SUCCESSFUL TOUR OF SWEDEN
WITH CHAMBER ORCHESTRA MUSICA VITAE
CONDUCTED BY NATHALIE STUTZMANN

Lisa Larsson’s appearance singing Mahler’s “Wunderhorn” songs is described by P-G Bergfors in Smålandsposten of March 3, 2012 as: "Seductively beautiful and strong soprano-voice, broad repertoire performed with sense of style and wonderful expression."

Success with Rolf Martinsson’s „Orchestral Songs“

Great success for Lisa Larsson premiering the "Orchestral Songs" (high version) by her compatriot Rolf Martinsson in Sweden. Hannu Koivula conducted the Västerås Sinfonietta which was joined by the Jönköpings Sinfonietta for these concerts.

An interpreter full of life and emotions … The soprano Lisa Larsson offered a grand lyric experience. … Lisa Larsson brings to life the seemingly simple but truely existential content with lyrical clarity and spiritual warmth. … She is in perfect command of her voice.

Vestmanlands Läns Tidning, January 23, 2012

How to make a Virtue out of necessity

In concerts with the Combattimento Consort under Jan Willem de Vriend on December 6, 7 and 9, 2011 in Dutch cities baritone Maarten Koningsberger had to cancel his participation due to illness. Instead of the originally scheduled cantata ›Apollo e Dafne‹ by Handel Lisa Larsson sang Haydn’s ›Scena di Berenice‹ in addition to his cantata ›Arianna a Naxos‹:

Review of the first concert by NRC Handelsblad from December 7, 2011: “Next to a desperate heroine, these pieces also share a common structure: a sequence of highly expressive accompanied recitatives and two arias. They proved to be perfect for Larsson. Her interpretation showed Haydn’s talent for vocal composition as under a magnifying glass. With her wonderfully measured voice and tormented expression she beautifully conveyed Ariadne’s loneliness and Berenice’s doomed love.”

Lisa Larsson sings Britten's "LES ILLUMINATIONS"

Critical acclaim for Lisa Larsson's February 2010 tour in Sweden with the Musica Vitae Chamber Orchestra conducted by Peter Mannings:

"Lisa Larsson is riveting as she explores both the ecstasy and the
self-absorption of Rimbaud's poems. She does justice both to his fleetingly light touch and his dark, melancholy depths. Her switches from moments of spiritual intimacy to full vocal grandeur are executed with consummate ease."
Magnus Haglund in GÖTEBORGSPOSTEN, 19.2.2010

"Her treatment of the lyrics is as deft as her polished musical rendition. Both aspects confirm that Lisa Larsson is a singer of great talent."
Tobias Lund in SYDSVENSKAN, 22. Februar 2010

"Lisa Larsson is a radiant presence. … her pianissimi are glorious, even in the upper range, while her full-toned forte is always effortless and to the ready … flawless French … singing that reaches into the soul."
Eleonor Andersson in SMÅLANDSPOSTEN, 9. Februar 2010

Orchestral songs by Richard Strauss
and soprano solo in Gustav Mahler's 4th Symphony
under antonello manacorda in Milan and Cremona

"Lisa Larsson gives both the score and text an intense attention, absolutely free from intellectualism, never skin-deep but expressive and able to elevate itself in harmony with the highly spiritual almost salvatory notion of the music."

"....the choice of Larsson, adorned by the accompanying tapestry of sparkling and soft orchestral colours, is perfect."

"Without complacency, giving us the natural purity of a voice able to raise enchanting emotional evolution, without any pretense."
Alberto Bardelli in LA CRONACA DE CREMONA E CREMA, 16.1.2010

"...in the Lieder by Strauss (Frühling, September, Morgen, Zueignung) la Larsson demonstrated that one does not need the voice of Jessye Norman to fill these magnificent songs with pathos and expressiveness. Grand emotions and grand applause..."
Roberto Codazzi in LA PROVINCIA DI CREMONA, 16. 1. 2010

"...the celebrated Swedish soprano Lisa Larsson knew perfectly how to calibrate sound and diction of the very delicate and refined scores by Strauss, never covered by the orchestra and engaged into an intimate rapport and perfect symbiosis with the orchestra."
Giacomo Di Vittorio in L'OPERA, Februar 2010

Lisa Larsson sings Haydn and Stravinsky
Västerås Sinfonietta & Antonello manacorda

She demonstrated an incredible intensity at every point of the huge range of the aria and with her temperament it was a bit difficult with the quiet standing of a concert.
Birgit Ahlberg-Hyse in VÄSTMANLANDS LÄNS TIDNING | complete review

lisa larsson as Ännchen in Weber's "Der Freischütz" at the Lucerne Festival

Aber spätestens bei Ännchens Vortrag von der „gar grusigen Gschecht“ war der Bann gebrochen und sang sich Lisa Larsson in die Herzen der Zuhörer.
Fritz Schaub in NEUE LUZERNER ZEITUNG | complete review in german

Ebenfalls im langen Konzertkleid, aber voller Schalk und theatralischer Ironie spielte Lisa Lasson ein Ännchen, wie es im Buche steht.
Herbert Büttiker in DER LANDBOTE | complete review

lisa larsson sings handel

Handel: Jephta / Opera Fuoco & David Stern
Lucerne Festival & Théâtre des Champs-Elysées
…die wunderbare Sopranistin Lisa Larsson als demütige Iphis.
David Koch, Neue Luzerner Zeitung

Lisa Larsson (Iphis) possède un timbre cristallin et gracile, manifestement à l'aise dans les aigus. Elle nous gratifie de beaux ornements, en particulier dans l'air du premier acte ("The smiling dawns of happy days"), et surtout au second ("Welcome") aux aigus redoutables. Au troisième acte, elle nous transporte dans les projections lumineuses de son "Farewell".
Bruno Maury, La Muse Baroque

Lo splendore del Barocco: Handel concert with La Divina Armonia & Lorenzo Ghielmi in Milan
La biondissima svedese Lisa Larsson, elegante e luminosa nell' abito di seta dorata, l' ha intonata con luttuosa dolenza, come dev' essere nell' ambito narrativo dell' opera. E in quel «trattenere», in quello stare un passo indietro sotto il profilo emotivo, ha potenziato con infinita grazia l' esplosione sentimentale del capolavoro handeliano. Brava.
La Repubblica

Noël baroque: Christmas concert with the Orchestre des Pays de Savoie & Gabriel Garrido
Lisa Larsson, de sa belle voix de soprano, a rendu merveilleux les œuvres Jean-Baptiste Lully, avec Psyché, de Jean-Philippe Rameau avec des Indes Gallantes et de Nicolo Jomelli et Armida abbandonata.
K.H., Le Dauphiné Libéré

Handel: Radamisto / Wiener Akademie & Martin Haselböck
Konzerthaus Dortmund
Und schliesslich muss auch noch Lisa Larsson genannt werden, die Radamistos ganz in weiss gekleidete Schwester Polissena immer wieder mit erfrischenden und vor allem erstaunlich sicheren Koloraturen ausstattet.
cd, www.opernnetz.de

lisa larsson sings Mozart & Haydn

Mozart concert with Swedish Chamber Orchestra & Sebastian Weigle
The mozart arias were as if made for her finely chiseled art of expression. One moment she expresses herself in fortissimo where her voice unfolds in all its maturity; the next in pianissimo verging on the edge of silence.
Björn Gustavsson, Nerikes Allehanda

New Year's Concert with Malmö Symphony Orchestra & Rainer Honeck
Lisa Larsson’s soprano is glittering, clear and elegant, perfect for Mozart.
Skånska Dagbladet, Lars-Erik Larsson

Mozart: Der Schauspieldirektor / Opera Fuoco & David Stern, Lucerne Festival
Le duo formé par les sopranos Patricia Petibon et Lisa Larsson, «sœurs ennemies», dans Le directeur de théâtre est explosif.
F.M., Classica-Répertoire

Haydn concert with Tölzer Sängerknaben & Gerhard Schmidt-Gaden, San Marco, Milan
Lisa Larsson voce d’argento: E soprattutto l’eccellente soprano Lisa Larsson che svetta argentea negli aerei melismi della «Salve Regina», toccante poi nell’«Et incarnatus» e nel «Benedictus», resi purissimi raggi di grazia e di serenità.
Gian Mario Benzing, Corriere della Sera

Haydn: Die Schöpfung / Österreichisch-ungarische Haydn-Philharmonie & Adam Fischer
Haydn Festival, Esterházy Palace
Lisa Larsson rückt ihren beweglichen Sopran ins rechte Licht und sorgt für noble Ausdrucksfarben. Viel Jubel!
Oliver A. Láng, Krone

Haydn: Die Schöpfung / I pomeriggi musicali & Antonello Manacorda, Teatro dal Verme, Milan
Lisa Larsson è stata una Eva tenerissima, molto angelica anche nel ruolo di Gabriel.
Silvia Rovati, Piazza Minerva

19th & 20th century repertoire (Mahler, Strauss, Grieg, Respighi)

Grieg: orchestral songs & Respighi: „Il tramonto“
Camerata Schweiz & Graziella Contratto, Zurich Tonhalle
Mit bemerkenswerter Bühnenpräsenz und fesselndem Charme führte sie durch die Orchesterlieder. Später zeigte Lisa Larsson auch ihre dramatischen Fähigkeiten. Mit grosser Emotionalität interpretierte sie Respighis spätromantische Kante «Il tramonto».
str, Der Bund

Mahler: Symphony No. 4 / Mahler Chamber Orchestra & Daniel Harding, Lucerne Festival
Ätherisch und glockenhell, einem Engel gleich, besang sie die eigentlich derbe Vorstellung des Himmels aus der Volksliedsammlung «Des Knaben Wunderhorn».
Benjamin Herzog, Basler Zeitung

Mahler: Symphony No. 8 / Tonhalle Orchester Zürich & David Zinman / KKL Luzern
Lisa Larsson ist eine strahlende „Mater gloriosa“.
Susanne Kübler, Tages-Anzeiger

Strauss: orchestral songs / Orchestra of the Teatro Carlo Felice & Lawrence Renes
La soprano Larsson e Renes grandi interpreti di Strauss: Lisa Larsson … ha letteralmente condotto per mano il pubblico in un mondo musicale capace ancora oggi di narrare storie affascinanti e di evocare sentimenti e sensazioni profonde: com’è successo in Morgen („Domani“), una perla purissima da incorniciare, un rapimento vero e proprio per gli ascoltatori.
Corriere mercantile

Strauss: orchestral songs / Sinfonieorchester St. Gallen & David Stern
... fünf Orchesterlieder von Strauss, in denen die schwedische Sopranistin Lisa Larsson ihr blühendes Timbre ohne Forcieren entfalten konnte: hymnisch aufjauchzend in der «Zuneigung», zart umschmeichelt von der Sologeige, mit geradezu elysisch entrücktem Ausrufezeichen («Morgen!»).
Bettina Kugler, St. Galler Tagblatt

Strauss: orchestral songs / Symphonisches Orchester Zürich & Christoph Escher, Zurich Tonhalle
Vokale Anmut: Lisa Larsson liess in ihren Beträgen alle Facetten ihres leichten, barock geschulten Soprans aufschimmern, beeindruckte durch eine mühelose Höhe und eine einnehmende Tiefe.
Jürg Huber, Neue Zürcher Zeitung

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Stravinsky: Ann Trulove in “The Rake’s Progress” / Royal Opera Stockholm, Christian Badea
David Hockney, Lisa Larsson and Stravinsky are three good reasons to see „The Rake’s Progress“ at the Royal Opera.
Claes Wahlin, Aftonbladet

Lisa Larsson’s angelic Anne Truelove vocally stands for fulfilled interpretation with a warm focus in her bright soprano.
Sara Norling, Dagens Nyheter

Lisa Larsson as Anne Truelove is the one who impresses and engages.
operatrisen.blogg.se

Stravinsky: scene of Ann Trulove / Symphonisches Orchester Zürich & Christoph Escher
In der Schlussszene des ersten Aktes von Strawinskys «The Rake’s Progress» entfaltete Larsson ihr ganzes Ausdrucksspektrum und gestaltete den innerlichen Aufschwung von der zweifelnden Geliebten zur überzeugt Liebenden in bestechender Manier.
Jürg Huber, Neue Zürcher Zeitung

Mozart: Susanna in “Le nozze di Figaro” / Grand Théâtre de Genève & Julia Jones
Indeed Larsson (Susanna) was perfect in technique in her “Deh veni…” her timbre is perfect for the role.
Zoltan Bécsi, ConcertoNet.com

Britten: Tytania in „A Midsummer Night’s Dream“ / Glyndebourne Festival & David Atherton
Lisa Larsson’s silvery tone as Titania reflects the quality of the alternative world in which she moves.
Michael Church, The Scotsman

The Swedish soprano Lisa Larsson glitters away as Tytania.
John Allison, The Times

Lisa Larsson’s glittering coloratura Tytania was at her best…
Michael Kennedy, Sunday Telegraph


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Mozart: Don Giovanni / Mahler Chamber Orchestra, Daniel Harding (Virgin Classics)
Lisa Larsson makes a silkily mercurial Zerlina. Her „Batti, batti“ is excellent.
Joanne Sydney Lessner, Opera and Oratorio

Mozart: Il sogno di Scipione / Freiburger Barockorchester, Gottfried von der Goltz (Astrée)
Larsson is all spitfire pyrotechnics.
Clive Portbury, BBC Music Magazine

Lisa Larsson’s bright, light soprano conveys all the egotistical fickleness of Fortuna, switching musical moods with spirit and spice and negotiating all her vocal fireworks deftly.
Joanne Sydney Lessner, Opera News

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