Drawing: Lise Davidsen

Autographed drawing of soprano Lise Davidsen

“It’s been a long time since a singer has generated as much buzz as the Norwegian soprano,” wrote the renowned Gramophone magazine in their review of Lise Davidsen’s self-titled debut album of Strauss and Wagner songs late last year. “A name you will want to remember and a voice, once heard, you won’t forget.” She is the first operatic soprano to debut at No 1 in the UK Classical Charts. “This album only reinforces the fact that she is one of the greatest vocal talents to have emerged in recent years, if not decades,” continued the Gramophone review, who awarded her Young Artist of the Year in 2018.

The Financial Times declared her ‘the real deal’. It was not alone with the Scandinavian lyric dramatic soprano gaining universal adoration and agreement that she ‘one of the greatest voices of her generation’.

Lise shot to prominence in the summer of 2015, winning the Queen Sonia Singing Competition in her homeland, before she ‘swept the board’, collecting the three top awards at the prestigious Operalia competition in London as well as being a triple winner at Amsterdam’s Hans Gabor Belvedere Singing contest. A series of acclaimed international Opera followed. Last year she debuted with the Metropolitan Opera in New York as the young, rich lover Lisa, in Tchaikovsky’s THE QUEEN OF SPADES, with the New York Time’s Zachary Woolf writing, ” Ms Davidsen’s voice is creamy in texture, but with a silvery shimmer that gives it a penetrating spine.” Her first appearance at the Royal Opera House was in Wagner RING CYCLE in 2018, returning this year alongside Jonas Kaufmann as the free-loving, cross-dressing, husband-rescuing heroine Lenore in Beethoven’s FIDELIO. The production sold out within 24 hours.

In his Backtrack review David Karlin wrote, “Covent Garden has seen many great role debuts over the years, but I doubt there have been many with quite the level of self-assurance.” Unfortunately the season was cut short due to the Covid-19 pandemic, which included a live screening to cinemas of the final performance on 17 March. Fortunately I managed to get Lise to sign my drawing of her in the Met role before the lockdown.

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