"No present-day singer understands German sacred music of the seventeenth century better than the soprano Dorothee Mields and, unsurprisingly therefore, no one sings it better."Andrew O’Connor, International Record Review
Dorothee Mields is one of the leading interpreters of 17th- and 18th-century music and is beloved by audiences and critics alike for her unique timbre and moving interpretations.
“Dorothee Mields sings with stylistic sureness and radiant personality” David Vickers, Gramophone 01/2014
Her flawless technique and the ethereal clarity of her voice also make her ideally suited for works by contemporary composers like Beat Furrer, Gérard Grisey, Hans Werner Henze und Pierre Boulez.
She appears regularly with the Collegium Vocale Gent, Bach Collegium Japan, Netherlands Bach Society, Freiburger Barockorchester, RIAS Kammerchor, Orchestra of the Eighteenth Century, L’Orfeo Barockorchester, Lautten Compagney and Klangforum Wien under such conductors as Stefan Asbury, Ivor Bolton, Frans Brüggen, Pierre Cao, Beat Furrer, Paul Goodwin, Philippe Herreweghe, Wolfgang Katschner, Gustav Leonhardt, Emilio Pomárico, Hans-Christoph Rademann, Ludger Rémy, Peter Schreier, Andreas Spering, Christoph Spering, Stephen Stubbs, Masaaki Suzuki and Jos van Veldhoven.
Dorothee Mields is a welcome guest at international festivals, including the Leipzig Bach Festival, Suntory Music Foundation Summer Festival in Japan, Boston Early Music Festival, Flanders Festival, Vienna Festival, the Handel Festival in Halle, Niedersächsische Musiktage and Musikfest Bremen.
She is a devoted chamber musician and offers a range of highly interesting projects such as “Lord Nelson at the river Nile” (music by Haydn and contemporaries dealing with the battles of Lord Nelson), “White as Lillies was her Face” with songs by John Dowland combined with texts by Heinrich Heine, “Mort exquise, mort parfumée” with French impressionistic compositions, as well as “Duft und Wahnsinn” (fragrance and lunacy) together with Hille Perl, viola da gamba, and Lee Santana, lute.
A steadily growing discography with several award-winning recordings documents her artistic achievements. Recent releases of “In Darkness Let me Dwell” and “Loves Alchymie” (with Hille Perl and Lee Santana, Sony/dhm) and Purcell “Love Songs” and “Loves Madness” (with the Lautten Compagney, Carus) have received great critical acclaim. Equally well received was the Telemann album “Die Hoffnung des Wiedersehens” with L’Orfeo Barockorchester (Sony/dhm), Krieger Cantatas with Hamburger Ratsmusik (Carus) and “Inspired by Song” with flutist Stefan Temmingh (Sony/dhm).
Highlights of the season 2015/16 include performances with Stefan Temmingh at the festival Rheinvokal and the Ittinger Pfingstkonzerte. She will sing together with the Lautten Compagney at the Brandenburgische Sommerkonzerte and with Collegium Vocale Gent at the Ruhr Triennale followed by concerts with the Freiburger Barockorchester and AKAMUS. A tour with the Wiener Akademie in spring 2016 takes her to the US and Canada where she will perform further concerts with Early Music Vancouver and with Tafelmusik Toronto.
“[…] Dorothee Mields a compelling Amaranthe and Proserpine.”Julie Anne Sadie, Gramophone, 09/2014
“The songs are sung by the German soprano Dorothee Mields, whose voice is more in English early-music style than English folk but whose performances are secure and intelligent, with a beguiling slight flutter.”Lindsay Kemp, Gramophone, 08/2014
“Dorothee Mields sings with stylistic sureness and radiant personality in ‚Flösst, mein Heiland, flösst dein Namen‘ […]”David Vickers, Gramophone 01/2014
“No present-day singer understands German sacred music of the seventeenth century better than the soprano Dorothee Mields and, unsurprisingly therefore, no one sings it better.”Andrew O’Connor, International Record Review, 10/13
“Dorothee Mields sings beautifully throughout. Hers is a voice of great purity and refinement, possessing much subtlety within a calibrated palette of colours.”Jonathan Woolf, Musicweb International 11/2013
“It is hard to think of a better specialist German Baroque soprano than Mields at the moment; her flawless tone, awareness of instrumental interplay, delivery of poetry and shapely phrasing provide nothing but undiluted pleasure.”David Vickers, Gramophone 06/2013
“How much can an early-music recording rock? "Rock"? Why, is that appropriate? Is it in good taste? If "good taste" means approvingly nodding to the sounds of musicke from an armchair, then no. That's not what Dorothee Mields and Lautten Compagney do with songs of Purcell and contemporaries; they stick to text and music, but also channel its earthy character of music-as-entertainment. From "Bedlam Boys," where the Jewish harp hops ahead like an animated flea, to the heartbreaking beauty of the orchestral "With drooping wings," there isn't a moment that doesn't touch deeply.”Jens F. Laurson, arkivmusic.com, 11/2012
“Dorothee Mields, whose performance is outstanding, particularly in her 'drunken' rendition of 'Tis women makes us love.”Catherine Groom, Early Music Review, 06/2012
“Jauchzet Gott in allen Landen, is a festive piece which turns the soprano into a vocal trumpet, leaping vertiginously in duet with a real trumpet. It was a thrill to see trumpeter David Hendry brace himself like a weightlifter and send his high notes aloft. Mields — a shrewd singer as well as a beautifully natural one — didn’t try to compete. Instead she just allowed her high notes to soar of their own accord. Grace met with strength, and matched it. […] in the opening movement of Cantata 202, where the melting of winter was captured in a duet between Mields and oboist Antoine Toruncyk of heart-rending beauty. Even more affecting was Mields’ consoling aria in the substitute cantata […].”Ivan Hewett, The Telegraph 11.06.2012
“Mields's light and even soprano proved nicely scaled to the piece's vocal demands; her delicacy of expression never tipping over into emotional wallowing.”George Hall, The Guardian 11.06.2012