{"id":85,"date":"2020-04-11T00:21:49","date_gmt":"2020-04-10T22:21:49","guid":{"rendered":"https:\/\/csam.tobetold.film\/?p=85"},"modified":"2025-09-01T12:39:47","modified_gmt":"2025-09-01T10:39:47","slug":"regula-muehlemann","status":"publish","type":"post","link":"https:\/\/csam.tobetold.film\/en\/artists\/soprano\/regula-muehlemann\/","title":{"rendered":"Regula M\u00fchlemann"},"content":{"rendered":"

Within just a few years, Swiss soprano Regula M\u00fchlemann has established herself as one of her generation\u2019s most important voices. Equally at home on the operatic and concert stages, she is acclaimed by audiences and critics alike for her exceptionally beautiful timbre and sensitive performances. For her performances in the Salzburg Festival\u2019s 2022 production of Die Zauberflote, The Telegraph<\/em> hailed: “Regula M\u00fchlemann is outstanding as a radiant Pamina.”<\/p>\n

M\u00fchlemann opens the 2025\/26 season with her highly anticipated role debut as Konstanze in Die Entf\u00fchrung aus dem Serail <\/em><\/strong>with the Semperoper Dresden, staged by Michiel Dijkema and conducted by Leo Hussain. Later in the season, she reprises Konstanze with the Bayerische Staatsoper, where Martin Duncan\u2019s production is conducted by Ivor Bolton. The soprano returns to the Z\u00fcrich Opera House as Adele for Anna Bernreitner\u2019s new production of Die Fledermaus<\/em><\/strong> under the baton of Lorenzo Viotti, and with Teatro alla Scala she reprises her portrayal of Gilda in Rigoletto<\/em><\/strong>, directed by Mario Martone and conducted by Marco Armiliato.<\/p>\n

M\u00fchlemann\u2019s 2025\/26 concert season is filled with exciting tours and collaborations. The soprano can be heard in the New Year Concerts with the Lucerne Symphony Orchestra and Michael Sanderling. Together with La Folia Barockorchester, the soprano embarks on tour to present a program of baroque arias from their album Cleopatra<\/em><\/strong> in Zurich, Antwerp, Essen and Liepaja. She joins Orchester der Oper Z\u00fcrich for concerts in Zurich, Dijon and Hamburg with Mozart\u2019s Exsultate jubilate<\/em><\/strong> & Pergolesi\u2019s Stabat Mater. <\/em><\/strong>M\u00fchlemann sings Mozart\u2019s Requiem<\/em><\/strong> at Les Grandes Voix concerts in Bern and Paris and returns to the Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es to perform Haydn\u2019s The Creation. <\/em><\/strong>M\u00fchlemann performs a series of concerts with the Munich Radio Orchestra across Bavaria, joins the Zurich Chamber Orchestra for performances in Zurich and Gstaad, while her enchanting recitals can be heard in Linz, Aarau and Weiden in der Oberpfalz.<\/p>\n

Among the highlights of her previous seasons were her role and company debut at the Vienna State Opera as Susanna (Le nozze di Figaro<\/em><\/strong>), followed by returns as Adina (L’elisir d’amore<\/em><\/strong>), Adele (Die Fledermaus)<\/em><\/strong> and Blonde (Die Entf\u00fchrung aus dem Serail)<\/em><\/strong>. With Staatsoper Unter den Linden in Berlin, she was heard as Sophie (Der Rosenkavalier)<\/em><\/strong> and Susanna (Le nozze di Figaro<\/em><\/strong>) under the baton of Daniel Barenboim, and at Festspielhaus Baden-Baden she performed the role of Ilia (Idomeneo<\/em><\/strong>) in concert under the musical direction of Thomas Hengelbrock. M\u00fchlemann starred as Gilda in Verdi’s Rigoletto<\/em><\/strong> at Theater Basel, as Adele in Die Fledermaus<\/em><\/strong> at Teatro Maggio Musicale in Florence under Zubin Mehta, and as Juliette (Rom\u00e9o et Juliette<\/em><\/strong>) at the Lucerne Theatre. M\u00fchlemann performed as Echo (Ariadne auf Naxos<\/em><\/strong>) at Milan’s Teatro alla Scala, joined the Salzburg Festival as Pamina in Mozart’s Die Zauberfl\u00f6te<\/em><\/strong> and as Bellezza in Handel’s oratorio Il Trionfo del tempo e del disinganno<\/em><\/strong> alongside Cecilia Bartoli, and saw performances as Marie in La fille du regiment<\/em><\/strong> with Op\u00e9ra de Monte-Carlo.<\/p>\n

On tour, the Swiss soprano\u2019s captivating presence on the concert stage has been shared with thousands of audience members: with CHAARTS Chamber Artists, she performed across Switzerland, Austria, and Germany, presenting the program from her CD “Fairy Tales”. She enchanted the public with a program from her CD “Songs from Home” in Switzerland and at the Vienna Konzerthaus and embarked on tours with the Basel Chamber Orchestra under the direction of Umberto Benedetti Michelangeli.<\/p>\n

Selected concert performances of recent seasons include the Mater gloriosa in Mahler’s Symphony No. 8 \u201cSymphony of a Thousand\u201d <\/em><\/strong>at Teatro alla Scala under Riccardo Chailly, at the Royal Albert Hall in London led by Vasily Petrenko and with Staatskapelle Dresden conducted by Christian Thielemann, at the Vienna Konzerthaus with the Vienna Symphony Orchestra and its former chief conductor Philippe Jordan. She performed Beethoven\u2019s Missa Solemnis<\/em><\/strong> with the Balthasar Neumann Orchestra, Bach\u2019s Jauchzet Gott in allen Landen<\/em><\/strong> with the NDR Elbphilharmonie Orchester under the baton of Herbert Blomstedt, Messiah <\/em><\/strong>with the Kammerorchester Basel, Mozart\u2019s Die Schuldigkeit des ersten Gebots<\/em><\/strong> with the M\u00fcnchner Rundfunkorchester and Alessandro De Marchi. M\u00fchlemann was heard in Mahler\u2019s Symphony No. 4<\/em><\/strong> with the argovia philharmonic, with Mo. Roberto Gonzalez-Monjas and the Belgian National Orchestra, with the Marseille Philharmonic under the baton of Michele Spotti, as well as on tour with Theodor Currentzis and the Utopia Orchestra and with the S\u00e4chsische Staatskapelle Dresden under the baton of Mariss Jansons at Salzburg\u2019s Easter Festival. Additional repertoire includes Mozart\u2019s Great Mass in c-minor, <\/em><\/strong>Mendelssohn\u2019s Lobgesang<\/em><\/strong>, Beethoven\u2019s Symphony No. 9<\/em><\/strong>, Bach\u2019s Passions <\/em><\/strong>as well as his Mass in<\/em><\/strong> b-minor<\/em><\/strong>, Haydn\u2019s The Seasons and The Creation, <\/em><\/strong>Carmina Burana, <\/em><\/strong>Brahms’ Ein deutsches Requiem. <\/em><\/strong>Regula M\u00fchlemann works regularly with renowned conductors, including Franz Welser-M\u00f6st, Valery Gergiev, Nello Santi, Sir Simon Rattle, Daniel Harding, Andr\u00e9s Orozco-Estrada, Pablo Heras-Casado, Ivor Bolton, Pinchas Steinberg, Yannick N\u00e9zet-S\u00e9guin and Gianandrea Noseda and has been a guest of the most prestigious concert halls in Europe such as the Berlin Philharmonie, Alte Oper Frankfurt\/Main, Casino Bern, Vienna Konzerthaus, Geneva, Madrid, New York’s Carnegie Hall, London’s Wigmore Hall, Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, and Dublin’s RIAM Concert Hall, among others.<\/p>\n

Regula M\u00fchlemann made many best-selling and price winning recordings with Sony Music Classical. Her debut album Mozart Arias<\/em><\/strong> (2016) was not only highly acclaimed by critics, but also awarded with the Deutsche Schallplattenkritik (Bestenliste). Her second album Cleopatra<\/em><\/strong> (2017) was also well received: \u201chow captivatingly beautiful does the voice alloyed with gold and silver [sound]\u201d; \u201cthe recital stands out, sweepingly said, due to the musical sequence of pictures as well as the encounter with a vocal and technical giftedness\u201d (J\u00fcrgen Kesting\/Fono Forum<\/em>). In 2018, Regula M\u00fchlemann was the winner of the OPUS KLASSIK \u201cNewcomer of the Year\u201d award. In autumn 2019 her third solo album Songs from Home<\/em><\/strong> was released, featuring a delightful selection of songs by Franz Schubert and Swiss composers. In 2020, she produced her fourth solo album, Mozart II<\/em><\/strong>, in collaboration with the Basel Chamber Orchestra and Umberto Benedetti Michelangeli, for which she was awarded the OPUS KLASSIK for Solo Recording Voice (Opera) in 2021. For her fifth album Fairy Tales<\/em><\/strong> (2022) she worked out a special concept with a musical selection of “magical” pieces that take the listener into the world of fairies, elves and nymphs and in 2023 she has received OPUS KLASSIK award in the “Vocal Solo” category. In addition to her robust recording career, M\u00fchlemann has also debuted on the silver screen in the feature film \u201cHunter\u2019s Bride\u201d, based on Weber\u2019s Der<\/em><\/strong> Freisch\u00fctz<\/em><\/strong> and in the film adaption of Gluck\u2019s Orfeo ed Euridice<\/em><\/strong>, as well as in Bernhard Weber\u2019s documentary \u201cThe sound of the voice\u201d from 2018.<\/p>\n

Regula M\u00fchlemann was born in Lucerne and studied at the Conservatory of Lucerne with Prof. Barbara Locher. Her first experiences on the opera stage took place at the Lucerne Theatre, followed by international debuts with Teatro La Fenice as Despina in Cos\u00ec fan tutte<\/em><\/strong> and at the 2012 Salzburg Festival in von Winter\u2019s Das Labyrinth<\/em><\/strong>. Regula M\u00fchlemann has been the recipient of numerous awards and prizes, and notably was a Finalist representing Switzerland at the 2015 Cardiff Singer of the World Competition.<\/p>\n

\u00a9 CSAM, August 2025<\/p>","protected":false},"excerpt":{"rendered":"

Within just a few years, Swiss soprano Regula M\u00fchlemann has established herself as one of her generation\u2019s most important voices. Equally at home on the operatic and concert stages, she is acclaimed by audiences and critics alike for her exceptionally beautiful timbre and sensitive performances. For her performances in the Salzburg Festival\u2019s 2022 production of Die Zauberflote, The Telegraph hailed: “Regula M\u00fchlemann is outstanding as a radiant Pamina.”<\/p>\n","protected":false},"author":5,"featured_media":9315,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-85","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-soprano"],"acf":[],"_links":{"self":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/85","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/comments?post=85"}],"version-history":[{"count":30,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/85\/revisions"}],"predecessor-version":[{"id":9724,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/posts\/85\/revisions\/9724"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/media\/9315"}],"wp:attachment":[{"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/media?parent=85"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/categories?post=85"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/csam.tobetold.film\/en\/wp-json\/wp\/v2\/tags?post=85"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}