MAGDALENA ANNA HOFMANN
Germany, France, Beneleux

Acclaimed as an “intense, concentrated artist” (Opera News) with a voice of “dark beauty and lustrous tone” (Birmingham Post), Magdalena Anna Hofmann has been celebrated at many of the world’s most important opera houses, festivals and concert halls. Her repertoire spans some of the great heroines of the German and Slavic repertoire as well as Mozart roles, operetta and modern music.

In the 2018/19 season, she made her acclaimed role debut as Isolde in a new production of Tristan und Isolde in Hagen (“A sensational discovery in the Wagner repertoire”, Westfalenpost), performed Sieglinde in Die Walküre in Tianjin, Gutrune in Götterdämmerung in Minden and Mendelssohn’s Lobgesang with the Warsaw Philharmonics. Among her next appearances are her debut in Fidelio at the Teatro Comunale of Bologna as well as Sieglinde and Gutrune in Minden.

Performances of the 2017/18 season included Kundry in Mondparsifal Beta 9–23 at the Berliner Festspiele, the title role of Jenö Hubay’s Anna Karenina in a new production at the Bern Opera House, Schönberg’s Gurrelieder at the Casa da Música in Porto, Kurt Weill’s Silbersee-Gesänge with the Warsaw Philharmonic Orchestra and Sieglinde in Die Walküre at the Tiroler Festspiele in Erl.

Recent highlights have led her to the Royal Danish Opera in Copenhagen as Frau in Schönberg’s Erwartung and as Senta in Der fliegende Holländer, to the Wiener Festwochen as Kundry in the world premiere of Mondparsifal alpha 1–8 (B. Lang / R. Wagner), to the Berliner Philharmonie, the Birmingham Symphony Hall and to Bern with Erwartung, to the Aalto-Theater of Essen and to Bonn as Senta, to Minden for her role debut as Sieglinde in Die Walküre, to the Aalto-Theater as The Foreign Princess in Rusalka, to the Cesis Concert Hall in Latvia for her first Elsa in Lohengrin and to the Casa da Música in Porto for Wagner’s Wesendonck-Lieder and Isoldes Liebestod.

Magdalena Anna Hofmann was born in Warsaw and completed her formal vocal training in Vienna. She began her career as a mezzo-soprano, appearing at opera houses and festivals such as the Teatro alla Scala, the Theater an der Wien and the Bregenz Festival.

In 2011 she sang her first soprano role, Contessa in Le nozze di Figaro at the Klosterneuburg Festival, followed by her first and highly acclaimed Kundry in a new production of Parsifal at the Rahvusooper, Tallinn. Performances since then have included several important debuts such as Erwartung and Dallapiccola’s Il prigioniero at the Opéra of Lyon, Portia in André Tchaikovsky’s The Merchant Of Venice at the Bregenz Festival and concerts in Osaka, Porto, Stuttgart as well as at the Bad Urach Festival. In October 2014 she scored an exceptional success in her role debut as Senta in Der fliegende Holländer in Lyon, where she returned the following year as Carlotta in a new production of Schreker’s Die Gezeichneten.

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, Gaetano d’Espinosa, Bernhard Kontarsky, Patrick Summers, Alejo Perez, Tomáš Netopil as well as Vladimir Fedoseyev and stage directors such as Keith Warner, Àlex Olle (La Fura dels Baus), Nicola Raab, Peter Stein, Frank Castorf, Stéphane Braunschweig, Valentina Carrasco, John Fulljames, William Friedkin, Gerd Heinz, Daniel Slater, Lotte de Beer, David Bösch and Walter Sutcliffe.

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
"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
„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
“…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 6

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