Maria Weiss

mezzo or alto voice
biography
"Her voice is tremendous, and the continued suspense of her stage presence is breathtaking", "a marvelous mezzo-soprano with organ-like depths" or "a vocal and acting synthesis of arts" are excerpts of reviews about the Austrian mezzo-soprano Maria Weiss. With a repertory focusing on early and contemporary music, she is dedicated in particular to premiering (forgotten) early music and contemporary compositions.

After receiving a diploma in cultural history studies at the University of Sorbonne (Paris), she studied voice at the national conservatory "Luigi Cherubini" in Florence and concluded her studies at the University of Music and Performing Arts Graz under the guidance of Kammersängerin Joanna Borowska. Master Classes with Angelika Kirchschlager, Teresa Berganza und Jorge Sirena followed. Since then, Maria Weiss has worked and studied with the mezzo-soprano Glenys Linos.

With an emphasis on Baroque repertoire, she has sung, amongst others, the roles of Bradamante or Gismonda (Händel), Megalce (Vivaldi), Lisinga(Gluck), contemporary music as the opera by W. Rihms "Jakob Lenz" (Voice) or Baiana in the European premiere of the Brasilian opera "Pedro Malazarte" of Mozart C. Guarnieri. Examples of premieres of rediscovered works in the Baroque repertoire are Palante in the Austrian premiere of "La Guerra de los Gigantes", Júpiter in "El imposible mayor en amor le vence Amor" (S. Durón) or Aurora in the European premiere of "L'Oracolo del Fato" (F. Gasparini).
Her opera spectrum includes not only the most important Mozart pieces, and extends from the rarely performed Renaissance and Baroque repertoire until Jacques Offenbach's operettas.

She has worked with stage directors such as Frank Castorf, Philippe Arlaud, John Lloyd Davies or the Baroque-Gesture-Specialist Sigrid T'Hooft. Musical cooperation with directors and musicians such as Stefan Asbury, Domingo Hindoyan, David Levi, Rubén Dubrovsky, Luca Pianca, Gérard Korsten, Rogério Gonçalves, Jörg Zwicker, Thomas Platzgummer, Wolfgang Mitterer, James Pearson or Franco Pavan and musical partners such as Bach Consort Wien, Klangforum Wien, Ensemble Claudiana, Harmony of Nations Baroque Orchestra, Il Concerto Tivoli, Camerata Argentea, A Corte Musical, Capella Leopoldina, Grazer Symphonikern or Vorarlberger Symphonieorchester.

Further engagements saw Maria Weiss perform, amongst others, at Wiener Festwochen, Konzerthaus Wien, Opernhaus Graz, "trigonale. festival für alte musik", Bregenzer Festspielhaus, Feldkirch Festival, Festspielhaus Dornbirn, Kammeroper Graz, Klagenfurter Konzerthaus, Donaufestwochen im Strudengau, BOV Opera Festival to the Teatru Manoel in Valetta (Malta) or Ateneu Barcelonés in Spain.

With regard to her lied repertoire, Maria Weiss, under the guidance of Teresa Berganza and Isabel Aragón, has specialized on Spanish and Latin American repertoire (especially songs of De Falla, Granados, Guridi, Montsalvatge, Rodrigo, Leon und Villa-Lobos).
Her stage presence has been described, amongst others, as that of a "gifted singer-actress" (in a review by the 'Kritisches Journal für Alte Musik'). Maria Weiss also studied acting at the Lee Strasberg Film & Theatre Institute in New York (US). She can frequently bee seen in short films and feature films. Her most recent feature film "Spanien" by Anja Salomonitz was premiered at the Berlinale 2012. Her recent award-winning CD, the first recording of the Baroque opera "La Guerra de los Gigantes" by S. Durón (Label Panclassics) with ensemble "A Corte Musical", has received excellent reviews.

Maria Weiss founded succesfully a biannual musical cross over project "favola in musica. early new music". In march 2015 she released her solo debut album (Label 1607 Records) with 3 world premiere recordings of early music and 2 world first recordings of contemporary music by Wolfgang Mitterer. The album got enthousiastic reviews.

In February and January 2015 Maria Weiss has performed Ritter Ramiro in the first performance of the censured german version of Mozart's "Verstellte Gärtnerin" (Finta Giardiniera) with L'Orfeo Baroque Orchestra under the guidance of Michi Gaigg and stage director Seollyeon Konwitschny at ,Theater an der Rott' in Germany. 

In April and June 2015 Maria Weiss can be heard in Bach XXI in Graz with Capella Leopoldina under the musical guidance of Josef Döller and in August 2015 Maria Weiss will perform Ritter Ramiro/ Mozart/ Verstellte Gärtnerin with Michi Gaigg and her orchestra at Donaufestwochen im Strudengau.

www.mariaweiss.at
http://favolainmusica.com

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Reviews
The lavish praise heaped upon Maria Weiss’ debut album is more than justified.
 sonograma magazine,
"

The lavish praise heaped upon Maria Weiss' debut album is more than justified. "favola in musica. early new music" is the name of the project, which initially arose from the passionate inner world of mezzosoprano Maria Weiss. She was inspired by her grandfather, a very perceptive and keen man who told her stories, some of them about the many fascinating places in Austria, to create an enchanting album with a wonderful selection of works by great Baroque artists. (…) The recording was made by the excellent sound technician and Carpe Diem Records label producer Jonas Niederstadt in the Saint Mary Magdalene's Church on the Carinthian Magdalensberg, a sacred place probably Celtic in origin, in the South of Austria. Listening to such distinguished musicians as Maria Weiss, Rosario Conte and Gyöngy Erödi (…) is pure luxury. Their rich expressive quality is convincing but also a lot more. We are talking here about musicians with a high degree of understanding and coordination, who participate in a fruitful dialogue and bring about a flawless acoustic equilibrium.


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(Carmen Miró)
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But, above all, the mezzosoprano voice of Maria Weiss floats brightly and nimbly. It almost seems as if the pieces were composed for her
 musik an sich ,
"

It has been a while since I found myself holding a CD with such a wonderfully crafted hardcover booklet, which runs to a full 216 pages (!) and is bursting with informative texts and fascinating images that bring a unique visual element to the music. The singer Maria Weiss and her ensemble milleseicentosette (Rosario Conte, theorbo and Gyöngy Erödi, cello) are behind "favola in musica. early new music". A successful Startnext campaign has secured the necessary finances and enabled this publication. Fortunately, not only the wrapping is right, the content is also impressive. (…) The three musicians achieve the combination and interpretation of early and new music with excellent results. Rosario Conte, theorbo (i.e. Niccolò Paganini – La Lanterna Magica [2013]; Une larme [2010]) and Gyöngy Erödi, cello, excel with their finely spun melody. But, above all, the mezzosoprano voice of Maria Weiss floats brightly and nimbly. It almost seems as if the pieces were composed for her. The amazing clarity of the music is surely also down to Jonas Niederstadt, sound engineer and label boss of Carpe Diem Records, who recorded the pieces in the Saint Magdalene's Church in Carinthia. (…) "favola in musica. early new music" is the convincing debut album of Maria Weiss. Great musicians, a good selection of works, brilliant recordings and a booklet like no other. Highly recommendable!


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(Ingo Andruschkewitsch)
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Maria Weiss journeys effortlessly through the centuries with a flawlessly precise and expressive mezzosoprano voice
 Die Bruecke. Cultural Magazine,
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Favola in musica asks you to make time for dreams. The late-Gothic church on the Magdalensberg served as the recording location for the musical works, smoothly bringing together opposites such as early and new music. Maria Weiss journeys effortlessly through the centuries with a flawlessly precise and expressive mezzosoprano voice. The music covers a wide range of works, including nine from early Baroque to Renaissance and three unknown pieces (found in the Austrian National Library), concluding with two new experimental creations by Wolfgang Mitterer, a native from Lienz, who has captured the spirit of the early masters. With these two first world recordings, the Ars Electronica winner created sound textures that could not be more opposed. The well-known lutenist Rosario Conte has also left his mark with a stylistically confident performance. The Hungarian cellist Gyöngy Erödi enchants with sublime and meditative sound movements. An elaborate and magnificent 215-paged booklet contains introductory texts, biographies, translations into German and English and visual impressions of mystical locations. Maria Weiss has conquered the European stages. With this magical musicscape she will also inspire and bring pleasure to your daily life!

"
(Hubmann)
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Doch über allem schwebt der leichtfüßige Mezzosopran von Maria Weiss. Es scheint fast als ob die Stücke für sie komponiert sind.
2015-03-20 musik an sich, Rottenburg-Schwalldorf, Deutschland
"Es ist lange her, seit ich eine CD mit solch einem wunderbar gemachten Hardcover-Booklet in den Händen gehalten habe. Dieses umfasst ganze 216 (!) Seiten und ist prallgefüllt mit Informationen und vor allem faszinierenden Bildern, die der Musik eine optische Komponente verleihen. Maria Weiss heißt die Sängerin, die mit ihrem Ensemble milleseicentosette (Rosario Conte, Theorbe und Gyöngy Erödi, Cello) hinter favola in musica. alte neue Musik steht. Über eine erfolgreiche Startnext-Kampagne hat man sich die notwendigen Finanzen sichern können, die diese Veröffentlichung möglich gemacht hat.

Und glücklicherweise stimmt hier nicht nur die Verpackung, sondern auch der musikalische Inhalt. Dabei ist der Titel favola in musica. alte neue Musik Programm. Benannt nach der „L'Orfeo. Favola in Musica" aus dem Jahr 1607 von Claudio Monteverdi, aus der auch die Arie "Dal mio permesso amato" zu hören ist, verbindet die CD Alte Musik mit zwei Kompositionen von Wolfgang Mitterer, dem 1958 geborenen österreichischen Komponisten, die von den alten Meistern inspiriert sind. Dies ist auch die Idee, die sich Maria Weiss und das Ensemble milleseicentosette ausgedacht haben: Alte und Neue Musik zu vereinen und zu interpretieren. Und dies gelingt den drei Musikern ganz famos. Rosario Conte, Theorbe (..) und Gyöngy Erödi, Cello überzeugen mit ihrem intensiven und fein gesponnenen Spiel. Doch über allem schwebt der leichtfüßige Mezzosopran von Maria Weiss. Es scheint fast als ob die Stücke für sie komponiert sind. (..) favola in musica. alte neue Musik ist ein sehr überzeugendes Debütalbum von Maria Weiss. Großartige Musiker, gut ausgewählte Werke, brillante Aufnahmen und ein Booklet, das seinesgleichen sucht. Sehr empfehlenswert!
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(Andruschkewitsch, Ingo)
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With clear timbered, unblemished leaded mezzo-soprano Klagenfurt born singer Maria Weiss crosses on her bibliophile debut CD a large repertory
2015-05-04 Kleine Zeitung, Graz
""Travel trough time. With clear timbered, unblemished leaded mezzo-soprano Klagenfurt born singer Maria Weiss crosses on her bibliophile debut CD a large repertory from Renaissance to present time (two contract works of Wolfgang Mitterer) and proves herself in well known repertory and world first recordings as a gripping narrator." | ENR „ Favola in musica". 1607 Records.
(Ernst Naredi Rainer, Kleine Zeitung, 04.05 2015)
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(Ernst Naredi Rainer)
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Mit klar timbriertem, makellos geführtem Mezzosopran durchmisst die Klagenfurter Sängerin Maria Weiss auf ihrer bibliophilen Debüt-CD ein breites Repertoire von der Renaissance bis zur Gegenwart
2015-05-04 Kleine Zeitung, Kärnten
"Zeitreise. Mit klar timbriertem, makellos geführtem Mezzosopran durchmisst die Klagenfurter Sängerin Maria Weiss auf ihrer bibliophilen Debüt-CD ein breites Repertoire von der Renaissance bis zur Gegenwart (zwei Auftragswerke von Wolfgang Mitterer) und erweist sich bei Bekanntem und bei Ersteinspielungen als fesselnde Erzählerin."
ENR „ Favola in musica". 1607 Records.
(Ernst Naredi Rainer, Kleine Zeitung, 04. Mail 2015)
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(Ernst Naredi Rainer)
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Mezzosopranistin Maria Weiss brilliert in der Abschiedsarie mit nähmaschinenpräzisen Koloraturen und großer Präsenz.
2015-02-23 Plattinger Zeitung,
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(Raimund Meisenberger)
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 Die Presse,
"the noble mezzo soprano Maria Weiss (Megacle)"
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 DREHPUNKTKULTUR,
"The Carinthian Maria Weiss captivates as Palante, not least by singing a moving lament, which is every bit as emotional as Dido's Lament by Purcell."
(Horst Reischenböck)
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 Das Volksblatt,
"The cast includes superbly characterised and acted: the Austrian Maria Weiss as Jupiter, a marvelous mezzosoprano with organ-like depths."
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 OÖ NACHRICHTEN,
"Delightful vocals: Maria Weiss as Jupiter leads the way with a punchy mezzosoprano"
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 DIE PRESSE,
"Maria Weiss as the lovelorn Jupiter soars with heart-wrenching and dreamily beautiful vocals. "
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 KRITISCHES JOURNAL DER ALTEN MUSIK | F. Szabo,
"(…) the Carinthian Mezzosoprano Maria Weiss in the role of the father god Jupiter impresses again with a boastful, masculine air, a vocal and dramatic work of art in herself. Every gesture and expression is spot on, her voice is tremendous, and the continued suspense of her stage presence is breathtaking."
(F. Szabo)
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