Soloist - Baritone
Tom Erik Lie
Zitat einfügen oder Element löschenI just wandered through all the voice types: from soprano to alto, then into tenor, and ultimately
baritone. And that’s where I stayed.
In the ensemble of the Komische
Oper Berlin since 2004. Named a
Berlin Kammersänger in 2022.
ORIGINALLY FROM
Oslo / Norway
STUDIES
Konservatorium und Staatliche Opernhochschule Oslo
Oper Berlin since 2004. Named a
Berlin Kammersänger in 2022.
ORIGINALLY FROM
Oslo / Norway
STUDIES
Konservatorium und Staatliche Opernhochschule Oslo
PRIZES
»Ingrid-Bjoner-Stipendium für junge Sänger« 1995. Von der Zeitschrift Opernwelt 1996 nominiert als »Nachwuchskünstler des Jahres«.
IMPORTANT CONDUCTORS
Christian Thielemann
Kirill Petrenko
Marcello Viotti
André Previn
Michail Jurowski
Vladimir Jurowski
Friedeman Layer
Paolo Carignani
IMPORTANT DIRECTORS
Barrie Kosky
Peter Konwitschny
Hans Neuenfels
Andreas Homoki
Christof Loy
Achim Freyer
Stefan Herheim
Calixto Bieito
Kasper Holten
IMPORTANT PREVIOUS POSITIONS
Deutsche Oper am Rhein
Musiktheater im Revier Gelsenkirchen
Oper Leipzig
Deutsche Oper Berlin
IMPORTANT PARTS AT THE KOMISCHE OPER BERLINTitelpartien in Jewgeni Onegin und Don Giovanni
Sixtus Beckmesser (Die Meistersinger von Nürnberg)
Papageno (Die Zauberflöte)
Edwin (Die Csárdásfürstin)
Eisenstein (Die Fledermaus)
Hoffmann 2 (Les Contes d’Hoffmann)
Marcel (La Bohème)
Graf Almaviva (Die Hochzeit des Figaro)
Georges Germont (La Traviata)
Amme (Die Krönung der Poppea)
Gevatter (Der Jahrmarkt von Sorotschinzi)
Mr. Kallenbach (Satyagraha)
Popolani (Blaubart)
Oberst Pickering (My Fair Lady)
Herr von Faninal (Der Rosenkavalier)
Dr. Pangloss/Voltaire(Candide)
Der Blechmann (Der Zauberer von Oz)
Hauptmann (The Bassarids)
Papageno (Die Zaubermelodika)
Bill (Aufstieg und Fall der Stadt Mahagonny)
ELSEWHERE
Frère Léon (St. François d’Assise)
Guglielmo (Così fan tutte)
Siegfried (Genoveva)
Wolfram v. Eschenbach (Tannhäuser)
Sharpless (Madama Butterfly)
Albert (Werther)
Schaunard (La Bohème) an Häusern wie Staatsoper Hannover, Aalto-Musiktheater Essen, Staatstheater Nürnberg, Theater Bonn, Semperoper Dresden, Königliche Oper Kopenhagen, Norwegische Oper Oslo, Gran Teatre del Liceu in Barcelona, Maggio Musicale Fiorentino
1. Which opera character have you learned the most from (and what)?
There are quite a few, but the ones that have stuck with me the most are Beckmesser from Die Meistersinger von Nürnberg and Albin/Zaza from La Cage aux Folles! Beckmesser, because you have to pace that long role very carefully to stay vocally fresh. Albin/Zaza is a completely different challenge because there’s a lot of dialogue, which requires using your voice in a very different technical way than in the sung numbers. Two very different roles, but I absolutely love singing both of them!
2. What do you sing when no one is listening?
It depends on my mood! Since I have to keep rehearsing new pieces, it usually just happens on its own.
3. Which profession would you have today if you hadn’t become a singer?
I’ve always wanted to be an opera singer ever since I was ten years old!
4. Which artistic experience changed everything for you?
I had the opportunity to perform as a boy soprano in La Bohème and Tosca at the Oslo National Opera, and I immediately fell in love with the music and the drama. Ever since then, I’ve wanted to become an opera singer!
5. What do you do after the performance?
I really enjoy going out to eat with my colleagues or friends after a performance.
There are quite a few, but the ones that have stuck with me the most are Beckmesser from Die Meistersinger von Nürnberg and Albin/Zaza from La Cage aux Folles! Beckmesser, because you have to pace that long role very carefully to stay vocally fresh. Albin/Zaza is a completely different challenge because there’s a lot of dialogue, which requires using your voice in a very different technical way than in the sung numbers. Two very different roles, but I absolutely love singing both of them!
2. What do you sing when no one is listening?
It depends on my mood! Since I have to keep rehearsing new pieces, it usually just happens on its own.
3. Which profession would you have today if you hadn’t become a singer?
I’ve always wanted to be an opera singer ever since I was ten years old!
4. Which artistic experience changed everything for you?
I had the opportunity to perform as a boy soprano in La Bohème and Tosca at the Oslo National Opera, and I immediately fell in love with the music and the drama. Ever since then, I’ve wanted to become an opera singer!
5. What do you do after the performance?
I really enjoy going out to eat with my colleagues or friends after a performance.