Concerts with Manfred Honeck and the Royal Concertgebouw Orchestra

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Launching the beginning of her 2018/19 season, Anett Fritsch joins the Royal Concertgebouw Orchestra and conductor Manfred Honeck for concerts in Amsterdam, Slovenia, Berlin and Switzerland. Her debut with the ensemble will take place August 23 at the Het Concertgebouw. The program (on September 3 and 4 as well) includes Ms. Fritsch as soloist in Berg’s Five Orchestral Songs, with Webern’s String Quartet Op. 5, and Bruckner’s Symphony No. 3 completing the performance.

Ms. Fritsch and the ensemble will then travel to Slovenia for a performance at the Ljubljana Festival. Her performance on September 3 marks the conclusion of the festival’s 66th season. Shortly after, Anett joins the ensemble for the Berlin Musikfest concert series at the Philharmonie on September 4. Presented by the Berliner Festspiel, the festival’s 2018/19 season includes 27 performances, featuring 22 instrumental and vocal ensembles with more than 30 soloists from the international music scene.

Her final performance with the ensemble will be at the Lucerne Festival. On September 5 at the Concert Hall Luzern, the evening’s program includes Ms. Fritsch as soloist in in Berg’s Five Orchestral Songs, with Wagner’s Prelude to the third act of Die Meistersinger, and Bruckner’s Symphony No. 3 concluding the program.

Emma in Fierrabras at Teatro alla Scala

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The heroic-romantic work Fierrabras is set in the era of the Charlemagne’s expedition to Spain, which set out to reclaim the relics taken by the Moors. For his return to La Scala, Daniel Harding guides an exceptional cast – starring Anett Fritsch, Dorothea Röschmann, Bernard Richter, Marie-Claude Chappuis, Markus Werba, Tomasz Konieczny and Sebastian Pilgrim – through this work of awe-inspiring beauty, while the fairytale atmosphere of the story is entrusted to the creative genius of director Peter Stein.

The performances take place on June 5, 9, 12, 15, 19, 27 and 30.

For more information and tickets, click here.

Anett Fritsch takes on Fiordiligi at the Bayerische Staatsoper

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Anett Fritsch sings Fiordiligi in Mozart’s Così fan tutte at the Bayerische Staatsoper on September 29 and October 1, 3 & 6.

This Dieter Dorn production features an all-star cast: Angela Brower as Dorabella, John Chest sings Guglielmo, Paolo Fanale appears as Ferrando, Hyesang Park is Despina and Don Alfonso is portrayed by Pietro Spagnoli. Constantin Trinks conducts all performances.

For more information and tickets, visit the Bayerische Staastoper’s website.

Watch a video excerpt of her debut as Fiordiligi at Teatro Real de Madrid:

‘Le Nozze di Figaro’ featured in “10 Must See Opera Productions Of The Fall” by Operawire

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8. Le Nozze di Figaro -Bayerische Staatsoper 

Christof Loy is one of the most acclaimed directors of our time, and this season he will direct a new production of Mozart’s masterpiece. Constantinos Carydis conducts the production which stars a young cast including Anett Fritsch, Christian Gerhaher, Federica Lombardi, Alex Esposito and Olga Kulchynska. The production opens Oct. 17 and will be broadcast on BR Klassik.

Read more via Operawire

Gramophone Review: Mozart Arias

Gramophone Review: Mozart Arias

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Anett Fritsch’s Mozart is a sheer delight. This is no bland essay of the usual suspects painted in anonymous colours but a vivid portrait gallery of characters that Fritsch has actually played on stage. She presents multiple characters from the three da Ponte operas and they’re all beautifully variegated, all coming across as living, breathing individuals. Fritsch’s is a light soprano – not unlike Maria Bengtsson’s, whose Mozart disc I reviewed last month – but she does so much more with the text and characterisation.

Her Cherubino is breathless with hormonal excitement (‘Voi che sapete’ wonderfully ornamented in the repeat), her Countess aches with pain. Fritsch does marvels with the text, clearly understanding every word. Her Susanna is coquettish, with rolled Rs in ‘dolce susurro’ making my heart skip a beat.

Donna Elvira is tormented and slightly unhinged, allowing touches of bluster into her coloratura, whereas Zerlina is all sweetness and innocence, demonstrating plenty of agility in the closing phrases of ‘Batti, batti’, which is taken at a sprightly pace. High notes are coloured imaginatively. Fiordiligi’s ‘Per pietà’ is earnest, verging on desperate, while there’s a stoic, impassioned quality to ‘Come scoglio’. Even Despina – who I usually find an irritant – is irresistible here, a saucy minx determined to liberate Così’s sisters. Fritsch follows this up with two superb concert arias. Perhaps I’m being greedy, but I’d have loved a souvenir of her Pamina too.

From the very first bars of the Overture to The Marriage of Figaro, with punchy ‘historically informed’ woodwinds and bristling strings, the playing of the Munich Radio Orchestra under Alessandro De Marchi instantly makes you sit up and listen. A jewel of a disc.

Gramophone – Mark Pullinger

Anett Fritsch debuts at Teatro alla Scala in ‘Don Giovanni’

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This season, Anett Fritsch makes her debut at Milan’s famed Teatro alla Scala, singing Donna Elvira in Mozart’s Don Giovanni. Ms. Fritsch’s previous portrayals of Elvira have left audiences and critics alike proclaiming her as “a discovery . . . she could sing superbly.” (New Criterion) Her Salzburg Festival appearance in the role can also be enjoyed on DVD via Amazon.com.

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“Vogtländerin auf dem Weg nach ganz oben” -Freie Presse

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Die Sopranistin Anett Fritsch wird in diesem Jahr noch an der Mailänder Scala auftreten. Das verriet sie in einer Veranstaltung der Reihe “Der Theaterförderverein lädt ein”.

In Plauen geboren, in Kürbitz aufgewachsen und jetzt auf den Bühnen der Welt unterwegs. Das ist Anett Fritsch, 30 Jahre alt.

Es hatte den Theaterförderverein allerhand Mühe gekostet, die Sopranistin nach Plauen zu holen. Am Montagabend war es soweit. Rund 200 Besucher erlebten die Weltklasse-Sopranistin. Am Ende verabschiedete der Fördervereinsvorsitzende Lutz Behrens die Besucher mit den Worten: “Und Sie können sagen, Sie sind dabei gewesen.”

-Renate Günther, Freie Presse