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)

The 2020/2021 season called Ms. Hundeling back to SND Bratislava for the premiere of Aida, where she also returned to the roles of Abigaille and Turandot, as well as a new production of Nabucco at NDM Ostrava. In October 2020 she appeared as the title role of Aida in a Gala performance at HNK Ivana pl. Zajca Rijeka. The first new production in 2021 was Tosca at NDM Ostrava, which was livestreamed, followed by additional Tosca performances in Rijeka. On the summer of 2021, Maida has been invited to appear at the Arena di Verona Festival in performances of Turandot, Aida and Nabucco. These performances had been postponed from the previous summer due to the global pandemic.

Her 2019/2020 season began with Beethoven’s Symphony No. 9, followed by her role debut as Abigaille in Nabucco at SND Bratislava, where she also sung Turandot, Tosca and Abigaille. The first production of 2020 was Tristan und Isolde in Rijeka for the European Capitol City of Culture, in which she sung the female title role to great acclaim.

In 2018/2019 Maida Hundeling made 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 later presented her first Brünnhilde (Die Walküre) conducted by Stefan Anton Reck at Teatro Petruzzelli in April 2019. The highlight of the season was her performance in June 2020 at NCPA – Beijing Opera in the 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 Abigaille in Nabucco, 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.

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

03.

Latest News

Maida Hundeling: Vybudovať si dramatický repertoár je náročný a dlhodobý proces

Opera Slovakia

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).

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Lohengrin at the Royal Opera House

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.

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Tosca and Nabucco in Ostrava

This winter, Maida Hundeling returns to the Národní Divadlo Moravskoslezské in Ostrava. She stars as Abigail in Verdi’s Nabucco on December 15, January 4 and February 4, and in the title role of Puccini’s Tosca on December 27, January 5 and March 9.

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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

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

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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

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...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

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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

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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

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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

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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

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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

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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

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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

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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

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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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