Paris-born mezzo-soprano Nora Gubisch brings her flair and charisma to the world’s greatest opera stages, theatres and concert platforms of today. Beginning her career at just 24 years old, two years later Gubisch made her debut in the title role of Fenelon’s Salammbô at the Opéra de Paris. It was around this time Gubisch first worked with the late Sir Colin Davis performing Romeo et Juliette, after which Davis invited Gubisch to perform Tippett’s A Child of our Time, also performing together on tour.
With a wide repertoire of orchestral song cycles, symphonies and oratorios, Nora Gubisch has performed under the batons of the late Sir Colin Davis, Myung-Whun Chung, James Conlon, Christoph Eschenbach, Nikolaus Harnoncourt, Armin Jordan, Lorin Maazel, Kent Nagano, Georges Prêtre, Jukka-Pekka Saraste, and with orchestras including New York Philharmonic, Wiener Philharmoniker, Tonhalle-Orchester Zürich, Sächsische Staatskapelle Dresden, Danish National Symphony Orchestra, London Symphony Orchestra, City of Birmingham Symphony Orchestra, BBC Symphony Orchestra and in France with Orchestre de Paris, Orchestre National de France and Orchestre National de Lyon.
This season, Gubisch opens the season of the Warsaw Philharmonic Orchestra singing Mahler’s Symphony No. 2 under Andrey Boreyko, and will sing the role of Anne Boleyn in Saint-Saëns’ Henry VIII at Théâtre Royal de la Monnaie in Brussels. Recent highlights include returning to Wiener Symphoniker under Alain Altinoglu singing Chausson’s Poème de l'amour et de la mer at the prestigious Musikverein, and debut appearances with SWR Symphonieorchester and Helsinki Philharmonic Orchestra. Other notable engagements include appearances with Orchestre de Paris as Judith in Bluebeard’s Castle, a role that is a particular favourite of Gubisch’s, Bamberger Symphoniker at Kissinger Sommer (Rossini’s Stabat Mater), Orchestre de chambre de Paris (Dvořák’s Biblical Songs), Orchestre Philharmonique de Radio France (Saariaho’s Adrianna Songs), and Mahler’s Symphony No. 3 in Berlin.
Having made her Wiener Staatsoper debut as Waltraute in Wagner’s Götterdämmerung, Gubisch recently sang Brangäne in Wagner’s Tristan und Isolde in a new production at the Théâtre Royal de la Monnaie. Further recent opera highlights include Charlotte at the Liceu Barcelona in Massenet’s Werther, Amneris at La Monnaie in Verdi’s Aida, and Hedwige in Rossini’s Guillaume Tell at Choregies d’Orange.
As a student in Paris, music brought Nora Gubisch together with fellow student, internationally acclaimed conductor Alain Altinoglu, and in recital the duo regularly perform throughout Europe, most recently appearing at Théâtre Royal de la Monnaie with a programme including works by Schumann, Brahms, Strauss and de Falla. For the Naïve label they have recorded two critically acclaimed CDs of Ravel Mélodies and Folk Songs, with Folk Songs continuing to hold a very special place in Gubisch’s heart. For Cascavelle they have recorded a disc of Duparc’s Mélodies. Her extensive discography further includes Tippett’s A Child of our Time with Sächsische Staatskapelle Dresden and Sir Colin Davis, Dusapin’s Perelà with the Opera Orchestre National de Montpellier and Alain Altinoglu, Offenbach’s Rheinnixen with Friedman Layer, Humperdinck’s Königskinder with Jonas Kaufmann and Armin Jordan, Kodály’s Háry János Suite, Lancino's Requiem, Lalo/Coquard’s La jacquerie, Victorin Joncières’ Joncières, Philidor’s Carmen Saeculare, Dubugnon’s Le Songe Salinas, Massenet’s Thérèse, and Escaich’s Les Nuits hallucinées with Orchestre National de Lyon and Jun Märkl.
In 2014 Nora Gubisch was appointed a Chevaliers of the “Ordre des Arts et des Lettres” in Paris, where she makes her home with her family.
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„Nora Gubisch shines in Brangäne with a dense, precise and worked voice, slightly guttural and supported. Thanks to her baroque training, the singer offers a precise and lively management of the breath that gives the role a beautiful juvenility, with clarity in the high notes and depth in the more authoritative passages. The vocal panel is wide, the velocity impressive, the voice open, always.“
„Gubisch, with a vocal timbre of mellifluous beauty and well-focused richness, responds with the striking malleable spectrum of sensibility to the varied scenarios that Ravel encapsulates.“