Biography

Astrid Kessler started her vocal training at the age of 16 at Seoul Foreign School, South Korea. After an acting course at the Oswego State University in New York she studied classical singing at the Hochschule für Musik in Nuremberg with Prof. Elisabeth Kovacs, afterwards continuing her education under the instruction of Prof. Reiner Goldberg in Berlin and Prof. Peter Anton Ling in Hannover.

In the current season, Astrid Kessler makes her debut in the title role in Arabella at the Leipzig Opera, as Ellen Orford in Britten’s Peter Grimes, and as Desdemona in Verdi’s Otello, both at the Nationaltheater Mannheim conducted by Alexander Soddy. She will sing for the first time at the Staatsoper Hannover in the role of Rosalinde in Die Fledermaus, a role she performed at the 2019 New Year’s Concert at the Elbphilharmonie in Hamburg.

A prize winner in the German repertoire category at the 2018 International Meistersinger Nuremberg competition, Astrid Kessler has performed the Wagnerian roles of Eva in Die Meistersinger von Nürnberg, Elisabeth in Tannhäuser, and Sieglinde in Die Walküre alongside Catherine Foster and Klaus Florian Vogt. Other acclaimed performances include Feldmarschallin in Der Rosenkavalier, and Abigaille in Verdi’s Nabucco.

Astrid Kessler has performed as a guest at the Deutsche Oper am Rhein in Dusseldorf as Donna Elvira in Mozart’s Don Giovanni, and as Angèle Didier in Franz Lehar’s operetta Der Graf von Luxemburg. A successful debut at the Vienna Volksoper in the title role of Emmerich Kalman’s Gräfin Mariza was followed Alfredo Catalani’s Wally, conducted by Marc Piollet.

In her current engagement in the ensemble of the Nationaltheater Mannheim Astrid Kessler has developed a wide-ranging repertoire, including Liú (Turandot, Puccini), Nedda (Pagliacci, Leoncavallo), Mimí (La Boheme, Puccini), Contessa Almaviva (Le Nozze di Figaro, Mozart), Hanna Glawari (The Merry Widow, Léhar), Iolanta (Iolanta, Tchaikovsky) and Alice Ford (Falstaff, Verdi). Notable debuts have included The Governess in Benjamin Britten’s The Turn of the Screw and Rachel in Halevy’s La Juive, directed by Peter Konwitschny.

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