Anna Stéphany is emerging as one of the world’s most exciting mezzo sopranos. In demand by both opera companies and orchestras, she is a firm favourite with conductors and directors. Her recording of Handel’s Serse for Chandos won critical acclaim, as did her performances of the repertoire of Lorraine Hunt Lieberson. Anna was part of the ensemble at Zürich Opera, she has also sung with major opera companies throughout Europe. Anna studied at the Guildhall and was a winner of the Gold Medal and the Kathleen Ferrier Competition.
Anglo-French mezzo-soprano Anna Stéphany has been praised for her stage-craft and for possessing a “a superb, glowing, impassioned mezzo” voice. Anna was born in the North East of England and studied at King’s College London and the National Opera Studio. She is a Guildhall Gold Medal recipient, represented England at BBC Cardiff Singer of the World and is a winner of the Kathleen Ferrier Award.
Anna was a member of the ensemble at Zürich Opera House from 2012-15, where she made her debut as Cherubino in Mozart’s Le nozze di Figaro and Dorabella in Cosi fan tutte. Further roles in Zürich include Siebel in Gounod’s Faust; Nicklausse in Offenbach’s Les contes d’Hoffmann; Minerva in Monteverdi’s Il Ritorno d’Ulisse in Patria. Her close relationship with the house has continued with Sesto in La Clemenzadi Tito, a new production of Purcell’s King Arthur, and upcoming performances as Romeo I Capuleti e i Montecchi and Charlotte Werther.
One of her most coveted roles is Octavian in Strauss’s Der Rosenkavalier; she made her role debut to critical acclaim at the Bolshoi Theatre in 2011, and recently reprised the role for the Royal Swedish Opera. She made her critically acclaimed opera recording debut in 2013 in the title role of Handel’s Serse with Christian Curnyn and Early Opera Company. Anna has appeared as Rosina in Rossini’s Il barbiere di Siviglia at Théâtre du Châtelet, Paris; Annio in Mozart’s La clemenza di Tito at Aix-en-Provence; the title role in Charpentier’s Médée at Chicago Opera Theatre and in 2013 she covered Joyce di Donato in La Donna del Lago at the Royal Opera House, Covent Garden. She made her debut at the Bayerische Staatsoper in Munich stepping in as Annio in La Clemenza di Tito and returned last season as La Musica and Speranza in Monteverdi’s L’Orfeo.
On the concert stage Anna has performed with some of the world’s finest orchestras. Recent appearances include the BBC Proms with the London Philharmonic Orchestra/Jurowsky; Cesti’s Orontea with La Nuova Musica at Wigmore Hall; Elgar’s Sea Pictures with the Bremer Philharmoniker; Bach’s St Matthew Passion with the Gabrieli Consort in Schaffhausen; St Matthew Passion with the Handel & Haydn Society/Harry Christophers; La damoiselle élue with the Philharmonia Orchestra/Esa-Pekka Salonen; a programme of Handel in New York, London and Paris with the Orchestra of the Age of Enlightenment/William Christie in a tribute to Lorraine Hunt Lieberson; and performances with the Danish National Symphony Orchestra, Philharmonia Orchestra/Jakub Hrusa, Pygmalion/Raphaël Pichon, Balthasar Neumann/Thomas Hengelbrock, and La Scintilla/Laurence Cummings.
This season, Anna makes her Covent Garden debut as Octavian, and her Glyndebourne debut as Annio. She also appears as Serse with Early Opera Company at St John’s Smith Square, and in Handel’s Theodora with Rias Kammerchor. Further performances include Beethoven’s Ninth Symphony and Berlioz’s Les nuits d’été with the Royal Liverpool Philharmonic¸ and Elgar’s Dream of Gerontius in Southwell Cathedral, Dublin and Lisbon.
Anna Stéphany and the Labyrinth Ensemble, Opernhaus Zurich
“Anna Stéphany graces a stage with charm and poise. Her alluring mezzo soprano voice is effortlessly produced, and her phrasing and sensitivity to text is exceptional.” Rick Perdian, Seen and Heard International (Apr 2016)
Lorraine Hunt Lieberson Tribute Concert – OAE
“It was the Peter Sellars staging of Theodora at Glyndebourne in 1996, conducted by Christie, that gave Hunt Lieberson her most memorable UK role, as the rock-like disciple Irene. So it was little surprise that the singer here who brought Hunt Lieberson’s presence most to mind should be Anna Stéphany, with two of Irene’s arias. Her low, sonorous tones captured the character’s serenity, and she began the reprise of As With Rosy Steps the Morn so quietly that one almost thought her voice might crack; Hunt Lieberson was nothing if not a risk-taker.” Erica Jeal, The Guardian (5 June 2013)