Celebrated for her gorgeous voice and impeccable musicianship, Canadian mezzo-soprano Anita Krause is equally esteemed in the concert hall and on the opera stage. She has performed with many of North America’s leading orchestras, including the Chicago Symphony, l’Orchestre symphonique de Montréal, the Baltimore Symphony and the Toronto Symphony (TSO). Ms. Krause has also appeared with the National Arts Centre Orchestra (NACO), the Rochester Philharmonic, the Grant Park Symphony, and Les Violons du Roy, as well as with the orchestras of Vancouver, Calgary, Québec, Edmonton, Nova Scotia, Kitchener-Waterloo and the Canadian Opera Company. She has collaborated with such leading conductors as Christoph Eschenbach, Charles Dutoit, Carlos Kalmar, Yannick Nézet-Séguin, Bernhard Gueller, Hans Graf, Eliahu Inbal, Kent Nagano, Paavo Jarvi, Gerard Schwarz, Pinchas Zukerman, Stefan Lano, Bernard Labadie, Bramwell Tovey, Bruno Weil and Yoav Talmi.
Of special interest in 2017 are her performances for Vancouver Opera in DEAD MAN WALKING and LE NOZZE DI FIGARO, in addition to ELIJAH for Chorus Niagara, Durufle’s REQUIEM for The Florida Orchestra and as Romeo in I CAPULETI E I MONTECCHI for Toronto’s VOICEBOX: Opera in Concert.
In April of 2015, Ms. Krause made her highly acclaimed debut at the Stratford Shakespeare Festival as the Mother Abbess in THE SOUND OF MUSIC. Other engagements in the 2015-2016 season, included Mahler’s SYMPHONY NO. 8 with the Calgary Philharmonic, Mozart’s REQUIEM MASS with Symphony Nova Scotia and Bach’s MASS IN B MINOR with Chorus Niagara.
Some recent highlights include MESSIAH with l’Orchestre symphonique de Montréal and NACO, Mozart’s REQUIEM and Haydn’s LORD NELSON MASS for the Toronto Mendelssohn Choir, her debut at the Oregon Bach Festival singing works of Tippett and Debussy, Bach’s MASS IN B MINOR for the Grand Philharmonic Choir, Verdi’s REQUIEM for Chorus Niagara and the Elora Festival, concerts with the Aldeburgh Connection and the Talisker Players in Toronto and in London, Ontario with the Fanshawe Singers.
Mozart, Mahler and Beethoven are important in Ms. Krause’s repertoire and she has appeared for the Lanaudiere Festival, Orchestre symphonique de Montréal, the Colorado Symphony, Les Violons du Roy, the Utah Symphony and Vancouver Chamber Choir in Mozart’s REQUIEM, and his MASS IN C MINOR with the Toronto Mendessohn Choir and Chorus Niagara; Mahler’s SYMPHONY NO. 8 for the Toronto Symphony, NACO, Orchestre Metropolitain du Grand Montréal, his SYMPHONY NO. 2 for the Winnipeg Symphony and both Mahler’s SYMPHONY NO. 2 and 3 for l’Orchestre symphonique de Québec; Beethoven’s SYMPHONY NO. 9 for the Calgary Philharmonic, Tafelmusik, the Kitchener-Waterloo Symphony and Orchestra London Canada, MISSA SOLEMNIS for Chicago’s Grant Park Festival and Edmonton’s Richard Eaton Singers and the MASS IN C for the Colorado Symphony. She has performed Handel’s MESSIAH for the TSO, Calgary Philharmonic, Elmer Iseler Singers/Amadeus Choir, Victoria Symphony, Vancouver Bach Choir and Rochester Philharmonic.
Other credits include Verdi’s REQUIEM with NACO, Orchestra London, Kingston Symphony and Chorus Niagara, Tippett’s CHILD OF OUR TIME for the Grant Park Festival, Mendelssohn’s ST. PAUL with the Berkshire Choral Festival, ELIJAH with the Calgary Philharmonic and Duruflé’s REQUIEM with the Vancouver Chamber Choir.
On the opera stage she has sung Gertrude in HAMLET with Opera Lyra Ottawa, Cornelia in GIULIO CESARE and Adalgisa in NORMA with Pacific Opera Victoria, Suzuki in MADAMA BUTTERFLY, Emilia in OTELLO, Ursule in BEATRICE ET BENEDICT and the title role in Gary Kulesha’s RED EMMA for the Canadian Opera Company. She has also enjoyed success in SALOME with Seattle Opera and Opera Lyra Ottawa, MADAMA BUTTERFLY with Glimmerglass Opera, SEMELE with Chicago Opera Theater, Mallika in LAKMÉ with Opera Ontario and Offenbach’s BARBE BLEU with l’opera francais de New York. In addition, she has performed with the opera companies of Vancouver, Calgary, Québec, Manitoba and Saskatchewan.
Ms. Krause has demonstrated impressive versatility as a soloist with orchestras in a wide range of repertoire including Mozart arias with the Chicago Symphony, BLUEBEARD’S CASTLE, WOZZECK and Stravinsky’s MAVRA with l’Orchestre symphonique de Montréal, BLUEBEARD’S CASTLE with the Baltimore Symphony, Elgar’s SEA PICTURES with the TSO, Stravinsky’s PULCINELLA with the Canadian Opera Company Orchestra, Mahler’s RÜCKERT LIEDER with the Vancouver Symphony and IL TRAMONTO with the CBC Vancouver Orchestra.
Now resident in London, Ontario, she has been hailed as a “recitalist of rare intelligence and integrity” (National Post, Toronto) and has appeared at the St. Lawrence Centre’s Music Toronto Series, the Ottawa Chamber Music Festival, the Virtuosi Series in Winnipeg, the Aeolian Chamber Music series in London, Ontario, the Guelph Spring Festival, and Rendez-Vous Musical de Laterriere in Quebec. Her performances are frequently broadcast across Canada on CBC radio.
A prizewinner at the Salzburg International Mozart Competition, she has also garnered awards from the George London Foundation, the Jean Chalmers Fund, and the Canada Council. She was awarded 1st Prize at the Canadian Young Mozart Singers Competition, the Silver Medal at the CBC Young Artists Competition and has been a fellow at the Steans Institute at the Ravinia Festival.
Her discography includes Vivaldi Sacred Music with the Aradia Ensemble on the Naxos label, and “Verdi and Rossini Rarities” with the COC Orchestra for CBC discs.
|Berlioz||Ursule/Béatrice||BÉATRICE ET BÉNÉDICT|
|Bernstein||Dinah||TROUBLE IN TAHITI|
|Britten||Lucretia||THE RAPE OF LUCRETIA|
|Donizetti||Alisa||LUCIA DI LAMMERMOOR|
|Humperdinck||Hänsel||HÄNSEL UND GRETEL|
|LA CLEMENZA DI TITO
COSI FAN TUTTE
|Offenbach||Blanche||ARIANA ET BARBEBLEU|
|Strauss, R.||Komponist, Dryad
|ARIADNE AUF NAXOS
Mass in B Minor
Symphony no. 9
Mass in C major
Missa SolemnisBerliozLes Nuits d’étéBrahmsAlto RhapsodyDurufléRequiemElgarSea PicturesHandelDixit Dominus
Harmonie MesseMahlerDal Lied von der Erde Kindertotenlieder
Lieder eines fahrenden Gesellen
Symphony Nos. 2, 3, 8Mendelssohn
A Midsummer Night’s Dream
PaulusMozartCh’io Mi Scordi di Te K505
Mass in C minor
Vesperae Solonnes de ConfessoreRaminshMagnificatRespighiIl TramontoRossiniPetite Messe SolennelleTippettA Child of Our TimeVerdiRequiemWagnerWesendoncklieder
“Anita Krause makes a fine Mother Abbess, strong of voice and straightforward of emotion.” [Stratford Festival, Sound of Music] Toronto Star – Richard Ouzounian
Mezzo Anita Krause has a voice like a warm embrace and a refined, painterly sense of colour. (National Arts Centre Orchestra, Messiah)
Ottawa Citizen – Natasha Gauthier
“Anita Krause was outstanding in her one solo offering from Mozart’s COSI FAN TUTTE.”
The Ottawa Citizen – Richard Todd
“Krause delivered Ombra mai fu from XERXESs with stirring nobility and Svegliatevi nel core, from GUILIO CESARE, with fire…in Schumann’s ‘Frauenliebe und leben, Krause’s strong passionate portrayal overcame the inherent sexism of a cycle…Krause’s German diction was clear and vivid, especially in the final song which Krause presented with operatic intensity. Krause is clearly a recitalist of rare intelligence and integrity.”
National Post – Tamara Bernstein
“Anita Krause sweetly pious in this eco-aria, but thrilling in the far tougher “Ou va le jeune indoue, the bell song, with its demanding coloratura and ascending runs. Elsewhere she above all found the innate magic of this music.”
Toronto Star – Geoff Chapman
“Krause displayed her rich, sharply focused voice and sense of musicianship that brought out the depth and subtlety of Brahms’ writing.”
The Ottawa Citizen – Richard Todd
“Anita Krause a été simplement parfaite. Il faut dire qu’après tous les drames qui se sont joués jusque-là, entendre s’élever la voix humaine semble tenir du prodige.”
Le Soleil – Richard Boisvert
“Mezzo-soprano Anita Krause, Suzuki brought to her role a warmly resonant voice and strong dramatic skills.”
(Calgary Opera, MADAMA BUTTERFLY)
Opera Canada – Kenneth DeLong
“Krause, the young mezzo, was particularly impressive, focusing her steady, gleaming voice on the musical and spiritual meaning of what she had to sing.” (Elora Festival)
Globe and Mail – Ken Winters
“Anita Krause rend la fragilité du personnage de Judith (ou Judit selon la partition originale) tout en projetant une voix irréprochable.”
La Presse – Claude Gingras
“Anita Krause firmly characterized the tiny role of the Page with expressive acting and a plangent, supple voice.”
(Seattle Opera, SALOME)
Opera Canada – Robert Jordan
“Anita Krause doles out her rich and flexible tone in the part of Judith. Krause’s gorgeously dusky and plaintive approach worked well…as Judith learns her fate…Krause’s sound shifted from gleaming wonder to grim horror.”
Washington Post – Daniel Ginsberg
“Anita Krause is a strong Adalgisa displaying a secure technique and bulls-eyeing difficult high notes.”
Times Colonist – Adrian Chamberlain
“Liber Scriptus” from Requiem by Verdi
Anita Krause appears as the soloist with The Florida Orchestra singing the famous Pie Jesu in the gorgeous Duruflé Requiem. Concerts occur on February 16, 17, and 18.
Anita Krause sings the role of Marcellina in Mozart’s Le Nozze di Figaro with Vancouver Opera. Leslie Ann Bradley and Lara Ciekiewicz appear in the same production as Countess Almamiva. Performances run from April 30 through May 18.