Boasting an unrivalled and multi award-winning discography, mezzo-soprano Anne Sofie von Otter’s versatility has seen her work with legendary artists ranging from the late greats of Carlos Kleiber, Claudio Abbado and Giuseppe Sinopoli to Elvis Costello, Brad Mehldau and Rufus Wainwright.

An ever-evolving repertoire has played a key role in sustaining Swedish-born von Otter’s international profile, from an early position as the superlative Octavian (Der Rosenkavalier) of her generation, giving performances around the world, to her acclaimed creation of Leonora in the world premiere of Thomas Adès’ The Exterminating Angel at Salzburger Festspiele and the Royal Opera House, Covent Garden. Recent highlights include Madame de Croissy (Dialogues des Carmélites) at Théâtre des Champs-Élysées, Marcellina (Le nozze di Figaro) in Christof Loy’s production at Bayerische Staatsoper, L’Opinion Publique (Orphée aux Enfers) at Salzburger Festspiele in Barrie Kosky’s staging, Mérope (Oedipe) at Opéra National de Paris, and the leading role of Charlotte Andergast in the world premiere of Sebastian Fagerlund’s Höstsonaten for Finnish National Opera. Adding further to an impressive catalogue, recent seasons have seen role debuts as the Countess (Pique Dame) at La Monnaie under Nathalie Stutzmann, Adelaide (Arabella) at Teatro Real under David Afkham and, last season, she brought to life the role of Gaby in the world premiere of Mikael Karlsson’s Melancholia at Royal Swedish Opera.

Equally recognised as a concert and recital singer of exceptional gifts, von Otter’s career has taken her around the globe as a regular presence on the world’s most important stages, excelling in a diverse repertoire including works by Mahler, Berlioz, Bach and Kurt Weill, and her expansive Lieder recordings range from classics by Schubert, Schumann, Wolf and Mahler, through lesser-known compilations from Cécile Chaminade, Korngold, Peterson-Bergen and Stenhammar.

Anne Sofie von Otter’s 2024/25 season opens with performances of Mikael Karlsson’s song cycle, And so we will vanish with the Danish National Symphony Orchestra and the Swedish Radio Symphony Orchestra, both conducted by Jukka-Pekka Saraste. She creates the role of Justine in Karlsson’s Fanny and Alexander which sees its world premiere at La Monnaie in a staging by Ivo van Hove and conducted by Ariane Matiakh, appears in the world premiere of Philippe Manoury’s new work Die letzten Tage den Menschheit at Oper Köln and sings the role of Mrs Sedley in Christof Loy’s setting of Peter Grimes at Opéra de Lyon conducted by Wayne Marshall.

Anne Sofie von Otter is one of today’s most recorded artists, with an incomparable catalogue built across a career now spanning more than four decades at the top of her profession. A lengthy and exclusive relationship with Deutsche Grammophon produced a wealth of acclaimed recordings, including the Grammy-winning Mahler: Des Knaben Wunderhorn with Claudio Abbado, Händel’s Ariodante, Giulio Cesare and Hercules with Marc Minkowski and a collaboration with pop legend Elvis Costello on For the Stars. On Naïve Classique, her double CD of Mélodies and Chansons, Douce France, received the 2015 Grammy Award for Best Classical Solo Vocal Album. Von Otter immortalized many of her operatic characters on disc: Octavian with Bernard Haitink and the Staatskapelle Dresden and on DVD with Wiener Staatsoper under Carlos Kleiber; Cherubino (Le nozze di Figaro) under James Levine; La clemenza di Tito and Orfeo ed Euridice under Sir John Eliot Gardiner; and Ariadne auf Naxos under Giuseppe Sinopoli.

Two-time Grammy Award-winning mezzo-soprano Sasha Cooke has been called a “luminous standout” by the New York Times and “equal parts poise, radiance and elegant directness” by Opera News. Ms. Cooke has sung at the Metropolitan Opera, San Francisco Opera, English National Opera, Seattle Opera, Opéra National de Bordeaux, and Gran Teatre del Liceu, among others, and with over 90 symphony orchestras worldwide frequently in the works of Mahler. In 2022 Ms. Cooke was appointed at the Music Academy of the West as Co-Director of the Lehrer Vocal Institute. Her album how do I find you was nominated for a 2022 Grammy Award for Best Vocal Solo Album.

Ms. Cooke began the 2024/25 season with a return to the Bard Festival as Marguerite in La Damnation de Faust followed by Brangäne in Tristan und Isolde at the Gstaad Festival, conducted by Sir Mark Elder. On the operatic stage, she debuts at La Monnaie de Munt as Emilie Ekdahl in the world premiere of Mikael Karlsson and Royce Vavrek’s Fanny and Alexander and returns to Houston Grand Opera in her role debut as Venus in a new production of Tannhäuser. On the concert stage, Ms. Cooke reprises much of her most celebrated repertoire, singing Mahler’s Second Symphony with Orchestra dell’Accademia Nazionale di Santa Cecilia and Daniel Harding, San Francisco Symphony and Esa-Pekka Salonen in his final performances as music director, and Vienna Radio Symphony and Marin Alsop at the Wiener Konzerthaus. She sings Mahler’s Third Symphony with the Netherlands Radio Philharmonic and Karina Canellakis, the Cologne Philharmonic and Cristian Macelaru, and the Tuscon Symphony Orchestra, where she also performs the Rückert-Lieder. She joins the Los Angeles Philharmonic and Gustavo Dudamel for a program of Alma Mahler, which she also brings to Royal Festival Hall in London with the London Philharmonia and Marin Alsop. Other concert engagements include Mozart’s Requiem with the Oslo Philharmonic and Klaus Mäkelä, Dvorak’s Stabat Mater with the Slovenian Philharmonic Orchestra, Schönberg’s Gurrelieder with the Vienna Symphoniker, Beethoven’s Ninth Symphony with St. Louis Symphony and Gemma New, and a concert with the Brazos Valley Symphony Orchestra featuring Des Knaben Wunderhorn with her husband, baritone Kelly Markgraf. In recital, Ms. Cooke returns to Wigmore Hall for a recital with pianist Malcolm Martineau, and Carnegie Hall for Shostakovitch’s From Jewish Folk Poetry with Susanna Phillips, Brandon Jovanovich, and pianist Evgeny Kissin. More info can be found at sashacooke.com

Maëlle Dequiedt is a stage director. She studied cello, literature and performing arts before joining the department stage director of the Théâtre National de Strasbourg in 2013. In 2016, she was director in residence at the Académie de l’Opéra National de Paris.

Her work is at the crossroads of theatre, performance, music, and video. In 2017, she created the company La Phenomena, based in the north of France. The company was in residence at the Théâtre de la Cité Internationale (2017-2020), was supported by the Pôle européen de Création du Phénix de Valenciennes-Amiens since 2020, and has been associated with the Scène Nationale d’Orléans since 2023.

In theatre, she has directed Penthésilée by Kleist, Trust by Falk Richter, I Wish I Was (collective writing), La Stratégie du choc based on Naomi Klein andTrigger Warning by Marcos Caramés-Blanco.

In opera, she created Shakespeare, fragments nocturnes (Académie de l’Opéra de Paris) and Les Noces, variations (Opéra de Lille). In 2023, she created Stabat Mater, based on the work by Domenico Scarlatti, with conductor Simon-Pierre Bestion and the La Tempête company (Bouffes du Nord, Opéra de Lille, Opéra de Rouen, Quartz de Brest, Manège de Maubeuge, Théâtre de Caen, Cité Bleue de Genève, Théâtre de Charleroi, etc.). In 2022, she was associated with the Performing Utopia programme at King’s College London, for which she co-directed a series of filmed performances, I’m off to work I have posted on the fridge all the instructions on how to make a revolution.

Alongside her creations, she leads a number of transmission workshops, notably for the IOA (Gent) and students at ENSATT (Lyon).

In 2024-2025, she will create Salon Strozzi at the Hessisches Staatsteater in Wiesbaden, Faire le mur at the Comédie de Colmar and L’Enfant et les sortilèges (an empty house) at the Opera Ballet Vlaanderen.

Stefaan Degand (°1978) studied drama at the Studio Herman Teirlinck in Antwerp. He also studied classical singing for a year at the Conservatory in Ghent. Degand has built a versatile career in theater, film, and television.

He has worked with numerous renowned theatres and companies, including Toneelhuis, KVS, LOD, Transparant, Walpurgis, Dogtroep, Abattoir Fermé, Theatercompagnie, Theater Zuidpool, Artemis, Theater Antigone, Mexicaanse Hond, Orkater, Het Gevolg, Het Banket, De Schone Compagnie, Compagnie Marius, Oxalys, Le Concert Spirituel, De Koe, Antwerp Symphony Orchestra, Het Paleis, Vlaams Symfonisch Orkest, De Roovers, and Opera Ballet Vlaanderen.

In 2023, he conducted Brahms’ Fourth Symphony. He is also the author of the bestseller Dag liefje, met Mila gaat het goed en ik klungel lekker verder.

Helene Bracke is a multifaceted artist working as a creator and singer in the music theatre world. Through her organisation, The Butter Effect, she engages in co-productions with major entities within the Belgian arts scene, including Opera Ballet Vlaanderen, Festival van Vlaanderen, Les Festivals de Wallonie, Musica Impulscentrum and Theater de Spiegel.

Her productions are staged both domestically and internationally. For example, Loopneus, a production she created with Theater De Spiegel in 2022, has already been performed 180 times. In 2023, it was performed in Germany, the Czech Republic, France, and the Netherlands. In the spring of 2024, the production toured across Flanders and played at prestigious venues such as the Elbphilharmonie in Hamburg and the Opéra National de Paris. This season, the production has been invited back to both the Opéra National de Paris and the Elbphilharmonie, and will also travel to Vilnius, Lithuania.

In collaboration with Musica Impulscentrum, Helene created @ASTRA, a children’s performance set to music by Wim Henderickx. This show has been performed in Flanders and Luxembourg and was selected to play at the RomaEuropa Festival in 2024.

In 2019, she released the album Once in a Weill with the chamber orchestra Casco Phil, conducted by Benjamin Haemhouts – a full album dedicated to the music of Kurt Weill.
In 2017, she and her prog-rock band The Advent of March (formerly Al di Miseria) released the album Maxwell’s Delusion – a prog-rock opera.

Currently, Helene expresses her love for crossover music in MONTER. MONTER is a duo (of three) that experiments with sounds from yesterday and techniques from tomorrow.

Helene performed in productions in collaboration with the York Trust Opera (UK), INART (SRB), Opera Vlaanderen, Festival van Vlaanderen, Zomeropera Alden Biesen, I Solisti del Vento, Casco Phil Orchestra, Spectra Ensemble, CloseOpera, NTGent, Theater de Spiegel, and Musica.

Helene graduated with a Master’s degree in Classical Music from the Royal Conservatory of Ghent. After her studies, she specialized in opera through a two-year training course at the International Opera Academy. She studied with Annemie Moens, Gidon Saks, Marcos Pujol, Jard van Nes (NL), Robert Alderson (UK), and Catrin Wyn-Davis, and took masterclasses with René Jacobs, Natalie Dessay, Michael Spyres, Charlotte Margiono, among others.

Since 2019, Jan Vandenhouwe is the artistic director of Opera Ballet Vlaanderen (Antwerp and Ghent). After studying musicology at the universities of Leuven and Berlin, Jan Vandenhouwe started working for the Belgian newspaper De Standaard as a music and opera critic. From 2005 to 2008, he was dramaturg of the Opéra national de Paris and worked closely with the artistic director Gerard Mortier. In those years, he was also responsible for the artistic programme of l’Amphithéâtre Bastille. From 2009 to 2011, he was responsible for the concert programme (of classical and contemporary music) at Concertgebouw Brugge. Since then, he has worked as a freelance music dramaturg for various organisations, including Teatro Real (Madrid), Ensemble InterContemporain (Paris) and Klarafestival (Brussels).

He has also collaborated with directors such as Anne Teresa De Keersmaeker (Così fan tutte in Paris, Mitten wir im Leben sind/Bach6Cellosuiten at the Ruhrtriennale, The Six Brandenburg Concertos at Volksbühne Berlin), Alain Platel (C(H)ŒURS in Madrid, nicht schlafen at the Ruhrtriennale), Ivo van Hove (Macbeth in Lyon, Brokeback Mountain in Madrid, Salome in Amsterdam, Boris Godunov and Don Giovanni in Paris) and Johan Simons (Fidelio in Paris, Boris Godunov in Madrid, Das Rheingold and Alceste at the Ruhrtriennale). From 2015 till 2017 he was Executive Dramaturg (Chefdramaturg) at the Ruhrtriennale.

Sabrina Avantario is an Italian pianist, opera vocal coach, Expert in Artistic Vocology also trained as singer, composer and (choir)conductor, currently based in Antwerp (Belgium), with vast experience in Italian repertoire. She has worked in numerous international opera productions and extensively in Lieder recitals (winning several chamber music awards).

Her international experience includes working in Belgium (regularly at Opera Ballet Vlaanderen and de Munt/la Monnaie), Greece (Greek National Opera), Switzerland (Luzern and Bern Opera House), Ireland (Wexford Festival Opera), Germany (Staatstheater Kassel), Japan (Otsu and Tokyo Bunkamura Hall), Lebanon (Al Bustan Festival, Beirut), Bahrein and many theatres in Italy (Teatro Comunale of Bologna, Festival dei due mondi of Spoleto, Ferrara Musica, a.o.). Conductors such as Claudio Abbado, Ottavio Dantone, Vladimir and Dmitri Jurowsky, Umberto Benedetti Michelangeli, Alberto Zedda, Alexander Joel; the composer Giancarlo Menotti; directors such as Michael Hampe, Luca Ronconi, Graham Vick, are some of the personalities she has worked with throughout her over thirty years of activity.

Sabrina Avantario worked from 1995 to 2015 at the Rossini Opera Festival in Pesaro as chief pianist and coach (Responsabile musicale).

She is Studienleiter, i.e. Head and Faculty member of the singing department at the Royal Conservatory of Antwerp, where she also founded a Vocology Laboratory.

She gives regularly Masterclasses at the Royal Conservatory of Brussels and has collaborated with the Royal Conservatory of Wallonia in Liège.

She is since 2023 founder and president of G.I.V.A., the Italian Group of Artistic Vocologists.

Dr. Elien Hanselaer is an actor, theatre maker and acting tutor in the United Kingdom and Belgium. Having completed her studies at KASK in Belgium and East 15 Acting School in the UK, Hanselaer performed with renowned international companies, including Dash Arts, Odin Teatret, and KVS.

In 2018, she received the esteemed Northern Bridge award, providing funding for her practice-based research on co-performer connection. Hanselaer’s research delves into the intricate dynamics of performers’ connections, exploring avenues for improved connectivity and investigating the transformative potential of a creative ideology that places co-performer connection at the core of the artistic process. Her research also translates to her work as an acting and spatial awareness tutor at Conservatorium Antwerpen and the International Opera Academy.

Currently, Hanselaer spearheads Korte Keten, an ambitious four-year arts project in Belgium that centers on nurturing cultural connections, encouraging artistic collaboration and forging meaningful relationships between artists and communities. For this project, she will direct two participatory productions this season. In addition, she will also be performing with DESCHONECOMPAGNIE in a Falstaff production.

Muriel Corradini completed her vocal and musical studies at the Conservatoire National Supérieur de Musique de Paris and the New England Conservatory of Boston (USA), where she graduated with a Master in vocal performance in 1989.

Since 1992, she has been much in demand as a language and vocal coach for the French and Italian repertoire. She has worked for l’Opéra National de Paris, the Royal Opera House of Covent Garden, the Amsterdam and Brussels Opera Houses, as well as the festivals of Glyndebourne and Salzburg.

For the last 25 years, Muriel has been a guest coach in many opera studios, like L’Académie de l’Opéra de Paris, the Young Artist Program of the Royal Opera House in London, the International Opera Academy in Ghent, the Amsterdam Conservatorium, the Young Singers Project of the Salzburg Festival, the Hochschule in Freiburg and the Irish Opera studio in Dublin.

At the same time, Muriel has kept studying vocal technique with Michelle Wegwart. Over the last 10 years, she has developed her activity as a voice teacher in a private studio in Paris.

Dutch conductor and pianist Enrico Delamboye (1977) was born in Wiesbaden, Germany. He studied piano with Joop Celis and orchestral conducting with Jan Stulen at the Conservatorium Maastricht (Netherlands).

Enrico Delamboye made his debut as an opera conductor in May, 1999 during the Internationale Maifestspiele at the Staatstheater Wiesbaden with Benjamin Britten’s The Rape of Lucretia.

Between 2000 and 2009 he was engaged as Conductor (1. und 2. Kapellmeister) at the Wiesbaden State Theater, Mainz State Theater, Wuppertal Opera and the Cologne Opera. From 2007-2014 he was professor for orchestral conducting at the Conservatorium Maastricht. From 2009-2019 he has been Chief Conductor of Theater Koblenz. Since 2018 he is First Guest Conductor of the WDR Funkhausorchester (Radio Orchestra Cologne).

Enrico Delamboye was invited as a guest conductor to the Komische Oper/Berlin, Theater Basel, Theater Bonn, Teatro Sao Carlos/Lisbon, Volksoper Wien and the Royal Danish Ballet in Copenhagen. He conducted symphonic concerts with the Deutsche Radio Philharmonie, Beethovenhalle-Orchester Bonn, MDR Sinfonieorchester, Südwestfälische Philharmonie, Württembergische Philharmonie (Germany), Sinfonieorchester Basel (Switzerland) Filharmonija Artur Rubinstein Lodz (Poland), Zagrebacka Fiharmonija (Croatia), Bangkok Symphony Orchestra (Thailand), Orchestre National de Montpellier LanguedocRoussillon (France) and Radio Filharmonisch Orkest, Phion and Philharmonie Zuidnederland (Netherlands).

His diverse repertoire includes Baroque (Monteverdi), the classic period (Beethoven, Mozart, Haydn, Schubert, Schumann) via the romantic core-repertoire (Bellini, Berg, Donizetti, Puccini, Tchaikovsky, Wagner, Verdi) up to contemporary pieces (Simons, Trojahn, Berio, Adams) in symphonic and operatic style.

Sára Gutvill is an Amsterdam-based singer and language coach (German, Hungarian, and Yiddish) for singers. Hungarian by birth, Sára studied German Literature and Linguistics in Vienna, and later classical singing at the Conservatory of Amsterdam with Pierre Mak.

Sára works as a lecturer at Amsterdam University College, teaching the course Music and Text, and teaches German for Singers at the Conservatory of Amsterdam and German Language Coaching at the International Opera Academy in Ghent. She also works as a German and Hungarian language coach a.o. at the Nationale Reisopera and the Groot Omroepkoor.

A grant from the Conservatory of Amsterdam for 2024–2025 allows Sára to conduct research into the education of languages at Dutch conservatories.

As a singer, Sára specializes in German Lied and Yiddish art song. Her album “Akh, nit gut!” was published in 2023.

Rachel Harland studied music as an undergraduate at Manchester University. As a postgraduate she trained in Musical Theatre at Central School of Speech & Drama and in Opera at Flanders Opera Studio. She also has an LRSM in vocal teaching.

As a singer she has performed in Belgium, U.K, U.S. and Canada for opera companies including Opera Holland Park, Carl Rosa Opera, Royal Opera La Monnaie and The Gilbert and Sullivan Opera Company.

An experienced solo recital singer in French and English song repertoire, Rachel has given recitals across Belgium and the U.K. and for Theatrical Adventures cruises on the Douro, Rhine, Danube and Nile.

As a teacher, she has led music workshops and coached for Aldeburgh Music, Music in Prisons, Manchester International Festival, Daniel Adamson Preservation Society, Agalin Music Camp in Thailand and Royal Conservatoire of Music in Antwerp.

Rachel is creative director of RHOK Show, directing singing groups, workshops and youth opera boot camps. In addition to teaching at the IOA, she is currently a singing teacher at Liverpool University, and director of youth productions at The International Gilbert and Sullivan Festival.

Born in Spain and trained in singing and piano, Mireia Pintó studied in Spain and later completed her vocal studies in France and Italy. She was rewarded with the most important prizes in several singing competitions in Spain and in Italy. Her wide repertoire, ranging from baroque to contemporary music, includes the genres opera, oratorio and Lied. She has taken part in several opera performances, music festivals and concert cycles in Italy, Russia, Holland, Germany, Greece, France, Andorra, Monaco, Japan, Czech Republic, Colombia and Spain. She has worked with conductors such as L. Maazel, G. Dudamel, P. Maag, R. Bonynge, H. Rilling, P. Goodwin, E. Ericson, A. Zedda, J.C. Malgoire, O. Dantone, M. Armiliato, R. Frizza, M. Benini and many others.

Since 1992 she performs as a duo with pianist Vladislav Bronevetzky, carrying out a substantial performing activity which has brought them to several countries.

Mireia is Professor of Singing at the ESMuC (High Music School of Catalonia-Spain), Vocal Advisor at the IOA in Ghent and in many masterclasses in several countries (Japan, Colombia, Portugal, Denmark…). She is the founder and artistic director of the International Music Festival in St. Fruitós de Bages-Spain, which has already celebrated 30 editions. She has been awarded by different Spanish cultural institutions for her contribution to music and culture.

Born in Manchester, England, Darren Ross studied at the Laban Centre for Movement and Dance in London. In 1988 he moved to France to dance in many creations with the ‘Compagnie de Brigitte Farges’. From 1992 he dances with the ‘Compagnie Larsen’, directed by Stéphanie Aubin, on different contemporary dance pieces and opera (Armide by Luly, Orphée et Eurydice by Glück).
In 1998 he choreographed his first opera La Traviata (Nancy, Rennes, Montpellier). This started a long collaboration as movement director and choreographer with director Jean-Claude Berutti. Together they worked on La Bague Magique by Giovanna Marini (Opéra de Nancy, Théâtre du Peuple Bussang), Faust (Lyon), Rusalka (Lyon, Tel Aviv, Bilbao), La Bohème, Wiener Blut and Othello (Nancy), Le Roi Candaule (Nancy and Liège) and Tannhaüser (Bordeaux).

He also collaborated with Jean-Claude Berutti for theatre: L’île des Esclaves — Marivaux (Brussels); Le Mariage de Figaro — Beaumarchais (Liège); Beaucoup de bruit pour rien — Shakespeare, La Cantatrice Chauve — Ionesco, L’Envolée -Granouillet, Family Art — Sales (Saint-Etienne); A tu et à toi, a ‘tour de chant’ with Yvette Théraulaz (Saint-Etienne, Genève, Lausanne)…

Together with director Caroline Petrick he worked on Weisse Rose — Zimmermann (La Monnaie Brussels) and The Golden Vanity, opera for children, by Benjamin Britten (La Monnaie Brussels, Royal Opera Stockholm).

With theatre company NUNC and Benjamin Van Torhout, he worked on Raisonnez (Ghent, Antwerp) and Het geslacht Borgia (Ghent, Antwerp, Leuven, Bruges). Together with Axel De Booseré and the Compagnie Arsenic, he worked on Le Dragon and Le Géant de Kaillass (Liège, Brussels, Paris). In January 2006, he directed Mozart onvoltooid/Mozart inachevé, a co-production of Pantalone, La Monnaie (Brussels) and Dschungel (Vienna).

Darren Ross also teaches movement and dance to singers (at the Chapelle Musicale de la Reine Elisabeth of Brussels, since 2004; Musikhochschule Frankfurt; Conservatoire National Supérieur de Musique et danse de Paris) and actors (amongst others, students of the Ecole d’Art Dramatique du CDN of Saint-Etienne).

With director Marguerite Borie he worked on Salome by Richard Strauss (Monte-Carlo, Liège, Vienna) and Reigen by Philippe Boesmans (Paris, CNSMDP). He also signed the choreography for Requiem for the Gods, a creation by Joachim Brackx with Nabla Muziektheater, co-produced by Concertgebouw Bruges. With Ivan Fisher, he collaborated on Le Nozze di Figaro — Mozart (Budapest, New York and Berlin).

Martin Wölfel was born in Potsdam, where he also grew up, received his first musical training and had his first experiences on stage and in front of the camera.

After his initial desire to become an actor (he had an admission to the Hochschule für Schauspielkunst Ernst Busch Berlin for 1990), he was drawn to music after all and began studying singing in Dresden in 1990, finishing under Margret Trappe-Wiel.

After unsuccessful attempts at tenor singing, he found his destiny as a countertenor in 1993. Since then his career has taken him to the State Operas of Berlin, Hamburg and Dresden, the Deutsche Oper Berlin, the Komische Oper Berlin, the Opéra National de Paris, the Teatro Colón Buenos Aires, the Korean National Opera Seoul, the Welsh National Opera, the Royal Opera House Covent Garden, the Norske Opera Oslo, the Theater Basel and the Oper Frankfurt, to which he has been a guest since 2006.

As a concert singer, he has toured with the Leipzig Gewandhaus Orchestra and the Academy of St. Martin in the Fields, among others, and has performed in Tokyo, Osaka, Toulouse, Cairo, Athens, Barcelona, Valencia and Amsterdam.

Numerous radio, television and CD recordings document his work.

Since 2007 he has taught at the Folkwang University of the Arts in Essen, where he was appointed to a professorship in 2017, and shares his experience in workshops and masterclasses (Kronenburg Classes, Conservatoire de Lille, Conservatorio Superior de Música da Coruña, International Opera Studio Frankfurt).

In 2020 and 2021 he was a lecturer at the “Gesangspädagogisches Zertifikat” (GPZ) of the Bundesverband Deutscher Gesangspädagogen (BDG).

Since 2020 he has been Vocal Adviser at the International Opera Academy Ghent.