MAGDALENA ANNA HOFMANN
Germany, France, Beneleux
Magdalena Anna Hofmann was born in War­saw and com­pleted her for­mal vocal train­ing in Vienna, initially as a mezzo-soprano. Before her transition into the lyric dramatic soprano Fach, she performed at pres­ti­gious opera the­atres and fes­ti­vals such as the Teatro alla Scala, Milan, the Bre­genz Fes­ti­val and the The­ater an der Wien.

After singing her first Kundry in a new pro­duc­tion of Wagner’s Par­si­fal at the Rahvu­sooper, Tallinn, she gave impor­tant debuts such as A Woman in Schönberg’s Erwartung and Dallapiccola’s Il pri­gion­iero at the Opéra de Lyon, Por­tia in Tchaikovsky’s The Mer­c­hand Of Venice at the Bre­genzer Fes­tspiele.

Most recently, she returned to the Opera de Lyon as Senta in Der Fliegende Holländer and Carlotta in Schreker’s Die Gezeichneten, and appeared at the Aalto Theater Essen as Senta and The For­eign Princess in Rusalka.
Other recent engagements include Judith in von Reznicek’s Holofernes and Senta in Die Fliegende Holländer, both at Theater Bonn, Elsa in a concert version of Lohengrin with the Lat­vian National Sym­phony Orchestra, Wagner’s Wesendonck-Lieder and Isol­des Liebestod at Casa da Música in Porto and Schönberg’s Erwartung with the Royal Danish Orchestra and Michael Boder at Birmingham Symphony Hall and the Berlin Philharmonie, as part of the Berliner Festwochen.

Highlights in 2016/17 season include her first Sieglinde/Die Walküre at Theater Minden, her house debut at the Royal Danish Opera Copenhagen as Senta, Gorecki’s Symphony no 3 at Casa da Musica in Porto and Shostakovich’s Symphony no 13 with the Orquesta Sinfonica de Castilla y Leon under Gordan Nikolitch.

Magdalena Anna Hofmann has worked with con­duc­tors such as Daniel Hard­ing, Kir­ill Petrenko, Daniele Gatti, Bertrand de Billy, Michael Boder, Kazushi Ono, Hart­mut Keil, Lothar Königs, Ric­cardo Frizza, Bern­hard Kon­tarsky, Patrick Sum­mers as well as Vladimir Vedose­jev and stage direc­tors such as Keith Warner, Àlex Olle (La Fura dels Baus), Nicola Raab, Frank Cas­torf, Stéphane Braun­schweig, John Full­james, William Fried­kin, Gerd Heinz, Daniel Slater and Peter Stein.

 
ANY PUBLIC USE OF THE ABOVE TEXT IS NOT PERMITTED WITHOUT SPECIFIC
AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.

MAGDALENA ANNA HOFMANN: R. Wagner, Parsifal, as Kundry

MAGDALENA ANNA HOFMANN: A. Schönberg, Erwartung, excerpts

'The piece is a natural for an opera orchestra, of course, and Boder and the RDO darted, shimmered and swirled under and around Hofmann’s dark, lustrous voice without a false step. Hofmann herself told Schoenberg and Pappenheim’s horror story with cool control; as the implications of the words flashed across her face, she never forced her tone or descended into melodrama – making her short, sudden bursts of vocal characterisation all the more powerful. A ghoulishly rolled “r” here, a low hint of a snarl there: this performance was both intensely beautiful and unsparingly honest. On the opera stage, it would have been devastating.'
www.theartsdesk.com, Schoenberg, Erwartung - Royal Danish Orchestra - Birmingham Symphony Hall , September 2015
'Es gibt zwei Erwartungen aus noch nicht allzu lang zurückliegender Zeit, an die ich mich sehr deutlich und sehr gern erinnere: die eine war mit Anja Silja (in der Staatsoper Unter den Linden), und die andere interpretierte Angela Denoke (mit dem DSO)... Gestern Abend tat sich Magdalena Anna Hofmann in den Reigen meiner Favoritinnen (in puncto Schönberg'sche Erwartung) schlagartig hinzugesellen! Ihre junge Stimme klingt wie Glockenläuten, ihre Darstellkraft ist suggestiv, und ihre Textverständlichkeit ist außerordentlich - kurzum: 'ne Idealbesetzung für die Rolle.'

www.kultura-extra.de, Schoenberg, Erwartung - Royal Danish Orchestra - Philharmonie Berlin, September 2015
„Und die Stimmen![...]hinreißend die klirrend-spitze, jubelnd sich verströmende Carlotta (Magdalena Anna Hofmann), die gern den schnellen Liebestod stirbt.“
Frankfurter Allgemeine Zeitung, Opera de Lyon - Die Gezeichneten, March 2015
"The direction of the singers was exemplary and Bösch was lucky to have soprano Magdalena Anna Hofmann and baritone Simon Neal as Carlotta and Tamare, after their success here in last season’s Flying Dutchman[...]The loose-limbed Hofmann was convincing as the hip contemporary artist, with a Tracey Emin like enthusiasm for the perversity of desires."
Opera News, Opera de Lyon - Die Gezeichneten, April 2015
“…la musicienne orne son chant de mille nuances, donne tout d’elle-même et triomphe dans ce personnage d’artiste au cœur malade qui préfère peindre la beauté des âmes à celle des corps.”
Diapason, Opera de Lyon - Die Gezeichneten, March 2015
“Magdalena Anna Hofmann est une Senta de tout premier ordre, jouant sur le double registre de l’apparente fragilité et de la puissance vocale révélant la force qui l’habite et lui permet, à la fin, de dominer les éléments.  Dans la Ballade, la chanteuse déploie tout un art de nuances, du mumure au cri, de l’évocation nostalgique à la prière fervente. On est sous l’emprise de la tension palpable du personnage, de sa voix qui frôle les limites, dans une interprétation radicale (voir l’interview que nous a accordée la cantatrice).”
Forumopera.com, Opera de Lyon - Der fliegende Holländer, October 2014
“Hofmann is an intense, concentrated artist as she has shown here in the twentieth-century repertoire. Her soprano is slender and penetrating (…), her glazed determination and obsessive dedication to the Dutchman made for a riveting performance.”
Opera News, Opera de Lyon - Der fliegende Holländer, October 2014
"Ihre Senta klang klar und stark ohne zu übertreiben, auch zu einfühlsamem Lyrismus fähig, schön timbriert und unangestrengt – ein durchweg überzeugendes Rollenporträt."
Klassik Info.de, Opéra de Lyon - Der Fliegende Holländer, October 2014

Magdalena Anna Hofmann

Bio English

Magdalena Anna Hofmann

PR photo 11

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