Karita Mattila

Biography

Born: September 5, 1960  
In the 1990s, the Finnish soprano Karita Mattila established herself as one of the world's leading operatic sopranos. Coming to early attention as a prize-winning singer adept at the more lyric roles in the repertory, she developed the qualities of a dramatic soprano as well, with an especially warm and grand voice. She is a tall, blond, and striking woman with excellent stage presence and acting skills.

She studied voice at the Sibelius
Read more Academy in Helsinki. While still a student, she won one the first prize of the Lappeenranta Competition in 1981. This led to her professional debut at the Savonlinna Opera Festival, where she sang Donna Anna in Mozart's Don Giovanni. In 1983, she became the first Cardiff Singer of the World.

She was now ready to enter the international opera world. Once again she debuted in one of the great Mozart roles: Countess Almaviva in Le nozze di Figaro at La Monnaie Opera in Brussels. While not exclusively singing Mozart, she became best known for her work in his operas. She chose Donna Elvira (another role in Don Giovanni) for her British and American debuts in 1985; these were at the Scottish Opera and Washington, D.C. Opera, respectively. She made her Covent Garden and Paris debuts the next year as Fiordiligi in Così fan tutte, and also added Pamina and Ilia to her operatic repertory.

She continued to make international appearances, but found that her career was leveling out in the early 1990s. She went into a period of introspection and she came to the realization that full vocal maturity was leading her into a different quality. She took the time needed to restudy and retrain it for its new, rich, and weighty quality.

After that, she re-emerged with a striking new capacity to sing roles such as Eva in Die Meistersinger and Chrysothemis in Richard Strauss' Elektra. She sang the Wagnerian role of Elsa in Lohengrin in her debut at San Francisco in 1996. But the role in which she had her greatest triumphs was that of Elisabeth of Valois in Verdi's Don Carlos, a level of acclaim that has since been matched by her stunning appearance as Janacek's Jenufa at the Hamburg Opera in 1998. She has proven especially effective in Slavonic operas; in addition to Jenufa she is noted for her performances as both of Tchaikovsky's greatest heroines, Tatyana in Eugene Onegin and Lisa in Pikovaya Dama (Queen of Spades), which she sang at the Metropolitan Opera in 1995.

Other roles she has sung are Emma in Schubert's Fierrabras, Musetta in La bohème, Puccini's Manon Lescaut, and Amelia in Verdi's Simon Boccanegra. In 2000, her first performance as Leonora in Beethoven's Fidelio (Metropolitan Opera with James Levine conducting) won accolades.

When she appears in lieder recitals, she regularly receives great acclaim, especially in Sibelius songs. Her stage presence allows her to appear effectively in the increasingly popular large-scale outdoor arena events, where she is not hesitant to use electronic amplification.

She holds her performances down to between 45 and 60 performances a year, believing that this represents for her the right mixture of work and rest to keep her voice in good shape. This means that she has come to restrict her performances to leading music venues like New York, Paris, London, and Salzburg. "Not the crappiest places in the world, are they?" she laughs.

Karita Mattila was an active recording artist, with releases on the Philips, Ondine, Bis, and EMI labels, and has recorded popular songs as well as classical and operatic selections. Read less

There are 97 Karita Mattila recordings available.

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Biography

Born: September 5, 1960  
In the 1990s, the Finnish soprano Karita Mattila established herself as one of the world's leading operatic sopranos. Coming to early attention as a prize-winning singer adept at the more lyric roles in the repertory, she developed the qualities of a dramatic soprano as well, with an especially warm and grand voice. She is a tall, blond, and striking woman with excellent stage presence and acting skills.

She studied voice at the Sibelius
Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Translucent, secret
II. On fire
III. Awakening
IV. Eclipse
V. Heart of Light
Gurrelieder, Part One: Orchestral Prelude
Gurrelieder, Part One: Nun dämfpt die Dämm'rung (Waldemar)
Gurrelieder, Part One: O, wenn des Mondes Strahlen (Tove)
Gurrelieder, Part One: Ross! Mein Ross! (Waldemar)
Gurrelieder, Part One: Sterne jubeln (Tove)
Gurrelieder, Part One: So tanzen die Engel vor Gottes Thron nicht (Waldemar)
Gurrelieder, Part One: Nun sag ich dir zum ersten mal (Tove)
Gurrelieder, Part One: Es ist Mitternachtszeit (Waldemar)
Gurrelieder, Part One: Du sendest mir einen Liebesblick (Tove)
Gurrelieder, Part One: Du wunderliche Tove! (Waldemar)
Gurrelieder, Part One: Orchestral interlude
Gurrelieder, Part One: Tauben von Gurre (Waldtaube)
Gurrelieder, Part Two: Herrgott, weisst du, was du tatest
Gurrelieder, Part Three: Erwacht, König Waldemars Mannen wert! (Waldemar)
Gurrelieder, Part Three: Deckel des Sarges klappert (Bauer & Chor)
Gurrelieder, Part Three: Gegrüsst, o König (Waldermars Männen)
Gurrelieder, Part Three: Mit Toves stimme flüstert der Wald (Waldemar)
Gurrelieder, Part Three: 'Ein seltsamer Vogel ist so'n Aal' (Klaus-Narr)
Gurrelieder, Part Three: Du strenger Richter droben (Waldemar)
Gurrelieder, Part Three: Der Hahn erhebt den Kopf zur Kraht
Gurrelieder, Des Simmerwindes wilde Jagd: Orchestral Prelude
Gurrelieder, Des Simmerwindes wilde Jagd: Herr Gänsefuss, Frau Gänsekraut (Sprecher)
Gurrelieder, Des Simmerwindes wilde Jagd: Seht die Sonne (Chor)
7 Songs, Op. 17: No. 5. En slanda (A Dragonfly)
7 Songs, Op. 17: No. 5. En slanda (A Dragonfly)
6 Songs, Op. 36: No. 1. Svarta rosor (Black Roses)
6 Songs, Op. 36: No. 1. Svarta rosor (Black Roses)
8 Songs, Op. 57: No. 4. Maj (May)
8 Songs, Op. 57: No. 4. Maj (May)
1. Allegro ma non troppo, un poco maestoso
2. Molto vivace
3. Adagio molto e cantabile
4. Presto - Allegro assai
4. Presto - "O Freunde nicht diese Töne" -
No. 1. Attente (Longing)
No. 2. Douleur (Torment)
No. 3. Parfum de l'instant
No. 4. Resonances (Echoes)
No. 1. Mein Lied ertont, ein Liebespsalm (I chant my lay, a hymn of love)
No. 2. Ei, wie mein Triangel wunderherrlich lautet (Hark, how my triangle)
No. 3. Rings ist der Wald so stumm und still (Silent and lone the woods around)
No. 5. Reingestimmt die Saiten (Tune the strings, oh gipsy)
No. 6. In dem weiten, breiten, luft'gen Leinenkleide (In his wide and ample, airy linen vesture)
No. 4. Als die alte Mutter (Songs My Mother Taught Me)
No. 7. Horstet hoch der Habicht auf den Felsenhohen (Cloudy hieghts of Tatra)
Symphony No.14 Op135: De profundis
Symphony No.14 Op135: Malagueña
Symphony No.14 Op135: Loreley
Symphony No.14 Op135: Le Suicidé
Symphony No.14 Op135: Les attentives I
Symphony No.14 Op135: Les attentives II
Symphony No.14 Op135: À la Santé
Symphony No.14 Op135: Réponse des cosaques zapouroques au Sultan
Symphony No.14 Op135: O Delvig, Delvig!
Symphony No.14 Op135: Der Tod des Dichters
Symphony No.14 Op135: Schluß-stück
Overture
"Notte e giorno faticar" - "Lasciala, indegno!"
"Ah, soccorso! son tradito..."
"Leporello, ove sei?"
"Ah! del padre in periglio" - "Ma qual mai s'offre, o Dei"
"Fuggi, crudele, fuggi!"
"Orsù, spicciati presto"
"Ah! chi mi dice mai" - "Udisti? qualche bella"
"Chi è là?"
"Madamina, il catalogo è questo"
"In questa forma dunque"
"Giovinette, che fate all'amore"
"Manco male, è partita"
"Ho capito, signor sì!"
"Alfin siam liberati"
"Là ci darem la mano"
"Fermati, scellerato!"
"Ah, fuggi il traditor"
"Mi par ch'oggi il demonio si diverta"
"Non ti fidar, o misera"
"Povera sventurata!"
"Don Ottavio... son morta!"
"Or sai chi l'onore"
"Come mai creder deggio"
"Dalla sua pace" (K.540a)
"Io deggio ad ogni patto"
"Fin ch'han dal vino"
"Masetto... senti un po'..."
"Batti, batti, o bel Masetto"
"Guarda un po' come seppe questa strega"
"Presto, presto... pria ch'ei venga" - "Tra quest' arbori celata"
"Bisogna aver corragio"
"Protegga il giusto cielo"
"Riposate, vezzose ragazze"
"Venite pur avanti"
"Da bravi, via, ballate"
"Ecco il birbo che t'ha offesa"
"Trema, trema scellerato"
"Eh via, buffone, non mi seccar"
"Leporello!"
"Ah! taci, ingiusto core"
"Amico, che ti par?"
"Deh! vieni alla finestra"
"V'è gente alla finestra"
"Metà di voi qua vadano"
"Zitto... Lascia ch'io senta... Ottimamente"
"Vedrai, carino"
"Di molte faci il lume"
"Sola, sola in buio loco"
"Dunque quello sei tu"
"Ah! pietà, signori miei!"
"Ferma, perfido; ferma"
"Il mio tesoro intanto"
"In quali eccessi" (K.540c, Recitative)
"Mi tradì quell'alma ingrata" (K540c, Aria)
"Ah! ah! ah! questa è buona!"
"O statua gentilissima"
"Calmatevi, idol mio"
"Crudele? Ah no! mio bene!"
"Non mi dir, bell'idol mio"
"Ah, si segua il suo passo"
"Già la mensa è preparata"
"L'ultima prova"
"Don Giovanni, a cenar teco m'invitasti"
"Ah! dov'è il perfido?"
"Or che tutti, o mio tesoro"
"Questo è il fin di chi fa mal!"
Prelude
"Da zu dir der Heiland kam"
"Verweilt! - Ein Wort"
Da wär der Ritter ja am rechten Ort
"David! Was stehst?"
"Mein Herr! Der Singer Meisterschlag"
"Der Meister Tön und Weisen"
Aller End' ist doch David der Allergescheit'st
"Seid meiner Treue wohl versehen"
Gott grüss' euch, Meister!
Beliebt's, wir schreiten zum Merkerwahl
Das heisst ein Wort, ein Wort ein Mann!
"Verzeiht, vielleicht schon ginget ihr zu weit"
Wohl Meister! Zur Tagesordnung kehrt
"Am stillen Herd"
"Nun, Meister! Wenn's gefällt"
"Was Euch zum Liede Richt und Schnur"
Fanget an!- So rief der Lenz in den Wald
Seid ihr nun fertig?
"Halt Meister! Nicht so geeilt!"
Doch wird's wohl jetzt mir kund
"Johannistag! Johannistag!"
Was giebt's? Treff' dich wieder am Schlag?
Nicht doch, 's ist mild und labend
"Was duftet doch der Flieder"
"Gut'n Abend, Meister!"
Könnt's ein Witwer nicht gelingen?
"Das dacht ich wohl"
"Da ist er!"
Hört, ihr Leut, und laßt euch sagen
"Jerum! Jerum!"
Mich schmerzt das Lied, ich weiß nicht wie
Was das eu'r Lied?
"Den Tag seh' ich erscheinen"
Zum Teufel mit dir, verdammter Kerl!
Prelude
"Gleich, Meister! Hier!"
Blumen und Bänder seh ich dort?
"Wahn! Wahn! Überall Wahn!"
"Grüß Gott, mein Junker"
Mein Freund, in holder Jugendzeit
"Morgenlich leuchtend"
Das nenn' ich mir ein Abgesang!
"Ein Werbelied! Von Sachs!"
Sie da, Herr Schreiber: auch am Morgen
"Das Gedicht? Hier ließ ich's"
So ganz boshaft doch keinen ich fand
Immer schustern, das ist nun mein Los
"Hat man mit dem Schuhwerk"
"Mein Kind, von Tristan und Isolde"
"Die "selige Morgentraum-Deutweise""
"Sankt Krispin, lobet ihn!"
Als Nürnberg belagert war
Hungersnot! Hungersnot!
"Ihr tanzt"
Die Meistersinger! Die Meistersinger!
"Wacht auf! Es nahet gen den Tag"
"Euch macht ihr's leicht"
O Sachs, mein Freund
"Morgen ich leuchte"
Heimlich mir graut
"Morgenlich leuchtend"
Den Zeugen, denk es, wählt ich gut
"Verachtet mir die Meister nicht"
Gurrelieder, Part One: Orchestral Prelude
Gurrelieder, Part One: Nun dämfpt die Dämm'rung (Waldemar)
Gurrelieder, Part One: O, wenn des Mondes Strahlen (Tove)
Gurrelieder, Part One: Ross! Mein Ross! (Waldemar)
Gurrelieder, Part One: Sterne jubeln (Tove)
Gurrelieder, Part One: So tanzen die Engel vor Gottes Thron nicht (Waldemar)
Gurrelieder, Part One: Nun sag ich dir zum ersten mal (Tove)
Gurrelieder, Part One: Es ist Mitternachtszeit (Waldemar)
Gurrelieder, Part One: Du sendest mir einen Liebesblick (Tove)
Gurrelieder, Part One: Du wunderliche Tove! (Waldemar)
Gurrelieder, Part One: Orchestral interlude
Gurrelieder, Part One: Tauben von Gurre (Waldtaube)
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn of Praise" - 1. Sinfonia: Maestoso con moto
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 1. Sinfonia: Allegretto un poco agitato
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 1. Sinfonia: Adagio religioso
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 2. "Alles was Odem hat, lobe den Herrn" - "Lobe den Herrn, meine Seele"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - Molto più moderato ma con fuoco:"Lobe den Herrn,... meine.
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 3. "Saget es, die ihr erlöst seid"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 3. "Er zählet unsre Tränen"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 4. "Sagt es, die ihr erlöset seid"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 5. "Ich harrete des Herrn"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 6. "Stricke des Todes hatten uns umfangen"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 7. "Die Nacht ist vergangen"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 8. "Nun danket alle Gott" - "Lob, Ehr' und Preis sei Gott"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 9. "Drum sing ich mit meinem Liede ewig"
Mendelssohn: Symphony No.2 In B Flat, Op.52, MWV A18 - "Hymn Of Praise" - 10. "Ihr Völker, bringet her dem Herrn Ehre und Macht"
1. Allegro ma non troppo, un poco maestoso
2. Molto vivace
3. Adagio molto e cantabile
4. Presto - Allegro assai
4. Presto - "O Freunde nicht diese Töne" -


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