BiographyA versatile artist at home in many musical styles and with an extensive vocal range, Noa Frenkel is a genuine contralto, whose repertoire reaches from the Renaissance to contemporary music.
Most recent opera appearances include the world premiere of Johannes Kalitzkes Kapitän Nemos Bibliothek at the Schwetzinger Festspiele, which was also presented at the 2022 Bregenzer Festspiele, Luigi Nono’s Al gran sole carico d’amore at Theater Basel, the role of Her Inner Voice in the world premiere of Heart Chamber by Chaya Czernowin at the Deutsche Oper Berlin, Subnormal Europe by Óscar Escudero at the Munich Biennale, Gubaidulina’s Stunde der Seele with Windkraft Tirol at the Konzerthaus Wien, the world premiere of Thierry Pécou’s Nahasdzáán with Ensemble Variences at the Opéra de Rouen, Chaya Czernowin’s Infinite Now at Vlaamse Opera and Nationaltheater Mannheim and Hans Zender’s Don Quijote de la Mancha with Klangforum Heidelberg at the Frankfurt LAB.
Other opera roles include Woman in Zaide/Adama by Mozart/Czernowin at the Salzburg Festival, Frau Ocholowska in the world premiere of Johannes Kalitzke’s Die Besessenen at Theater an der Wien, La révérende Mère in François Parls’ Maria Republica for Angers Nantes Opera, Third Lady in Mozart’s Die Zauberflöte at the Angers Nantes Opera, Madame Flora in Menotti’s The Medium and Philip Glass’ Akhnaten in Rotterdam, the madrigal opera La Barca for the Nationale Reisopera, Stockhausen’s Sonntag aus Licht at Oper Köln, conducted by Peter Rundel, and Pnima by Chaya Czernowin at Oper Stuttgart.
In concert, she has performed the world premiere of Rebecca Saunders‘ Us Talk Dead Love at the Donaueschinger Musiktage Luigi Nono‘s Guai ai gelidi mostri with the Remix Ensemble at the Casa da Musica Porto and with SWR Experimentalstudio in Vienna, Sciarrino‘s Vanitas at the Dresdner Philharmonie, Dusapin’s Penthesilea with the Orchestre de Paris, Bernstein’s Songfest with the MDR Sinfonieorchester, Brahms Alto Rhapsody with the Israel Chamber Orchestra, Handel’s Dixit Dominus with the Flemish Radio Choir, Donatoni’s Abyss at Casa da Musica in Porto, Luigi Nono’s Prometeo with the SWR Sinfonieorchester Freiburg/Baden-Baden and Ingo Metzmacher at Teatro alla Scala Milan, the Philharmonie Berlin, the Ruhrtriennale, Lucerne Festival and the Festival d’Automne Paris, Mahler’s Das Lied von der Erde with the Orchestre Symphonique de Mulhouse, his Symphony no 2 with the Israel Symphony Orchestra Rishon Lezion, his Symphony no 3 with the Jersualem Symphony Orchestra, Verdi’s Requiem at the Ljubljana Festival, Morton Feldman’s 3 Voices in Madrid, John Cage’s Songbooks with Israeli ensemble Musica Nova and Nono’s Guai ai gelidi mostri at the Salzburger Festspiele and the Wiener Festwochen.
Ms Frenkel has appeared with Baroque ensembles such as Les Arts Florissants, Elyma Ensemble, Combattimento Amsterdam, and the Utrecht Baroque Consort. She is a co-founder of the Kassiopeia quintet, an A-cappella group, which has recorded the complete madrigal books of Carlo Gesualdo.
As a sought-after interpreter of contemporary music, many composers have written works for her. She regularly performs at the main festivals in Europe with renowned ensembles such as Ensemble Modern, The Schönberg Ensemble, Klangforum Wien, L’Ensemble Intercontemporain, MusikFabrik, Ensemble Variances, The Israeli Contemporary Players, as well as the Experimental Studio Freiburg (SWR). Constantly pursuing new ways to perform, Ms Frenkel has created the solo programme Solitude in the Age of Mass Media, which she has presented in the Netherlands, Tel Aviv and Madrid.
Highlights in 2022/23 include the world premieres of Welcome To Paradise Lost by Jörn Arnecke and Falk Richter at Theater Weimar and Thierry Pécou’s Until the Lions at Opéra national du Rhin. In concert, she will perform the world premiere of a new work by Boaz Ben-Moshe with Ensemble Meitar, Escudero’s Subnormal Europe at the Gare du Nord in Basel and at the Philharmonie de Luxembourg and return to the Schwetzinger Festpiele.
ANY PUBLIC USE OF THE ABOVE TEXT IS NOT PERMITTED WITHOUT SPECIFIC AUTHORIZATION OF SOREK ARTISTS MANAGEMENT.More