01.

Biography

“The first night was unbeatably crowned by German soprano Maida Hundeling … She sang securely and beautifully in all registers, she is a charismatic and sophisticated soprano singer in her prime means of expressing emotions, varying from dreamy girl to later a determined woman…” (Novinky.cz)

Soprano Maida Hundeling’s 2018/19 season features several appearances at prestigious opera theaters throughout Europe. She makes her highly anticipated debut at the Royal Opera House as Helmwige in Keith Warner’s production of Wagner’s Die Walküre, led by Antonio Pappano, later reprising the role at the Staatsoper Hamburg conducted by Kent Nagano. She will present her first Brünnhilde (Die Walküre) conducted by Stefan Anton Reck at Teatro Petruzzelli in April 2019. At the Slovak National Theater, she stars in two of her signature Puccini title roles beginning with Tosca led by Martin Leginus then as Turandot later in the season. Hailed as a “top class Elektra” by Online Music Magazine last season, Ms. Hundeling concludes her 2018/19 season singing the title role of Strauss’ Elektra at the Croatian National Theatre in Rijeka.

In 2017/18, she began her season singing Leonore in Beethoven’s Fidelio at the Stadthalle Biberach to great acclaim. She returned to the role of Senta in Wagner’s Der fliegende Holländer at the Theater Lübeck and at the Teatro Petruzzelli di Bari. She was lauded for her portrayal of Strauss’ Elektra at the Staatstheater Braunschweig before returning to her signature title role of Tosca at the National Theatre Brno led by Ondrej Olos, and then at the Thurn und Taxis Schlossfestspiele where she was praised for her “full, dark primed soprano voice” (Mittelbayerische.de). Ms. Hundeling traveled to the The National Moravian-Silesian Theatre to sing Desdemona in Ivan Krejči’s production of Verdi’s Otello, where she received the annual Thalia prize. and following returned to the Slovak National Theater for the title role of Turandot.

Maida Hundeling applied a fierce dramatic soprano sound to the role of Senta.

Der fliegende Holländer, Opéra de Montréal (Montreal Gazette)

Recent highlights on the operatic stage include Maida’s thrilling debut at the Houston Grand Opera as the Foreign Princess (Dvořák’s Rusalka); the title role in Verdi’s Aida at the Schweriner Schlossfestspiele; and Turandot, Elsa (Wagner’s Lohengrin), and Leonore (Fidelio) at the SND Bratislava; and the title roles in Tosca and Janáček’s Jenůfa as well as Aida and Turandot at Hungary’s Bartók Plusz Operafesztivál and with the National Theatre Brno, as well as a concert version of Strauss’ Elektra with the Slovak Philharmonic.

In addition to her singular interpretations of the operatic canon’s most exciting soprano roles, Maida Hundeling is also highly regarded in recital and concert repertoire, including recent performances in Beethoven’s Symphony No. 9 with the Orchestra Sinfonica di Milano Giuseppe Verdi; singing Magna Peccatrix in Mahler’s Eighth Symphony at the Festival Smetanova Litomyšl; featured performances at a Wagner Gala with the Ostravian Philharmonic Orchestra; and recital performances of Wagner’s Wesendonk Lieder for the chamber music programs at Passau and Landshut.

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Biography

Ms. Hundeling has portrayed Ellen Orford (Peter Grimes) at the Staatsoper Hannover; debuted in Italy as Chrysothemis (Elektra) in a co-production with the opera houses in Bolzano, Modena, Piacenza, and Ferrara; sang Ariadne at the Staatstheater Nürnberg and Theater Freiburg; Giulietta (Offenbach’s Les contes d’Hoffmann) at the National Theatre Mannheim; and also made her debut at the Volksoper Wien as Tosca. Additional performances at the Volksoper have included Giorgetta in a new production of Puccini’s Il tabarro and the title role in Strauss’ Salome. She has also portrayed Rezia (von Weber’s Oberon) at the Theater Münster.

Engagements in Canada have included Senta (Wagner’s Der fliegende Holländer) at Opéra de Montréal, and Leonore (Fidelio) and the title role in Salome at Edmonton Opera. She made her debut in the United States as Turandot with the Utah Opera, in a national co-production created by André Barbe and Renaud Doucet.

Maida Hundeling celebrated the Richard Wagner Anniversary Year in 2013 in new staging’s of some of the composer’s most-loved works: Senta (Der fliegende Holländer) at the Staatstheater Wiesbaden and in Ljubljana, Slovakia; Elsa (Lohengrin) at the National Opera Theatre in Ostrava; and she also sang the role of Senta in Spain (concert version) and in a co-production with the Smetana Litomyšl Festival and Brno National Theatre.

Ms. Hundeling has frequently performed with the Prague State Opera in several roles, incuding Marta (Tiefland), Amelia (Verdi’s Un ballo in maschera), the title roles in ToscaAida, and Turandot, and an internationally lauded portrayal of Senta (Der fliegende Holländer). She also starred as Senta at the Statetheater Braunschweig (2008) and in Dortmund (2011). Her appearances in the title role of Cilea’s Adriana Lecouvreur, Katerina in Martinů’s Greek Passion (conducted by Jiří Bělohlávek), Donna Anna (Don Giovanni), and Giulietta (Les contes d’Hoffmann) also garnered rave reviews from audiences and critics alike at the Prague National Theatre.

She toured Japan in the title role of Aida in 2005, and later sang the opera at Saarbrücken in 2008 and the Leipzig Opera in 2010. Maida debuted her debut at SND Bratislava in 2007 as Ariadne in Strauss’ Ariadne auf Naxos, and later returned in the title role of Turandot. Ms. Hundeling portrayed Lisa in Tchaikovsky’s Pique Dame and Ellen Orford in Britten’s Peter Grimes at the Opernhaus Wuppertal, and in 2008 she made her debut at the Regensburg Theater as Marie in Berg’s Wozzeck. In 2009, Maida sang Chrysothemis (Elektra) at the Anhaltisches Theater Dessau; Elisabeth (Tannhäuser) at the Oldenburgisches Staatstheater; and Aida at Salzburg’s Großes Festspielhaus.

Maida Hundeling was born in Bizerte, Tunisia. Her first singing lessons were with the baritone W. Schürmann. In 1997, she participated in a masterclass held by KS W. Berry, made possible by a stipend from the Richard-Wagner-Verband in Bayreuth. She completed her vocal studies with the soprano O. Miljakovic in Vienna. From 2001-2003 she was a soloist at the Theater of Eisenach, starring as Agathe (von Weber’s Der Freischütz), Marta (d’ Albert’s Tiefland), and Elisabeth/Venus (Tannhäuser), and she later returned to Eisenach as a visiting artist in the annual festival to reprise her roles in Tannhäuser.

 

02.

Schedule

View Past Performances

03.

Latest News

Wagner’s Die Walküre from the ROH on BBC Radio 3

A recording of Die Walküre from the Royal Opera House is available for online streaming for another 27 days on BBC Radio 3!

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End of the year performances

On November 11 and 16, Maida Hundeling returns to the role of Helmwige in Wagner’s Die Walküre after her triumphant debut at the Royal Opera House, this time in Hamburg. Kent Nagano conducts the performances, with Robert Dean Smith as Siegmund, John Lundgren as Wotan, Lise Lindstrom as Brünhilde and Jennifer Holloway as Sieglinde.

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Debut at the Royal Opera House

On September 26, Maida Hundeling makes her debut at the Royal Opera House as Helmwige in Wagner’s Die Walküre. Antonio Pappano conducts a great cast, including Stuart Skelton, Emily Magee, John Lundgren and Nina Stemme. The final performance, on October 28, will be broadcast LIVE in cinemas.

For more information and tickets, click here.

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04.

Photos

05.

Videos

06.

Press

Maida Hundeling applied a fierce dramatic soprano sound to the role of Senta.

Der fliegende Holländer,
Montreal Gazette

Durchweg faszinierend jedoch waren die Leistungen sämtlicher Protagonisten und nur Brünnhildes Schwestern – die Walküren, (Maida Hundeling, Hellen Kwon, Gabriele Rossmanith, Irmgard Vilsmaier, Katja Pieweck, Ida Aldrian, Ann-Beth Solvang, Marta Swiderska) klangen an wenigen Stellen nicht ganz so einhellig, wie es für gemeinsam Kämpfende sein sollte.

Helmwige

Oper Magazin

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Her sister Valkyries were Alwyn Mellor, Lise Davidsen, Kai Rüütel, Claudia Huckle, Maida Hundeling, Catherine Carby, Monika-Evelin Liiv and Emma Carrington; and I haven’t heard them better sung.

Helmwige

Planet Hugill

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Wunderbar auch Maida Hundeling in der Rolle seiner Geliebten, der Sängerin Floria Tosca, mit einer fülligen, eher dunkel grundierten Sopranstimme. In sängerischer und darstellerischer Hinsicht wirkt sie an diesem Festspielabend als am wandlungsfähigsten: teils lyrisch geführt, teils mit resoluten Tönen aufwartend, und ihre Partie auch bis zum existenziellen Aufschrei einer gequälten Seele ausreizend.

Tosca

Schlossfestspiele Regensburg

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Maida Hundeling ist eine Elektra der Extraklasse

Elektra

Online Music Magazine

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Maida Hundeling (Fidelio/Leonore) fesselt mit ihrem gestaltungsstarken dramatischen Sopran.

Fidelio/Leonore

Schwäbische

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In the second episode of SchlossfestspieleTV, the "Aida" of the evening was a guest in the studio.

SchlossfestspieleTV: Tag 2

Mittelbayerische

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The Slovenská Filharmónia’s production of ‘Elektra’ caused such a stir that though it was not only the event of the SF (Slovenská Filharmónia) season, it became THE absolute outstanding main cultural event of the 2016/17 season ....Maida Hundeling as Elektra, presented her role with differentiated dynamics – vibrant and with balanced registration even into the extreme high she kept her voice slim and developed a full range of dynamics. She inhabits a fabulous full-bodied soprano voice, her dramatic arc was excellent - even with her costume (blood red with black detail fading to pale grey-white). Her entrances into the "action" were presented in a mode suitable for a concert performance without sacrificing any dramatic integrity- GRAND HEROINE!

Elettra

Opera Slovakia Online

The Slovenská Filharmónia directed by Maestro Juraj Valcuha, literally created a miracle with their production ‘Elektra.’ In 3 days Maestro Valvuha created a complete production .... no less adept was the ideally cast soloist, in the exposed role of Elektra – without doubt- excellently embodied by the German Soprano Maida Hundeling. She showed the internal development of the character which was quietly supported by the change in style and color of her dress.....

Elettra

Pravda

Experienced in the role, Maida Hundeling (16.7) was, although a bit more mature, was certainly also a convincing Aida in her refinement and sensitivity.

Aida

Online Merker

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Maida Hundeling applied a fierce dramatic soprano sound to the role of Senta.

Der fliegende Holländer,

Montreal Gazette

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In the title role the visiting Maida Hundeling proved to possess a unique dramatic soprano and the two premiers were handled with tone and expressive intensity.

Fidelio

Kultúra.Pravda.sk

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Maida Hundeling sings the Foreign Princess with cool command and composure; her poise and self-importance making it all too clear this meanie will steal the Prince from poor Rusalka. Just how much we don't like her proves how effective she is in the role.

Rusalka

Houston Chronicle

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German soprano Maida Hundeling is a thrilling Foreign Princess, the one who seizes her former lover when Rusalka is doomed to silence. She isn't conquering one desire, she's pursuing the thousand others, clearly.

Rusalka

Culture Map Houston

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... the Foreign Princess (soprano Maida Hundeling, dressed to the nines in satin gown like Grace Kelly and singing most elegantly).

Rusalka

HoustonPress

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The title role was played by soprano Maida Hundeling and she gave her character all that is needed. She could be exalted, passionate, poignant and somewhat comically annoying in the first act, excellently sung, she played and looked great. I must underline its performance in the cantata offstage (in this case from the foyer) in the second act. It is somewhat neglected and at the same time very difficult passage, but with Maida Hundeling it was clear and understandable, almost as if on stage or nearby.

Tosca

Brno - město hudby

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Soprano Maida Hundeling gives a powerful yet nuanced performance in the title role. This Turandot isn't just cold and remote. She is terrifying ... Hundeling's delivery of "In questa reggia," the aria in which the princess explains why she hates men, will knock you back in your seat. Yet the singer also reveals Turandot's vulnerability. Her body language in the riddle scene is particularly telling.

Turandot

The Salt Lake Tribune

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The best was given by the soloists, at least in principle roles. The first night was unbeatably crowned by German soprano Maida Hundeling's Senta, that perfectly fulfilled the image of the Wagnerian character, both in her singing, and acting. She sang securely and beautifully in all registers she is a charismatic and sophisticated soprano singer in her prime means of expressing emotions, varying from dreamy girl to later a determined woman ... Hundeling plays Senta so that viewers see her determination to go beyond the boundaries of the reality of life.

Der fliegende Holländer

Novinky.cz

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Maida Hundeling ... has worked in the great opera houses of Europe and has excelled in her artistry as Adriana Lecouvreur. She brought the title role to life with a beguiling interpretation of the aria "Io son l'umile ancella" in the first act. With her overwhelming voice she sang to the hearts of the audience. One wishes that these sounds may never end.

Adriana Lecouvreur

Regionews

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il soprano Maida Hundeling una Senta «abitata» dalla sua ossessione quanto dotata di una caratura vocale, una potenza e un colore davvero notevoli che ne fanno la punta di diamante di un cast come sempre di ottimo livello.

Der fliegende Holländer

Corriere del Mezzogiorno

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Il soprano tunisino ha superato senza sforzo tutte le asperità del ruolo sfoggiando un registro acuto fenomenale, e ha onorato tutte le esigenze dinamiche previste dal compositore

Der fliegende Holländer

Quotidiano di Puglia

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La Senta di Maida Hundeling, per chiudere, è pressoché perfetta – ed anche il pubblico l’ha premiata, alla fine, con una vera e propria ovazione – che si avvale di un fraseggio di grande spessore drammatico, unito ad una intonazione mai pregiudicata ed una voce potente da vero soprano drammatico: se a questo si unisce la statura e la prestanza fisica se ne ricava una forte impressione, come sempre dovrebbe essere per una autentica eroina wagneriana.

Der fliegende Holländer

Fermata Spettacolo

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Bellissima sorpresa la Senta di Maida Hundeling, passionale e dal timbro immacolato, possiede un tonnellaggio vocale impressionante che scavalca impetuosamente il muro del sonoro orchestrale, alternando una interpretazione di struggente melanconia ad una esaltazione appassionata, grazie anche ad una perfetta dizione e ad un fraseggio nitido.

Der fliegende Holländer

MTG Lirica

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07.

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