
Maria Riccarda Wesseling’s current and future engagements include SERAFIMA in Elena Langer’s new opera To die for Nederlandse Reisopera, KABANICHA Kát’a Kabanová Staatsoper Stuttgart, KITCHEN BOY Rusalka Teatro di San Carlo, Napoli, BEGBICK The Rise and Fall of the City of Mahagonny Opera Ballet Vlaanderen Antwerp, Berio Folk Songs philharmonie zuidnederland, and SOLOIST Wesendoncklieder Liszt Biennale Thüringen. She is also directing Carmen Sommeroper Selzach and The Rake’s Progress Theater Orchester Biel Solothurn.
Previous engagements include LA PRINCIPESSA in Mascagni’s Il piccolo Marat Concertgebouw Amsterdam, AMNERIS Aida and JEZIBABA Rusalka Opera Ballet Vlaanderen, GERTRUD Hänsel und Gretel Staatsoper Hannover, HERODIAS Salome Staatsoper Stuttgart, ORFEO Orfeo and Eurydice (Pina Bausch) Opéra National de Paris, and MARCELLINA Le nozze di Figaro Gran Teatre del Liceu. Other past projects include the world premiere of David Philip Hefti’s Annas Maske (title role) Theater St. Gallen, Frank Martin’s The Cornet Musikkollegium Winterthur, and a song recital with works by Ethel Smyth, Lili Boulanger and Anna Cramer for Dutch Classical Radio.
Maria Riccarda sang leading roles at Teatro Real Madrid, Staatsoper Berlin, Opéra National de Lyon, National Opera Amsterdam, Finnish National Opera, Grand Théâtre de Genève and Lincoln Center New York. She sang concerts in venues such as the Concertgebouw Amsterdam, Gewandhaus Leipzig, Tonhalle Zürich, Palau Valencia, Barbican Hall London, Ruhrtriennale, Händelfestspiele Halle, Schwetzinger Festspiele, Athens Festival and Festival de la Radio France.
As a stage director, past productions include The Merry Widow Theater Nordhausen, The Rape of Lucretia DNOA Amsterdam, and Glanert’s Die drei Rätsel Basel Symphony Orchestra.
Christopher Broom
Phone: +44 208 768 6604
Mobile: +44 7778794397
Email: chris@atholestill.co.uk
Representation: Worldwide
"Maria Riccarda Wesseling was a gripping, sensual, passionate Phaedra, conveying not only her character's cruelty and self-absorption but also her overwhelming vitality. When she was taunting Hippolytus you could almost feel the energy crackling around her."
Opera today
"Maria Riccarda Wesseling offre de Jezibaba une incarnation tout à fait accomplie, elle aussi totalement maîtresse de son personnage sur le plan vocal, sorcière transformée en dame élégante des années 1920, avec une distance narquoise fort bienvenue."
Forum Operá
"Maria Riccarda Wesseling’s burnished mezzo fuses love and hate, death and desire in her florid writing. (Phaedra)"
The Times
"Maria Riccarda Wesseling dagegen gelingt es, Anna Sutter eine glaubwürdige stimmliche Maske zu verleihen. Mit ihrer zwischen den Fächern gelegenen Stimme darf sie bei Hefti sowohl in den Tiefen erotisch gurren als auch sich leichtgliedriger Höhen bedienen."
Die Süddeutsche