ILSE EERENS
General Management
Belgian soprano Ilse Eerens began her vocal studies at the age of 14 at the Lemmens Institute in Louvain/Belgium. She then joined the New Opera Academy in The Netherlands and graduated with an MA degree, as a student of Jard van Nes.

Most recent engagements for Ms Eerens include a return to Theater an der Wien as Matilda in Rossini’s Elisabetta, regina d'Inghilterra, conducted by Jean-Christoph Spinosi, to the Opera de Lyon as La Vierge in Honegger’s Jeanne au Bûcher, to the Theater Klagenfurt as Pamina, to Opera Narodowa in Warsaw in the title role of Hosokawa’s Matsukaze in Sasha Waltz’ internationally celebrated production, Brahms’ Ein deutsches Requiem with the Orchestre des Champs-Élysées under Philippe Herreweghe, Mahler’s 4th Symphony with the Dutch Radio Philharmonic, Handel’s Israel in Egypt with the Scottish Chamber Orchestra under Peter Dijkstra, Mendelssohn’s Lobgesang with the Barcelona Symphony Orchestra under Kazushi Ono, his Paulus with the MDR Sinfonieorchester, Beethoven’s 9th Symphony with La Verdi in Milan, a recording of Hosokawa’s Nach dem Sturm with the Orquesta Sinfonia de Euskadi and Jun Maerkl, and concerts at the Takefu Festival in Japan with works by Schubert and Berg.

Other recent highlights are the lead role of Marianne in HK Gruber’s Geschichten aus dem Wienerwald at the Bregenzer Festspiele and Theater an der Wien, the title-role in Janáček’s Cunning Little Vixen at the Opéra National de Lyon, her debut at the Royal Opera House Covent Garden as Kitchenboy in Rusalka, her role debut as Pamina in Die Zauberflöte at the Stadttheater Klagenfurt, Despina in Cosi fan tutte and Susanna Le Nozze di Figaro, both with the Orchestra of the 18th Century, Celia in Lucio Silla with the Insula orchestra in Versailles, Aix-en-Provence, Theater an der Wien and the Philharmonie de Paris, the soprano part in Lady Sarashina by Péter Eötvös at Opera Narodowa/Teatr Wielki in Warsaw and at the Opéra National de Lyon and the world premiere of Toshio Hosokawa’s Nach dem Sturm with the Tokyo Metropolitan Symphony Orchestra, with concerts in Tokyo, Luxembourg and at the Philharmonie Berlin.

In the 2017/18 season, Ms Eerens will return to the Opéra de Lyon as Tschang-haitang in Zemlinsky’s Der Kreidekreis, to La Monnaie as Celia in Lucio Silla, to the Takefu Festival for works by Schubert, Mozart, Bruckner, Mahler and to the MDR Sinfonieorchester Leipzig for Mendelssohn’s Lobgesang. She will also give house debuts at the New National Theatre Tokyo in Sasha Waltz’ production of Matsukaze and at the Salzburger Festspiele as First Lady in Die Zauberflöte.

A regular guest at La Monnaie in Brussels, her roles for this house have included Oscar in Un ballo in maschera, Jemmy in a concert version of Guillaume Tell (also at the Concertgebouw Amsterdam), Noémie in Massenet’s Cendrillon, Antigone in Enescu’s Oedipe, Amanda in Ligeti’s Le Grand Macabre, a part she has also performed at the Teatro Colon in Buenos Aires, Teatro dell’Opera di Roma and at the Adelaide Music Festival in Australia.

Much in demand as a concert singer, Ilse Eerens’ repertoire encompasses Bach’s Passions, Oratorios and Cantatas, Handel’s Messiah, Fauré’s Requiem, Pergolesi’s Stabat Mater, Haydn’s Die Jahreszeiten, Mozart’s Requiem, Davide Penitente and Great Mass in c-minor, Poulenc’s Stabat Mater, Vaughan Williams’ A Sea Symphony, Honegger’s Le roi David, Mahler’s 2nd and 4th Symphonies, Dvořák’s Requiem and Stabat Mater, which she also recorded with Philippe Herreweghe. The latter was awarded “Record of the Month” by Gramophone Magazine.

She has appeared with many leading orchestras, such as the Münchner Rundfunkorchester, Orchestre des Champs-Élysées, Netherlands Philharmonic Orchestra, Dutch Radio Orchestra , Orchestre National de Lille, Brussels Philharmonic, Royal Flemish Philharmonic and the Orquestra Sinfónica Portuguesa and conductors such as Yannick Nézet-Séguin, Hartmut Haenchen, Paolo Olmi, Michael Boder, Michael Schonwandt, Kenneth Montgomery, Mark Wigglesworth, Jaap van Zweden, Frans Bruggen and Evelino Pidò.

Awards include the Arleen Auger prize in the International Vocal Competition in 's-Hertogenbosch in the Netherlands, where she was the only the finalist who excelled in all the three categories of Opera, Oratorio and Lieder, and the 3rd prize at the ARD Musikwettbewerb 2006.
 
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AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.
Opera
ComposerWork
DebussyPelleas et MelisandeYniold
DonizettiL’elisir d’amore Adina (in preparation)
DvorakRusalkaKitchenboy
EnescuOedipeAntigone
EötvösLady SarashinaLa Princesse, La Jeune Lady, Une dame du rêve
GluckLa CoronaAtalanta
GruberGeschichten aus dem WienerwaldMarianne
HoneggerJeanne d’Arc au bûcherMarguerite
HumperdinckHaensel und GretelSandmaennchen, Gretel (in preparation)
JanacekThe Cunning Little VixenLittle Vixen
LeharDie lustige WitweValencienne
LigetiLe Grand MacabreAmanda
MassenetCendrillonNoemie
MernierFruehlings ErwachenWendla
MonteverdiOrfeoNinfa
MonteverdiIl ballo delle ingrateAmore
MozartLucia SillaCelia (in preparation)
MozartDie ZauberfloetePamina, Papagena
MozartCosi fan tutteDespina
MozartBastien&BastienneBastienne
MozartLe Nozze di FigaroSusanna
MozartDon GiovanniZerlina
OffenbachLa Vie ParisienneGabrielle
PoulencLa voix humaineElle
PucciniTurandotLiu
PucciniLa BohemeMusetta
PurcellDido and AeneasDido
RameauLes Indes GalantesZima, Phani
RossiniGuillaume TellGemmy
RossiniElisabetta, regina d'InghilterraMathilde (in preparation)
SalieriPrima la musicaLeonora
SchoenbergMoses und AaronEin junges Maedchen
SmetanaTwo WidowsAnezka
StraussDie FledermausAdele
StraussRosenkavalierSophie (in preparation)
StraussAriadne auf NaxosEcho
VerdiRigolettoGilda
VerdiUn ballo in mascheraOscar
WagnerParsifalFlowermaiden

ILSE EERENS: A. Dvořák, Requiem, Aeternam

ILSE EERENS: J.S. Bach, Oster-Oratorium, Seele, deine Spezereien

ILSE EERENS: F. Martin, Stabat Mater

ILSE EERENS: F. Poulenc, La Voix Humaine

Live recording

"Ilse Eerens [bot] die beste gesangliche Leistung aller Mitwirkenden. Mit warm timbriertem Sopran, exakten Koloraturen und einer fuer diese Rolle sehr passenden, innigen Tongebung verlieh sie dem recht blassen Charakter Profil."
Das Opernglas, Theater an der Wien - Elisabetta, regina d'Inghilterra, May 2017
"Ilse Eerens sticht aus dem Sängerensemble mit makellosen Koloraturen und innigem Belcanto heraus[...]"
Wiener Zeitung, Theater an der Wien - Elisabetta, regina d'Inghilterra, March 2017
“Hoch ist auch das Niveau bei den Sängern: Ilse Eerens ist eine betörend schöne, empfindsame Pamina”
Kleine Zeitung, Stadttheater Klagenfurt - Die Zauberflöte , December 2014
"Belgian soprano Ilse Eerens is particularly impressive in the central role of Marianne. She successfully communicates her character’s development from delicate milkmaid innocence through blossoming, energetic, self-determination to desperation at her fate, and has all the vocal and dramatic qualities necessary to embody the role in all its nuances."
Auditorium, Bregenzer Festspiele - Geschichte aus dem Wienerwald, September 2014
"Unendlich anrührend und virtuos als Einspringerin in dieser schwierigen Rolle“
Opernglas, Bregenzer Festspiele - Geschichten aus dem Wienerwald, October 2014
"Die erst spät in die Produktion eingestiegene Ilse Eerens singt sie mit hinreißenden Spitzentönen, eindrücklicher Fräulein-Wucht und lyrischer Emphase"
Die Welt, Bregenzer Festspiele - Geschichten aus dem Wienerwald, September 2014
"Die Belgierin Ilse Eerens führt einen ganz zarten, eigentlich schon verletzlichen Sopran ins Treffen. Sie wird den Uraufführungsabend auch weiterhin dominieren, dann aber auch mit dramatischen Verzweiflungsausbrüchen, mit dringlich wirkendem Höhenglanz. Das ist begeisternd gut."
Badische Zeitung, Bregenzer Festspiele - Geschichten aus dem Wienerwald, August 2014
Die Sänger bewältigen allesamt bewundernswert ihre neuen Rollen. Ilse Eerens ist mit ihrem hellen Sopran eine eindringliche, anrührende Marianne“
Die Presse, Bregenzer Festspiele - Geschichten aus dem Wienerwald, August 2014
"What matters most is that all of Herreweghe’s performers clearly love this ravishing music, relishing every detail of this beautifully nuanced score, despite the huge dynamic range demanded[...]What is especially pleasing is the soloists’ contribution.[...]Ilse Eerens’s top Bs crown the choral texture with a bell-like clarity."
Gramophone Magazine, Dvorak, Stabat Mater recording, July 2013

Ilse Eerens

Bio English

Ilse Eerens

Photo Credit: Sarah Wijzenbeek

Ilse Eerens

Photo Credit: Sarah Wijzenbeek

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