Vera-Lotte Boecker

Soloist - soprano
I knew straight away: this is it! This is what I want, this is where I belong!

In the Ensemble of the Komische Oper Berlin since 2017.

Brühl bei Köln

Hochschule für Musik »Hanns Eisler« Berlin, and Universität der Künste Berlin

Gesangswettbewerb »Vokal genial« der Konzertgesellschaft München und des Bayerischen Rundfunks, Stipendiatin des Deutschen Musikwettbewerbes und des Richard-Wagner-Verbandes Mannheim, Theaterpreis der Stadt Detmold, Nominierung Nachwuchssängerin des Jahres 2014 der Zeitschrift Opernwelt

Siegfried Jerusalem, Mirella Freni

Katie Mitchell, Calixto Bieito, Frank Hilbrich, Nicola Raab, Achim Freyer, Peter Konwitschny

Bertrand de Billy, Frank Ollu, Dan Ettinger, Rubén Dubrovsky, Rossen Gergov, Alexander Soddy and Erich Wächter

Opernstudio des Royal Danish Theatre Kopenhagen, Nationaltheater Mannheim, Landestheater Detmold

Eudoxie (La Juive), Agnès (Written on Skin), Adina (L’elisir d’amore), Micaëla (Carmen), Gretel (Hänsel und Gretel), Eliza (My Fair Lady), Rosina (Il barbiere di Siviglia), Jenny (Aufstieg und Fall der Stadt Mahagonny), Musetta (La Bohème), Iris (Esame die Mezzanotte), Ismene (Mitridate, re di Ponto), Autonoe (Die Bassariden)

Pamina (Die Zauberflöte), Donna Anna (Don Giovanni), Micaela (Carmen), Rosina (Il barbiere di Siviglia), Hermia (Blaubart), Musetta (La Bohème), Sophie (Der Rosenkavalier), Viktoria (Viktoria und ihr Husar), Pamina (Die Zauberflöte), Hermia (Blaubart)
While she was singing along to her family’s Cats records as a little girl, Vera-Lotte Böcker could never have dreamt that one day she would be standing on the stage as a professional singer.

An enthusiastic reader, she moved to the capital after graduating from high school to study literature and philosophy and get to the heart of things, investigating the question of how the world is held together at the most profound level. But Berlin has so much to offer, so she used every free minute to explore the theatre landscape. Productions like Calixto Bieito’s scandalous Abduction from the Seraglio and Barrie Kosky’s Rigoletto left a particular impression, and had an almost magical appeal for her. »At some point I realised that I was going to the opera more often than to my lectures; I was (and still am) totally addicted to music and singing.«

In the end, her desire to make theatre herself won out. Encouraged by her singing teacher to try to make a living as a professional singer, she passed the entrance examinations for the Universität der Künste and the Hochschule für Musik Hans Eisler Berlin. For a while, she studied simultaneously at both institutions, and spent a year in the opera studio in Copenhagen. But she longed for the stage, so she auditioned for a permanent position at the Landestheater Detmold while she was still studying. Standing on the stage in her first role, with the orchestra and the whole shebang, suddenly, all her questions and doubts disappeared: “I knew straight away: this is it! This is what I want, this is where I belong!”

Regardless of whether it’s Copenhagen, Detmold, Bolzano, Mannheim, Munich, Moscow or Berlin: the fact that everyone comes together, the interplay of all the different sources of energy in the theatre, from the technical set-up to the make-up, the feeling that all hands are on deck to create a unique evening, that’s what Vera-Lotte Böcker loves about her profession. Something she views as a collective task. Without a trace of the preciousness of a diva.

She has maintained her love of reading, and after long days of rehearsals, a book provides some distance from the turbulent life of the theatre. A secret “vice” of hers is science fiction literature, in which – not unlike in the opera – it is possible to indulge in the exploration of other worlds.

The fact that she now gets to sing at the place where she discovered her passion for opera as a student, well, that’s a really personal dream that has now come true.