A soprano’s perspective: Marlis Petersen’s favourites
The playlist compiled by Marlis Petersen from the Digital Concert Hall archives includes music which ranges from the Baroque to the post-war period. The soprano, who has a close artistic partnership with Kirill Petrenko, was Artist in Residence with the Berliner Philharmoniker in 2019/20. In addition to performances by esteemed colleagues, she has chosen personal favourites from the Late Night and Education formats, as well as a Karajan recording made on the day she was born. Petersen herself can be heard in a composition by George Crumb which she performed at her debut with the Philharmoniker in 2014.
The soprano Marlis Petersen was the first female singer to become Artist in Residence of the Berliner Philharmoniker. At Kirill Petrenko’s inaugural concert as chief conductor of the Berliner Philharmoniker, she took on the soprano roles in Alban Berg’s Lulu suite and Beethoven’s Ninth Symphony for the opening concert of the 2019/20 season. Other projects planned included Petersen in the leading role in Beethoven’s opera Fidelio which was to be staged at the Baden-Baden Easter Festival and performed in concert at the Philharmonie. This could not happen because of the concert ban during the corona pandemic. All the better then, that the singer has compiled a playlist of favourite works and performances from the Digital Concert Hall archives.
Marlis Petersen is one of the most versatile and successful opera, concert and lieder singers of our time, with acclaimed performances in stage works by Mozart and Richard Strauss, in Italian bel canto and French opera to her credit. In addition, the artist is particularly dedicated to modern and contemporary music. The title heroine in Alban Berg’s Lulu, which she has sung at major opera houses – including Vienna, New York and Chicago – has become one of her signature roles. She described the production of Lulu with Kirill Petrenko at Bayerische Staatsoper as a highlight in her performances of work. In Munich, Petersen also appeared on stage in new productions as Salome and in the female lead role of Erich Wolfgang Korngold’s Die tote Stadt under the direction of Kirill Petrenko.
The playlist reflects the singer’s wide repertoire and ranges from an Education programme dance project to the music of Rameau, to a piece by Henri Dutilleux for solo cello, performed by Philharmoniker cellist Solène Kermarrec at a Late Night concert. In her selection, Petersen also pays tribute to some esteemed colleagues: Joyce DiDonato can be heard in Richard Strauss, and Véronique Gens in wonderful, far too little-known songs by Henri Duparc. A particularly poignant selection is Stella Doufexis in Stravinsky’s Pulcinella: the mezzo-soprano died in 2015 at the age of just 47.
Marlis Petersen also sang Lulu at Hamburg State Opera under the direction of Ingo Metzmacher. Metzmacher can be heard in the playlist conducting Charles Ives’s Fourth Symphony; a work that intrigues Petersen as a musical portrait of a big city and because of its bitonal passages. The last piece Kirill Petrenko performed with the Berliner Philharmoniker before his election as chief conductor was Alexander Scriabin’s Le Poème de l’extase. Marlis Petersen has included this sonorous performance in her selection as well as her own debut with the orchestra: in January 2014, she performed George Crumb’s vocal cycle Ancient Voices of Children, which impresses the listener with its vocal acrobatics, unusual instruments and a tone occasionally reminiscent of Gustav Mahler.
