|
The Israeli-born soprano, Talia Or, grew up in Germany. She first began studying violin before deciding to study singing at the Hamburger Hochschule für Musik and Drama. There, she won the Mozart-Competition as well as the Competition for sacred song and oratorio in 2002, and finished her studies at University of Music and Theatre Hamburg with honour. During her study she already gave her debut at State Opera Hamburg.
After her studies, Talia Or directly became member of the Opera Studio of the Bavarian State Opera Munich. In the period from 2004 to 2009 she was member of the ensemble of State Theatre at Gärtnerplatz Munich and sung light lyric repertoire, Adele in Die Fledermaus, Rosina in Il Barbière Di Siviglia, Pamina in W.A. Mozart's Die Zauberflöte, Valencienne in The Merry Widow and Lauretta in Gianni Schicchi. At the same time she was a regular guest at Bavarian State Opera in Munich and could be heard there as Voce del Cielo in Don Carlo under Paolo Carignanil as Lʼamour in Orphée et Eurydice as under Ivor Bolton; as Junges Mädchen in Arnold Schoenberg's Moses And Aron under Lothar Zagrosek; as Child in Engelbert Humperdinck's Königskindern under Fabio Luisi, which was celebrated in the media; as well as as understudy for the title-role in Unsuk Chin’s Alice in Wonderland,.
During her young career, Talia Or has already worked with famous conductors such as Marc Albrecht, Betrand de Billy, Ivor Bolton, Fabio Luisi, Lorin Maazel, Zubin Mehta, Ingo Metzmacher, Gianandrea Noseda, Kirill Petrenko, and Lothar Zagrosek. Furthermore she has been a guest at important opera houses: La Scala Milan, Bavarian State Opera Munich, Teatro Regio Turin, Teatro dell Maggio Musicale Florence, Palau de les Arts Valencia, State Opera Hamburg, Theatre La Monnaie Brussels.
Important steps in Talia Or's operatic career include, amongst others, Über Frauen Über Grenzen, a world premiere during Biennale Arts Festival Munich, staged by Stefan Herheim; her acclaimed role debut as Elizabeth Zimmer in Henze’s Elegy for young lovers at Teatro Arriaga in Bilbao (Director: Pierre Luigi Pizzi), her debut as Adina at Staatstheater am Gärtnerplatz Munich as well as the First Flower Maiden under the baton of Lorin Maazel in a new production of Wagner’s Parsifal the Palau de les Arts Valencia. Furthermore she was seen in Die Passagierin at Bregenz Festival. She made her debuts at the New National Theatre Tokyo and at the Hamburg State Opera as Despina in W.A. Mozart's Cosi fan tutte. She debuted as Marzelline in L.v. Beethoven's Fidelio at Teatro Regio Turin under Gianandrea Noseda. She gave as Tatjana in ugen Onegin her debut at Teatro di Sao Paulo in Brazil. Other obligations of the previous season included the Hélène d'Egmont in Donizetti's Le Duc D'Alba at Vlaamse Opera in Antwerp, Adina in Elisir d'amore at Opéra de Limoges and Franz Liszt's Christ at Israel Festival in Jerusalem. She also sang the first Flower maiden in a new production of Parsifal at Teatro Regio Torino under the baton of Bertrand de Billy. At Bregenz Festival, she performed in three roles - as Sacerdottessa in Aida and in the acclaimed productions of the operas by Weinberger, The Passenger (Ivette) and The Portrait (Liza). In June 2008 she gave her debut with Zubin Mehta at the opening concert of the World-Exhibition in Saragossa and was in the following engaged by him for a big tour in Israel.
After a successful debut at Teatro all Scala in Frau ohne Schatten conducted by Marc Albrecht and her acclaimed Marzelline at Teatro Regio Torino under Gianandrea Noseda in the last season (2013-2014), Talia Or also gave an important debut in Italy and sang Woglinde in Wagner's Rheingold in concert performances at the Accademia Nazionale di Santa Cecilia under Kirill Petrenko in the 2012-2013 season. Under the direction of Tomas Netopil she made her debut at Beethoven Orchester Bonn in the soprano part of Requiem by Anton Dvorak. As part of concerts of the Simon Mayr society she sang in Simon Mayr's Il sogno di Partenope and was heard in two one act plays by Jacques Offenbach in Munich. In the Bach Week 2012 she ang Franz Schubert's Mass A flat major and Bruckner's Te Deum at the St. Michaelis Church in Hamburg in October 2012.
In the 2014-2015 season Talia Or sang in a new production of Wolfgang Riehm´s Jakob Lenz at the Oper Stuttgart and La Monnaie. She had great success in her debut as Rosalinde in Die Fledermaus under the direction of Leo Hussein at the Salzburg State Theater. In summer of 2013 she performed Frau Fluth in the new production of Die Lustigen Weiber von Windsorat the Opera Festival Klosterneuburg. Furthermore she sang 1. Dame in Die Zauberflöte at Teatro Regio di Torino. In May-June 2014 she sang Pamina in Die Zauberflöte at Teatro Lirico di Cagliari. In the 2015-2016 season she returned, amongst others, as Gretel in E. Humperdinck's Hänsel und Gretel to Theatre La Monnaie in Brussels. Furthermore she gave her role debut as Eva in Il Primo Omicidio with The Potsdamer Kammerakademie and moved to a full lyric Fach with Janacek's The excursions of Mr.Broucek.
Highlights of Talia Or's various concert appearance include Gustav Mahler's Symphony N° 2 under the baton of Zubin Mehta with Israel Philharmonic Orchestra, Leonard Bernstein's Mass under Ingo Metzmacher and Philharmoniker Hamburg at Musikhalle Hamburg; J.S. Bach’s Christmas Oratorio (BWV 248) under Peter Schreier and Maggio Musicale Fiorentino Orchestra (her debut at Teatro dell Maggio Musicale Fiorentino), as well as under Ivor Bolton with the Bavarian State Orchestra. Her wide-ranging concert repertoire includes Baroque music and Haydn as well as W.A. Mozart, Offenbach, Arnold Schoenberg, Richard Strauss and contemporary composers as Fabio Vacchi and brought her to famous concert stages as OSESP São Paolo, Tel Aviv Philharmonic, Festspielhaus Salzburg, Hamburg Music Hall and Gasteig Munich.
The discography of Talia Or is growing constantly and includes amongst others J.S. Bach's Cantatas under the baton of Zubin Mehta and Israel Philharmonic Orchestra, recordings of Sisara and L’armonia, two CD’s dedicated to the work of Simon Mayr. |
