing about Bach's music – a flame inside us ignites, lighting up the irresistible feeling of joy. When the music ends, silence reigns again and we return to our own life on earth".

FURTHER INFORMATION & TICKETS

Johann Sebastian Bach: Christmas Oratorio, BWV 248

Manuel Günther, tenor and Evangelist
Marie-Sophie Pollak, soprano
Katja Pieweck, alto
Wilhelm Schwinghammer, bass

Alessandro De Marchi, conductor
John Neumeier, choreography| costumes | light
Ferdinand Wögerbauer, set
Eberhard Friedrich, chorus master
Philharmonisches Staatsorchester Hamburg


When Johann Sebastian Bach's Christmas Oratorio opens with the words "Rejoice, exult", one surrenders willingly to the sensation of floating. The rousing joy of this chorus and its unquestioning optimism seem boundless. According to John Neumeier, the opening chorus of the six-part oratorio "projects a relentlessly rushing joy – not yet aware of original sin". The chorus sings of hope, not of an already fulfilled redemption. John Neumeier adds: "Salvation is not a forgone conclusion, but is rather something that needs to be constantly earned and prepared for. As soon as the music of the 'Rejoice' chorus begins – and this is the wonderful thing about Bach's music – a flame inside us ignites, lighting up the irresistible feeling of joy. When the music ends, silence reigns again and we return to our own life on earth".

FURTHER INFORMATION & TICKETS
 

CONTACT

Representation: World

IN FOCUS

MARIE-SOPHIE POLLAK with Bach and Handel in Canada
03Dec2019
MARIE-SOPHIE POLLAK with Bach and Handel in Canada

Marie-Sophie Pollak makes her debuts with no less than three Canadian orchestras and ensembles in Bach’s Christmas Oratorio and Handel’s Messiah: the Orchestre Symphonique de Montréal, Les Violons du Roy in Québec and the National Arts Centre Orchestra in Ottawa.

READ ARTICLE
MARIE-SOPHIE POLLAK with Gluck's Orphée et Eurydice in Hamburg
03Feb2019
MARIE-SOPHIE POLLAK with Gluck's Orphée et Eurydice in Hamburg

The German soprano embodies L’Amour in a new production of Gluck’s Orphée et Eurydice choreographed by John Neumeier at the Hamburg State Opera.

READ ARTICLE
MARIE-SOPHIE POLLAK in Hannover and Düsseldorf
05Feb2018
MARIE-SOPHIE POLLAK in Hannover and Düsseldorf

The German soprano Marie-Sophie Pollak appears as part of a concert tour in Haydn’s Die Schöpfung under Thomas Hengelbrock’s baton in Hanover and Düsseldorf.

READ ARTICLE