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BIOGRAPHY |
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In the 2023/24 season Annemarie Kremer will appear as SALOME at the Opera House Leipzig, HELIANE in "Das Wunder der Heliane"" at the Nederlandse Reis Opera, as BRÜNNHILDE in "Ring an einem Abend" in various concert halls in Germany as well as ISOLDE in "Tristan und Isolde" at the Opéra de Lille in France.
Recently she had great successes as MARIE in "Wozzeck" at the Gran Teatre del Liceu Barcelona and at the Opéra de Monte Carlo, as SALOME at the State Opera Budapest, LADY MACBETH in Verdi’s "Macbeth" at the Felsenreitschule Salzburg, MANON LESCAUT at the Deutsche Oper Berlin, ISOLDE in "Tristan und Isolde" at the State Opera House Karlsruhe or VIOLANTA at Teatro Regio di Torino.
The Dutch soprano sang her first ISOLDE 2018 at the Opera House Linz in the Bayreuth staging of Heiner Müller to great critical acclaim.
She made her debut as SALOME - now one of her core and celebrated roles - in Vienna Volkoper in 2011 and was hailed by the press for her triumphant successful debut.
After that she was invited as SALOME at the Opera Houses in São Paulo and Bélèm in Brasil, to the Hong Kong Opera, Teatro San Carlo Napoli, the State Opera Hannover, Aalto Theatre Essen, the National Opera Budapest and Leipzig Opera House.
She works with famous conductors and stage directors such as Simone Young, Sir Simon Rattle, Hartmut Haenchen, John Gaffigan, Natalie Stutzmann, Edo de Waart, Vladimir Jurowski, Anthony Bramall, Stefan Soltesz, John Neschling, Jaac van Steen, Gabriele Ferro, Paolo Carignani, Jean-Louis Grinda, Christopher Alden, Christine Mielitz, John Fulljames, Tilman Knabe, Gilbert Deflo, Roland Schwab Gérard Corbiau…
Annemarie studied singing and piano at the Maastricht Conservatory, and later dance. She made her debut at ILIA at the Stadttheater Aachen in Mozart's "Idomeno".
For her interpretation of NORMA at the Opera North In 2012 she was nominated by the Magazin Opernwelt as "Singer of the Year 2012". She also received a nomination from the International Opera Oscars.
More important appearances of the past seasons were TOSCA, MEDEA, MANON LESCAUT, MADAMA BUTTERFLY , LUISA MILLER, MADDALENA in "Andrea Chenier", RUSALKA, ROSALINDE in "Die Fledermaus", URSULA in "Mathis der Maler", FELDMARSCHALLIN in "Der Rosenkavalier", ELISABETH in "Tannhäuser" at at Opera Houses in Frankfurt, Berlin, Monaco, Leipzig, Stuttgart, Paris, Düsseldorf, Montreal, Antwerp, Dortmund, Wiesbaden, Stockholm, Amsterdam, Essen a.o.
Popular in her country of birth, Annemarie Kremer was chosen in 2012 to sing the prominent "May 5th Concert" for the Queen of the Netherlands. She performs regularly at the Concertgebouw Amsterdam: numerous concerts and concert performances of "Vier letzte Lieder", "Don Giovanni", "Die Fledermaus", "The Merry Widow", "I Lombardi alla prima crociata" and "Agrippina".
Annemarie has been decorated with the Dutch Golden Violin (2019) to honour her impressive international career.
In addition Annemarie Kremer has recorded several CDs. Amongst them arias and masses by Mozart, works by Mendelssohn and Beethoven "Symphony No. 9"; "Das Wunder der Heliane" (NAXOS-2018).
Her Agrippina is available on DVD, as well as her Violanta in Turin (NAXOS-2019).
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| REVIEWS |
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| De Nederlandse Reisopera – Das Wunder der Heliane - HELIANE |
Surprised exclamations after the performance of Das Wunder der Heliane in Amare in The Hague. Not so much about the unknown opera, although the work and production were also received very positively, but more so about Annemarie Kremer in the title role: "Why don't we know her?" and "Why don't we ever hear her at DNO?" Other visitors appeared to travel along with the production to hear it multiple times and others would prefer to immediately reserve seats for the final performances in Amsterdam (Carré, November 9) or Apeldoorn (November 11). But opera lovers who remembered this Dutch soprano as Madama Butterfly at the Reisopera -which was also a triumph for Kremer - were also overflowing with surprise and enthusiasm.
This surprise was undoubtedly contributed by the fact that Annemarie Kremer as Heliane displays vocal allure at the level and with the vocal beauty of a born Isolde (a role that she has also sung successfully and in which she will be portraying in March at Opéra de Lille).
The greatest strength of Kremer's Heliane, however, lies in the persuasiveness of her singing, reinforced by intelligibility and phrasing that demonstrates great understanding of the text. An intense and already Isolde-like scene with 'Der Fremde' in the first act was followed in the second act by a literally breathtaking rendition of the aria 'Ich ging zu ihm', a page in opera literature that is regularly compared with Isolde's Liebestod, and a truly ecstatic final scene. The emotions and musical waves of the third act seemed like child's play after that.
In retrospect, I could have suspected all this to a certain extent, as I already knew Kremer's Heliane from the CDs made in Freiburg in 2017 (click here). However, that remains a recording with a battery of microphones and with technicians behind sliders, which produces a different sound image than a performance in a theater. Three years later, however, she participated in a production of Korngold's Violanta in Parma, which was also released on CD, but also on DVD/Blu-ray (and which unfortunately has never been discussed on this site). That DVD, and especially the scene in which Violanta begs her husband to kill the man she considers responsible for her sister's death, seems to include a prediction of her Heliane at the Reisopera. |
Opus Klassiek-Paul Korenhof
opusklassiek.nl |
| Technically and artistically the concert performance in Freiburg not always matches the Decca version under Maureci, but it definitively deserves attention if only because of the title role. Here, we hear the Dutch soprano Annemarie Kremer, that we hope will get a chance to sing at De Nederlandse Operareal soon. Without any doubt she is the star of the performance here, even though Kongold’s high standards sometimes test the limits of her possibilities. In a rather gentle moment tough, she develops a silvery lyricism while also making a huge impression with her interpretation. To continue the comparison with Strauss’ “Frau Ohne Schatten” : she seems a perfect Emperess , that is sometimes forced to develop the drama of the dyer. |
Opus Klassiek-Paul Korenhof
opusklassiek.nl |
| One can feel Annemarie Kremer‘s fire. With her vocal brilliance and her intense acting she carries the entire performance. |
Place de l'Opera
operamagazine.nl |
| The murderous title role of Heliane was grandly sung by the Dutch soprano Annemarie Kremer. Despite all the challenges and obstacles, it is her favorite role. Her triumph in Amsterdam was complete. In her big scene, Kremer started that enormous waltz in Doch schön war der Knabe in perfect collaboration with Van Steen. Ravel had buried that dance in La Franse in 1920, but the Viennese Korngold gave the waltz an ultimate convulsion seven years later, which will haunt your head like an earworm for days. And you immediately hear Kremer's glorious voice. |
Trouw
trouw.nl |
| Opera de Monte Carlo – Wozzeck - MARIE |
| Concerning the female roles, Annemarie Kremer as Marie with her powerful high tones with expressive ornaments, was particularly outstanding. Seemingly effortlessly, she acquires the technique of Sprechgesang, combining lyrical singing with the intonation of the German language. |
Bachtrack
bachtrack.com |
| At her side, the Durch singer Annemarie Kremer , who had succeeded on the same stage five years ago as Elisabeth in Tannhäuser, was outstanding as Marie: her soprano voice, altenrating sharp and gentle , gives the substance an supressed sensuality , waiting to come to light. |
Opera Online
opera-online.com |
| Teatro del Liceu – Wozzeck - MARIE |
| At her side Annemarie Kremer succeeds in perfectly involving all aspects of Marie’s complex character- loving, bitter, seductive, panic. |
Bachtrack
bachtrack.com |
| Marie is one of the most difficult roles in this repertoire and Annemarie Kremer solved it with professionalism and dedication, both vocally and on stage... |
Platea Magazine
plateamagazine.com |
| With moving lyrical accents but also fiercely in her search of happiness the soprano Annemarie Kremer brings Marie to life. The scenes with her son remain in the spectator’s memory. |
Scherzo
scherzo.es |
| Staatstheater Krlsruhe – Tristan und Isolde - ISOLDE |
| I saw Annemarie Kremer for the first time a few years ago in the Italian repertoire, when she enthralled as a ravishing „Madama Butterfly“. Her at the time lyrical-youthful soprano voice has meanwhile developed into the dramatic repertoire. Although today her voice has matured, ther wondeful former timbre stills shines through. This beautiful soprano voice has incredibly developped. The volumious high peaks were clear, transparent and melodious. Delightfully carried were the heartfelt piani streamed and her middle registers were voluminously based, brilliant, without any disturbing tones. Seldom I have heard an Isolde with such a youthful exuberance. Simply fabulous! |
Online Merker
onlinemerker.com |
| Volksoper Wien - Salome - SALOME |
| In this historically important Vienna Opera the Dutch soprano Annemarie Kremer made her debut as Salome. What a debut! She acts fantastically and physically she is every inch the youthful princess. Each tone of her voice is filled with meaning. Her childish restlessness in “Ich will nicht hinein gehn”, her unconstrained desire in “Gewiss ist er keusch wie der Mond”, obsesssive in “Dein Leib ist grässlich”, impatient in “Gib mir den Kopf des Jochanaan!” and hypnotised in “Sie sagen, dass die Liebe bitter schmecke”. And her pathologic Liebestod was simply phenomenal. One moment her soprano voice is rough and powerful, the next it is totally restrained in the high registers and piano. Annemarie Kremer is in every aspect a sensational and thrilling Salome. |
Opera Nedeland
operanederland.nl |
| Landestheater Linz – Tristan und Isolde - ISOLDE |
| In these abstract worlds, Isolde portrays a simply stunning Isolde: heroic, passionate and with a powerful voice. The Dutch fills the long forte cantilenas with a rich, round tones, but he has just as well decency and intimacy: a wonderful loving woman |
Der Standard
derstandard.at |
| Isolde Annemarie Kremer is a worthy partner, Sometimes with a touch of metal in her voice, perfect in all registers even in the deep tones of the first act, which she sings just splendidly. In particularly in the second act and the exposed final she is magnificent. |
Online Merker
onlinemerker.com |
| Teatro Regio Turino - Violanta - VIOLANTA |
| Annemarie is cintinuously on stage for an hour and she has a lot to sing. She does so excellently. Outstanding also her acting. |
Place de l´Opera
operamagazine.nl |
| Gran Teatro del Liceu – Wozzeck - MARIE |
| The Dutch Annemarie Kremer jumped in for the indisposed Elena Zhidova. With impeccable panache and vocal quality: the sound is warm, wide and brilliant throughout the range (pretty formidable, in fact) with this clever mix of gloss and silkiness , that very few artists know how to express. Her character is rich in contrasts and her three big solo scenes remain among the most moving moments of the evening. |
| Crescendo,Xavier Rivero, 22.06.04 |
| Annemarie Kremer as Marie, who made her debut in the Catalan theatre, using her vocal versatility and adding nuances to the more lyrical-dramatic lines, especially well in the second act, highlighting the more classical aspect of the atonal parts. |
| Bachtrack, Maria Sanchez, 25-05-22 |
| Annemarie Kremer's Marie is the perfect match to Goerne's voice, thanks to the Dutch soprano's versatility and her ability to adapt to the text and music, from capricious lustful to tenderness in the lullaby of the first act. |
| ARA-Critica d’opera, Jaume Radigales, 22-05-22 |
| Felsenreitschule Salzburg – Macbeth – LADY MACBETH |
| Vigorously and brutally focused Annemarie Kremer portrays Lady Macbeth. Her voice – voluminous, powerful in the high registers, menacing in the high registers – has a timbre able to create diabolic shades. |
Orpheus Magazin
orpheus-magazin.de |
| Staatstheater Karlsruhe – Tristan und Isolde – ISOLDE |
| At the latest when the interpreter of Isolde intones Dass hell sie dorten leuchte with a goosebumps exiting emphasis at the beginning of the second act, she wins my heart. Yet, with Annemarie Kremer, who sang yesterday afternoon at the State Theater, one didn’t have to wait that long. Already in the first act the singer impressed with an exemplary purity of her vocal line, splendidly velvet deep notes, a warm expressive middle repertoire and effortlessly sung high peaks. With a touching intensity, Annemarie Kremer performs her waiting for Tristan in the second act – and then comes the moment that sends shivers down your spine, supported by the brilliance of the orchestra. Thrillingly, she designs the often skipped passage on the “day” , before she sings with Tristan about the Wonder of Love. For her “Liebestod” Annamarie is completely alone on stage. One can entirely concentrate on the exquisite beauty of her voice, voluminous though but yet without any forcing, wonderfully streaming, beautifully evoking the suction of the music’s longing for death. “Immer lichter, wie er leuchtet” provokes another, even greater goosbumps moment. We,the audience sink into the greatest pleasure. WOW! |
Opernmagazin
opernmagazin.de |
| Staatstheater Karlsruhe – Tristan und Isolde – ISOLDE |
| The singing is really high class. Annemarie Kremer sings Heliane with a essentially lyrical, constantly melodiously guided voice with the power of a dramatical attack. She isn’t girlish gentle, but a indomitable woman, who communicates calmness and determination and has a huge stage presence. Both scenically and vocally she is the undisputed center. |
OMM
omm.de |
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| ON STAGE |
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| Volksoper Wien - Salome - SALOME |
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| Volksoper Wien - Salome - SALOME |
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| Teatro Regio Turino – Violanta - VIOLANTA |
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| Theater Bielefeld – Cherubini – MÉDÉE |
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| Gran Teatro del Liceu – Wozzeck – MARIE |
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| Felsenreitschule Salzburg – Macbeth – LADY MACBETH |
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| Staatstheater Karlsruhe – Tristan und Isolde - ISOLDE |
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