Praised by the press for her “fierce and dramatic soprano sound with ringing top notes” and for being a “charismatic and sophisticated singer in her prime with ample means of expressing emotions with secure and beautiful singing in all registers”, she is best known for her heroines in the German Romantic repertoire, especially in operas by Wagner, R. Strauss, Beethoven and Weber among others. She often sings dramatic soprano roles by Verdi, Puccini, Janáček, Dvořak, Smetana and Tchaikovsky.
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.
Ms Hundeling started the season 2023/24 in Prague, singing the soprano part in Shostakovich’s Symphony No. 14 with the Czech Radio Symphony Orchestra under the baton of R. Jindra. This was followed by the role of Abigaille in a new production of Verdi’s Nabucco at SND Bratislava and repertoire performances of Nabucco and Tannhäuser at NDM Ostrava.
In November/December of 2023, she sang the title role in Puccini’s Turandot at the Nationaltheater Mannheim and an R. Strauss and Wagner recital with V. Egel at HNK I.Pl. Zajc, Rijeka. The soprano returned to one of her signature roles, Strauss’ Elektra, in a revival of the production by M. Blazevic at HNK I Pl. Zajc, Rijeka in January 2024 including a guest performance at HNK Zagreb and taking over the role of Turandot in the revival production at the National Theater in Prague.
Maida Hundeling applied a fierce dramatic soprano sound to the role of Senta.
Der fliegende Holländer, Opéra de Montréal (Montreal Gazette)
In March 2024, Ms Hundeling sang various Puccini heroines in a Gala concert with the Slovakian Filharmonie in Košice. As Elektra, she stepped in for 2 performances on short notice at the Lübeck Theater (April 2024) in a new production staged by KS Brigitte Fassbänder. For the title role of Aida, she returned to the revival production at SND Bratislava in May 2024. In June 2024, Ms Hundeling joins the Royal Opera House as Turandot on their Japan (Tokyo) Tour, under the baton of Mo Antonio Pappano. Her final performances of the season are as Turandot at the Trapani Festival in Italy.
Plans for the 2024/ 2025 season include a concert of Mahler’s Symphony No. 8 (Magna Peccatrix), a new production of Fibich’s Šarka in which she sings the title role, a new production of Turandot, in January 2025 Wagner’s “Ring an einem Abend”, Maddalena in Andrea Chénier, Die Walküre, Siegfried and Götterdämmerung among others.
In May 2022, Ms Hundeling made her highly acclaimed role debut as Ortrud in Lohengrin at the Royal Opera House in London and in the summer of 2021 she made her debut at the Arena di Verona. Her next major projects will take her to the NCPA in Beijing as Brünnhilde in Siegfried and Götterdämmerung, and she will perform in the new Ring cycle at Royal Opera House (Die Walküre) and the new production of Turandot at Opéra de Montréal.
Major roles as Elisabeth/Venus in Tannhäuser, Elsa/ Ortrud, Senta, Sieglinde, Brünnhilde, Isolde, Chrysothemis/Elektra, Salomé, Ariadne auf Naxos, Leonore in Fidelio, Marie in Wozzeck, Tosca, Turandot, Aida, Abigaille, Amelia in Ballo in maschera and Desdemona, have led Ms Hundeling to opera houses worldwide, such as Houston Grand Opera, Salt Lake City- Utah Opera, Edmonton Opera, Opéra de Montréal, Hamburg and Leipzig, Braunschweig, Oldenburg, Wiesbaden, Freiburg, Saarbrücken, Dortmund, Bielefeld, Münster, Regensburg, Tokyo, NCPA- Beijing, Prague, Ljubljana, Brno, Ostrava, Bratislava, Vienna, Bari, Venice, Bolzano, Piacenza, Modena, Milano, Palermo, Rijeka, Trieste, etc.
Maida Hundeling was born in Bizerte, Tunisia. Her first singing lessons were with the baritone Werner 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 KS Olivera Miljakovic in Vienna and the tenor Jan Vacik. She had the chance to work intensely with Richard Trimborn in Munich. 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.
It is with great regret that Sondra Radvanovsky has had to withdraw from the title role of Turandot on The Royal Opera’s Japan tour due to a severe ear infection and sinusitis. She will be replaced, at the recommendation of Music Director Antonio Pappano, by soprano Maida Hundeling who is scheduled to sing the same role with The Royal Opera in 2025/2026 Season, gaining greater attention.
Nemecká sopranistka Maida Hundeling už 15 rokov účinkuje aj na Slovensku a začiatkom septembra vystúpi v SND v titulnej postave Pucciniho Turandot. Pri tejto príležitosti v rozhovore pre Opera Slovakia hovorí, čím ju operné javisko očarilo, o svojich začiatkoch a postupnom budovaní repertoáru, o operných postavách a debutoch na medzinárodnej scéne, aká bola jej cesta na české a slovenské javiská, ale aj prečo dokáže vysloviť kritický názor na niektoré inscenácie a aké je pôsobenie na voľnej nohe. Tiež prezradila, čo ju čaká v najbližšom období a ako rada trávi voľný čas.
Maida Hundeling je dramatický soprán pravidelne hosťujúci prevažne v európskych operných divadlách vrátane českých aj slovenských, ale predstavila sa aj na iných svetadieloch. Z nedávneho obdobia spomeňme jej dva významné debuty – v Royal Opera House v Londýne (2018) či v talianskej Arene di Verona (2021).
This spring, for two performances on May 11 and 14, Maida Hundeling returns to Covent Garden to sing the role of Telramund’s evil wife Ortrud in David Alden’s acclaimed staging of Wagner’s early masterpiece, Lohengrin. Brandon Jovanovich leads the cast as the mysterious ‘swan knight’ Lohengrin, sent to defend the accused Elsa von Brabant, under the condition that she must never ask his true identity. Jennifer Davis and Kostas Smoriginas will sing Elsa and the wicked Friedrich von Telramund. Jakub Hrůša conducts.
Maida Hundeling applied a fierce dramatic soprano sound to the role of Senta.
Der fliegende Holländer,
Montreal Gazette
“
È stato un autentico tour de force il concerto del rinomato soprano tedesco Maida Hundeling che ha inaugurato la stagione concertistica del Teatro Nazionale Croato “Ivan de Zajc” di Fiume... Dal punto di vista artistico e musicale, l’esibizione della straordinaria cantante lirica ha portato sulla scena fiumana alcuni brani del repertorio lirico raramente o mai prima eseguiti allo “Zajc” e confermato ancora una volta l’altissimo livello di qualità dell’Orchestra dell’Opera, ovvero dell’Orchestra sinfonica fiumana, sotto la sempre ispirata e precisa direzione del Maestro Valentin Egel.
Gala Concert, Rijeka Opera House
La Voce
“
Maida Hundeling e Ragàa Eldìn si calano convintamente nei panni della protagonista e dell’amante-vilain Gastone, prima nell’ampia aria “Forse son troppo vile” nella quale la Hundeling da mostra di un fraseggio temperamentoso, e poi nel duetto finale “Sola! e Agnese dov’è?” che vede ottimo deuteragonista Eldìn.
La Tilda, Festival Toscanini
Le Salon Musical
“
...nel caso dell’Isolde statuaria e autorevole di Maida Hundeling, in buonissime mani. Voce potente, uguale in tutti i registri, facile nell’ascesa agli acuti, capace di flettersi in fraseggi di rara morbidezza e di grande forza espressiva, Maida Hundeling è una delle grandi cantanti wagneriane e straussiane del momento.
Tristan und Isolde, Rijeka
Le Salon Musical
“
Duge stajaće ovacije, glasni povici oduševljenja i gromki aplauzi koji su se u trenutku kada je na pozornicu izašla Maida Hundeling pretvorili u pravo skandiranje reakcija su riječke publike na prvu izvedbu neke Wagnerove opere u Rijeci. Takva snažna reakcija pokazala je koliko se publici svidio prvi riječki Wagner, priča o Tristanu i Izoldi, o Ljubavi i Smrti. - Maida Hundeling je doista čudesna… neopisivo je što ona ’emitira’… bez riječi sam.
Tristan und Isolde, Rijeka
Fiuman
“
The upper tessitura with its eight B-flats and four C-naturals were tossed off with an absolute assurance of pitch and projection rarely heard since Inge Borkh or Birgit Nilsson. G-naturals above the stave exploded with extraordinary power. The piercing A-natural on “Es ist nicht war!” would have convinced Aristotle the world was flat.
Elektra, Croatian National Theatre Rijeka
Operawire
“
Soprano wagneriano nell’accezione più positiva del termine, con registro acuto solido e sciabolante impreziosito ovunque da un accento drammatico assai magnetico, un timbro seducente e un canto plastico – al netto di un lieve vibrato che si accentua nell’emissione a mezza voce – la Hundeling si impone senza dubbio come la scoperta più interessante della serata.
Ravello Festival
L'Ape Musicale
“
Ad aprire il concerto la Lyrische Symphonie op.18 di Zemlinsky per orchestra, con voci soliste il soprano, Maida Hundeling e il baritono Thomas Gazheli. Le due voci, al riparo dalle interferenze tipiche dell’esecuzione all’aperto, hanno brillato per timbro ed espressività.
Ravello Festival
Gazzetta di Salerno
“
La compagnia di canto è dominata dall’Elettra del giovane soprano tedesco Maida Hundeling, un elemento in piena ascesa nel repertorio wagneriano e straussiano, che coniuga un canto vibrante e a tratti potente, ad ampi squarci di espressività dolente e ripiegata su se stessa offrendo della protagonista un ritratto capzioso e sfaccettato nel suo desiderio di vendetta.
Elektra, Wiesbaden
Le Salon Musical
“
Nel ruolo eponimo, una stupenda cantante, una conferma sicura di quanto già sapevo, avendo ascoltato Maida Hundeling già, alcuni anni fa, qui a Bari, interprete di una Senta che molto mi aveva impressionato in un Fliegende Holländer che ricordo con molto piacere. Perché se la voce, decisamente chiara e limpida nel suo splendore, se l’intonazione sempre perfetta, se il fraseggio di grande spessore drammatico, se tutto questo fa parte, come dire, della dotazione d’obbligo d’una buona interprete wagneriana – almeno così dovrebbe – è soprattutto sul piano visivo e drammatico, nelle ottime doti drammaturgiche, in una interpretazione senza sbavature e senza cadute, che si costruisce una Brünnhilde in grado di essere letta, compresa, capita anche ai nostri giorni, eroina del quotidiano traffico della contemporaneità, fuori dall’enfasi estatica e struggente d’un mondo perduto.
Die Walküre, Bari
Fermata Spettacolo
“
Desdemonu ve čtvrtek při premiéře ztvárnila Maida Hundeling jedinečným způsobem. Sopranistka má naprosto mimořádný hlas s ohromujícími výškami v nejjemnějším pianissimu. Její Desdemona okouzlila nevšední hloubkou svého projevu, v kterém dokonale sloučila mystickou čistotu Desdemony s její přirozenou, nenucenou ženskou krásou. Podmanivé kouzlo jejího zvonivého stříbrného sopránu účinkovalo okamžitě, dynamické prokreslení bylo nedostižné, stejně jako její nenásilné, přitlumené herectví, pohyb po scéně a neafektovaný, přesto však na důležitých místech důrazný dramatický akcent. Desdemona Maidy Hundeling není slepou obětí, která se bezelstně poddá psychopatickému manželovi. Do poslední chvíle nechápe, co se s manželem stalo a snaží se věcem přijít na kloub. Nevěří až do poslední chvíle, že situace je natolik zlá a neztrácí statečnost a víru. Úchvatně zapůsobila její modlitba za odpouštění hříchů Panně Marii v závěrečném dějství.
Otello, Ostrava
Ostravan.cz
“
La soprano tedesca ha sorpreso per la sua conoscenza delle sinfonie wagneriane in cui si contraddistinta per un eccezionale timbro vocale sapientemente mescolato ad una buona dose interpretativa.
Fasano recital
Osservatorio Oggi
“
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
“
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
“
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
“
Maida Hundeling (Fidelio/Leonore) fesselt mit ihrem gestaltungsstarken dramatischen Sopran.
Fidelio/Leonore
Schwäbische
“
In the second episode of SchlossfestspieleTV, the "Aida" of the evening was a guest in the studio.
SchlossfestspieleTV: Tag 2
Mittelbayerische
“
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
“
Maida Hundeling applied a fierce dramatic soprano sound to the role of Senta.
Der fliegende Holländer,
Montreal Gazette
“
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
“
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
“
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
“
... the Foreign Princess (soprano Maida Hundeling, dressed to the nines in satin gown like Grace Kelly and singing most elegantly).
Rusalka
HoustonPress
“
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
“
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
“
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
“
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
“
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
“
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
“
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
“
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
Artists Management Vienna
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