CONTACTS | BIOGRAPHY | REPERTOIR | SCHEDULE | REVIEWS
Contacts
Simona Houda Šaturová
saturova(at)post.cz
Agent world :
KünstlerSekretariat am Gasteig
Elisabeth Ehlers
elisabeth.ehlers(at)ks-gasteig.de
tel. +49 89 4448879-0
www.ks-gasteig.de
Agent for Czech and Slovak Republic:
Nachtigall Artists management s.r.o.
Alena Nachtigalová
a.nachtigalova(at)nachtigallartists.cz
tel: +420-602-219611
www.nachtigallartists.cz
Biography
Simona Šaturová was born in Bratislava (Slovakia). She studied at the Bratislava Conservatory and attended master classes with Ileana Cortrubas. In 2001 she was awarded the “Thalia Prize” for the best vocal performance of the year as Giulietta in Bellini’s I Capuleti e i Montecchi. In August 2007 the artist was awarded the “Förderpreis der Walter und Charlotte Hamel-Stiftung” (Walter and Charlotte Hamel Foundation prize) at the Schleswig-Holstein Music Festival.
Besides her numerous appearances at the National Theatre and the Prague State Opera, the soprano singer has also performed on the stages of the Teatro Colón (Buenos Aires), the Théâtre du Châtelet Paris, Opéra de Monte Carlo and the Megaron in Athens.
Her repertoire includes the roles of Lucia (Lucia di Lammermoor), Gilda (Rigoletto), Oscar (Un Ballo in Maschera), Rosina (Il Barbiere di Siviglia), Adele (Die Fledermaus), Susanna (Le Nozze di Figaro), Konstanze (Die Entführung aus dem Serail) and Pamina (Die Zauberflöte).
Concert performances play an important part on Simona Šaturová’s calendar: an audition with Christoph Eschenbach led the soprano to Paris for a short time in the middle of September 2006, when she sang Mahler’s Symphony No. 2 under the great conductor himself on the occasion of the reopening of the Salle Pleyel. As a result of her outstanding performance, the Philadelphia Orchestra immediately invited her to appear at concerts in Philadelphia and the Carnegie Hall, New York in May 2007. In November this year the live recording of these concerts will be released by Ondine. She has also appeared on stage as a guest performer in Detroit and Toronto, and in June 2009 she will perform with the Pittsburgh Symphony Orchestra for the first time. Other recent engagements of importance, besides the Lukas Passion by and under the direction of Krzysztof Penderecki at the Schleswig-Holstein Music Festival, include concerts in Japan under Rolf Beck (Krönungsmesse) and at the Oregon Bach Festival in Eugene (including performances of Brahms’ Requiem and Beethoven’s Missa Solemnis), concert performances of Idomeneo with Leopold Hager at the Luxembourg Philharmonic, Davidde Penitente in Portugal and a stand-in, at short notice, as Pamina at the Oper Frankfurt, where the soprano singer will be seen in stagings of Il Viaggio a Reims and Ein Maskenball (A Masked Ball) as well as Lucia di Lammermoor during the 2007-2010 seasons.
Simona Šaturová has also performed at the Rheingau Musik Festival, Prager Frühling, Herrenchiemsee Festspiele, Festival Internazionale di Musica e Arte Sacra Roma, Bachfesttagen as well as appearing on stage at the Vienna Spring Festival, Steierischer Herbst or Köthener Bachfesttage. Conductors with whom the soprano singer has worked include Sir Neville Marriner, Sylvain Cambreling, Jirí Belohlávek, Serge Baudo, Manfred Honeck, John Fiore, Martin Haselböck, Rafael Frühbeck de Burgos, Adam Fischer and Gennady Roschdestwenski.
She has also featured on CD recordings for the Supraphon, Orfeo and Classico labels, and for the Carus Verlag, for whom she made a recording of the premiere of Johann A. Hasse‘s Requiem and Miserere in 2005. This recording received the “Preis der Deutschen Schallplattenkritik” prize awarded by the German Record Critics. In Autumn 2008 the soprano singer will record a Haydn CD under Allessandro de Marchi with NDR Radiophilharmonie Hannover, followed in January 2009 by a CD with virtuoso Italian arias under Riccardo Frizza (for ORFEO).
Repertoire
Opera
W . A . MOZART
DIE ENTFÜHRUNG AUS DEM SERAIL Konstanze
LA FINTA GIARDINIERA Sandrina
LE NOZZE DI FIGARO Susanna
DIE ZAUBERFLÖTE Pamina
DON GIOVANNI Zerlina
COSI FAN TUTTE Despina
APOLLO ET HYACINTHUS Melia
DER SCHAUSPIELDIREKTOR Mademoiselle Silberklang
G . ROSSINI
IL BARBIERE DI SIVIGLIA Rosina
IL VIAGGIO A REIMS Madama Cortese
L‘ ITALIANA IN ALGERI Elvira
V . BELLINI
I CAPULETI E I MONTECCHI Giulietta
G. DONIZETTI
LUCIA DI LAMMERMOOR Lucia
G . VERDI
RIGOLETTO Gilda
UN BALLO IN MASCHERA Oscar
B . SMETANA
HUBIČKA Barče
A . DVOŘÁK
JAKOBÍN Terinka
RUSALKA První žínka
Z . FIBICH
ŠÁRKA Libina
J . STRAUSS
DIE FLEDERMAUS Adele
J . OFFENBACH
LES CONTES D‘HOFFMANN Olympia
L . JANACEK
JENUFA Karolka, Jano
G . von EINEM
DER PROZESS Leni
L . FIŠER
LANCELOT Sandrina
H . PURCELL
DIDO AND AENEAS Belinda
THE FAIRY QUEEN Titania
KING ARTHUR Sopran-Partie
A . CAMPRA
LES FETES VÉNITIENNES Sopran-Partie
A . SCARLATTI
LA ROSAURA Rosaura
AGAR ET ISMAELE ESILIATI Ismaele
J . J . FUX
DAFNE IN LAURO Dafne
A . VIVALDI
ORLANDO FURIOSO Angelica
LA SENNA FESTEGIANTE L‘Eta dell‘Oro
G . F . HÄNDEL
ACI , GALATEA E POLIFEMO Aci
RODRIGO Esilena
RINALDO Almirena
CH . W . GLUCK
LA DANZA Nice
Sacred music, oratorios, cantatas
H . I . F . BIBER
REQUIEM
G . CARISSIMI
BALTHAZAR
A . CALDARA
MISSA CARITATIS
DIXIT DOMINUS
GLORIA
J . K . VANHAL
MISSA SOLEMNIS
J . ZACH
REQUIEM
A . VIVALDI
IN TURBATO MARE IRATO
GLORIA
F . X . BRIXI
MISSA PASTORALIS
J . S . BACH
JOHANNES PASSION
WEIHNACHTS-ORATORIUM
MESSE A DUR
MAGNIFICAT
JAUCHZET GOTT IN ALLEN LANDEN
NON SA CHE SIA DOLORE
KOMMT , EILET UND LAUFET – Osternoratorium
WIE SCHÖN LEUCHTET DER MORGENSTERN
DIE ELENDEN SOLLEN ESSEN
MEINE SEEL‘ ERHEBT DEN HERRN
HERZ UND MUND UND TAT UND LEBEN
WAS MICH BEHAGT IST NUR DIE MUNTRE JAGD
BEREITET DIE WEGE
G . F . HÄNDEL
THE MESSIAH
DER MESSIAS – W.A.Mozart arranges
CRUDEL TIRANNO AMOR
LAUDATE PUERI DOMINUM F-DUR
LAUDATE PUERI DOMINUM D-DUR
NEUN DEUTSCHE ARIEN
G . B . PERGOLESI
STABAT MATER
SALVE REGINA
ORFEO
J . V . STAMIC
MISSA SOLEMNIS
J . J . RYBA
ČESKÁ MŠE VÁNOČNÍ
W . A . MOZART
REQUIEM
GROSSE MESSE IN C- MOLL
DAVIDE PENITENTE
KRÖNUNGS MESSE IN C- DUR
VESPERAE SOLENNES DE CONFESSORE
EXULTATE , JUBILATE
REGINA COELI
BELLA MIA FIAMMA
VADO MA DOVE
CH‘IO MI SCORDI DI TE
MISERA, DOVE SON ?
F . X . MOZART
DER ERSTE FRÜHLINGSTAG
J . N . HUMMEL
MISSA IN ES- DUR
J . HAYDN
DIE SCHÖPFUNG
THERESIENMESSE
NELSON-MESSE
PAUKEN-MESSE
HARMONIE MESSE
STABAT MATER
DIE SIEBEN WORTE DES ERLÖSERS AM KREUZE
SALVE REGINA
L . van BEETHOVEN
MISSA SOLEMNIS
MESSE C DUR
G. ROSSINI
STABAT MATER
PETITE MESSE SOLENNELLE
F . SCHUBERT
SALVE REGINA
MESSE Es Dur Nr. 6
MESSE G dur
MESSE As dur
F . MENDELSSOHN
SINFONIE Nr.2 „ LOBGESANG“
BARTHOLDY ELIAS
J . BRAHMS
EIN DEUTSCHES REQUIEM
C . SAINT-SAENS
ORATORIO DE NOEL
A . DVORAK
TE DEUM
SVATEBNÍ KOŠILE
STABAT MATER
REQUIEM
G . FAURÉ
REQUIEM
J. L. BELLA
MESSE Es Dur
G. MAHLER
SINFONIE Nr.2
SINFONIE Nr.4
B . MARTINU
ROMANCE Z PAMPELIŠEK
OTVÍRÁNÍ STUDÁNEK
MIKEŠ Z HOR
LEGENDA Z DÝMU BRAMBOROVÉ NATI
C . ORFF
CARMINA BURANA
L . JANACEK
VĚČNÉ EVANGELIUM
I. STRAVINSKIJ
LES NOCES
A. HONEGGER
JEANNE D‘ARC AU BUCHER
K. SZYMANOWSKI
STABAT MATER
A . LLOYD
WEBER REQUIEM
K. PENDERECKI
PASSIO ET MORS DOMINI NOSTRI JESU CHRISTI, SECUNDUM LUCAM
Schedule
June, 12,14, 2009
PITTSBURGH, USA
G.Mahler- Symphony Nr.2
Pittsburg Symphony Orchestra, Manfred Honeck
May 24, 2009
DRESDEN
G.F.Händel - La Resurecione
Collegium 1704, Václav Luks
May 23, 2009
PRAHA, Prague‘s Spring
G.F.Händel - La Resurecione
Collegium 1704, Václav Luks
May 13, 2009
MILANO
G.Mahler- Symphony Nr.4
Südwestdeutsche Philharmonie Konstanz , Vassilis Christopoulos
May 6.,8.,10, 2009
KONSTANZ
G.Mahler- Symphony Nr.4
Südwestdeutsche Philharmonie Konstanz , Vassilis Christopoulos
April 23, 2009
OSTRAVA
Galakoncert Simona Šaturová a Paata Burchuladze
Janackova filharmonie Ostrava, dir. Rastislav Stur
April 17, 2009
BRNO,
Easter Festival of Sacred Music
Pra�ský komorní orchestr, dir. Petr Fiala
April 4.,5., 2009
BAMBERG, Sinfonie an der Regnitz
F.Mendelssohn-Bartholdy :Elias
Bayerische Staatsphilharmonie, dir. Rolf Beck
April 1.,2., 2009
DUISBURG, Mercatorhalle CityPalais
F.Mendelssohn-Bartholdy :Elias
Duisburger Philharmoniker, Jonathan Darlington
March 21, 2009
Dortmund, Konzerthaus
J.Haydn-Paukenmesse
WDR Sinfonieorchester Köln, dir. Ivan Fischer
March 20, 2009
Kölner Philharmonie
J.Haydn-Paukenmesse
WDR Sinfonieorchester Köln, dir. Ivan Fischer
February 17, 2009
PRAHA Stavovske divadlo
Galakoncert Opera 2009
Masters of italian belcanto
Prazska komorni filharmonie, Dir. Jakub Hrusa
February 28, 2009
BUDAPEST
Dvorak-Marathon
Dvorak- Svatebni kosile
Dvorak- Pisnovy recital
Budapest Symphony Orchestra, dir.Petr Altrichter
February 21, 2009
STUTTGART Liederhalle
W.A.Mozart-Messe in c-moll
Bach Collegium Stuttgart, Dir. Helmuth Rilling
Gachinger Kantorei
January 17 , Sixtin Chaple, Vatican
Concert for Benedict XVI
Mozart: Missa c-Moll KV 427
Regensburger Domspatzen
L‘Orfeo Barockorchester (Konzertmeisterin: Michi Gaigg)
cond. Roland Büchner
January 13, 7:30 pm
Smetanova sí? obecního domu, Prague
Simona Houda Šaturová as a guest in Bryn Terfel‘s concert
January 1, 2009
Budapest
Joseph Haydn: Schöpfung
London Philharmony, dir. Adam Fischer
Reviews
Toronto Symphony Orchestra, Toronto
C. Orff : Carmina Burana, dir. P. Ondjian
...Particularly outstanding as a soloist was Bratislava born Simona Saturova, who is well known in the opera scene of central Europe. Her pure high soprano voice is expressively beautiful. Sche overshadowed the two male solo voices : .... whose voices, while pleasant, lacked the power required to counterbalance Saturova.
Rick Kardonne , The Jewish Tribune, September 27, 2007
Oregon Bach Festival, Oregon, USA
Ludwig van Beethoven : Missa Solemnis, dir. H. Rilling
.....By contrast, bass Yorck Felix Speer and soprano Simona Saturova sang expressively while fitting into the overall sound.By that I don‘t mean that a soloist shouldn‘t soar when the composer offers wings. Saturova seems to understand this innately. A great singer can make difficult music sound easy, while an average singer can make easy music sound hard. Saturova is a great singer, and when she does turn on the power, it seems effortless and natural, and always at the right moment. She also sings with honesty and tenderness. Her voice was the highlight of the festival for me.
Tom Manoff, The Register-Guard, July 19, 2007
Toronto Symphony Orchestra, Toronto
W.A. Mozart, Missa in c- Moll, dir. H. Rilling,
......But only the Slovak soprano Simona Saturova reached outside the confines of the Rilling envelope, and Rilling and the orchestra -- I‘m sure as entranced as her audience -- abetted her doing so. Saturova, her crystalline voice rising quietly out of her own perfect stillness, brought Mozart‘s rapt Christe eleison, the spiritual jewel at the centre of his riven and restless Kyrie eleison, into heart-stopping focus. Music and meaning were one in this hushed plea for mercy, and every ear in the auditorium conspired in it. If possible, Saturova was even closer to the ineffable in her fulfilment of this mass‘s most famous solo, the Et incarnatus est (And was made flesh). She gave us not only its extraordinary beauty and its exquisite tests of skill, but also its boundless spiritual dimension; not only its music, but also its sacred essence.
KEN WINTERS , The Globe and Mail, Oct. 27, 2006
....A wonderful discovery was Slovakian soloist Simona Saturova, who has a lithe, lyrical soprano voice that is ideally suited to Mozart‘s music. She modulated easily between quiet, meditative singing (that still managed to be heard above the instrumentalists) and powerful blasts that never sounded shrill.
John TERAUDS, The Toronto Star, Oct. 26, 2006
Europäisches Musikfest Stuttgart, 3rd Sept. 2006
W.A. Mozart, Missa in c- Moll, dir. H. Rilling,
Die Überraschung des Abends aber bot die bislang kaum bekannte Slowakin Simona Houda-Saturová, die sich nach verhaltenem Beginn in der ¸¸Laudamus"-Arie und im Duett ¸¸Domine Deus" immer mehr steigern, ihren warm gefärbten Sopran immer freier entfalten konnte. Ihre ¸¸Agnus Dei"-Arie, die Robert Levin aus ¸¸Davidde penitente" übertragen hat, wurde zum einsamen Höhepunkt dieses Eröffnungskonzerts. Und hier erfüllte sich letztlich auch Grossers Rede von der Balance, der inneren Gelassenheit in der makellosen Vokalkultur der Sängerin, deren Eleganz und Leuchtkraft tatsächlich etwas von einem freudigen Geschenk hatte.
© 2006/09/05 Stuttgarter Zeitung , Markus Dippold
Smetanova Litomysl Festival, city of Litomysl
The standard that Edita Gruberová and Gabriela Benackova, above all, dared their followers to meet is clear: international. If any Bratislava soprano does meet it, she will satisfy even the highest demands of classical music. Like Simona Houda-Saturova during the entire second-last evening of the Smetanova Litomysl Festival in one of Ludwig van Beethoven‘s supreme achievements, the Missa Solemnis. Her colourfully and technically solid, resonant and velvety voice sparkled in solos and did not even recede in harmony with the mighty apparatus of both Brno bodies, the Czech Philharmonic Choir and the State Philharmonic, conducted by Georg Schmöh.
Jirí Cerný, Reflex, SLOVENSKÝ SOPRÁNOVÝ PRAMEN NEVYSYCHÁ
Schleswig-Holstein Musik Festival (SHMF)
W.A. Mozart : c-Moll-Messe
...Einen großartigen Eindruck hinterließen die beiden Solo-Soprane. Zwei wunderschöne Stimmen, unterschiedlich im Volumen. Simona Houda-Saturova aus Bratislava brillierte mit einer kultiviert geführten, in der Höhe engelrein klingenden Stimme...
Konrad Dittrich vom 26.07.2005, HL-Live
Concert and CD recording for DeutschlandRadio Berlin, Dresden
Johann Adolf Hasse : Requiem Miserere
...Neben der mit viel Seele singenden Britta Schwarz (Alt) brillierte Simona Houda-Saturova. Ihr Sopran war ein Klanggenuss, ihre Sicherheit in der Höhe bestach, und in der Natürlichkeit, mit der sie verzierte und kolorierte, offenbarte sich zugleich die Qualität der Musik.
Sächsische Zeitung, 08.02.2005
...Der reine, ungemein biegsame und ausdrucksstarke Sopran von Simona Houda-Saturova aus Prag war eine ausgesprochen positive Überraschung. Der Sängerin würde man gern in weiteren Konzerten wieder begegnen
Dresdner Neueste Nachrichten, 09.02.2005
53. Internationalen Orgelwoche Nürnberg
Antonín Dvo?ák : b-Moll-Requiem
....Vor allem die junge Sopranistin Simona Houda-Šaturová gefällt durch lyrische Kantilenen ohne jede Erdenschwere.
Hans von Draminski, Sonntagsblatt 11.7.2004
W.A. Mozart - Die Zauberflöte (Pamina), Teatro Colón, Buenos Aires
La soprano eslovaca Simona Houda Saturova, nueva para el público local, de delicada y grácil estampa, aportó como Pamina una expresión conmovedora y una línea de canto de primer orden, dejando escuchar un timbre seductor y una musicalidad poco menos que infalible.
The Slovaquian soprano Simona Houda Saturova, new to our audiences, of delicate and gracious physique, added as Pamina a moving expression and a first-rate school of singing. She showed a seductive timbre and an infallible musicality.
Juan Carlos Montero , La Nacion, 9.4.2004
Su pareja Simona Houda-Saturova es, en cambio, una cantate formidable, y la tristísima aria "Ay, siento que ha desaparecido para siempre la dicha del amor!" fue el momento tal vez más perfecto de la noche.
Simona Houda Saturova is a formidable singer, and her ‘Ach, Ich fühl‘s‘ was probably the most perfect moment of the evening.
Federico Monjeau Clarín, April 9th, 2004
Entre los solistas principales sobresalieron sobre todo ambas mujeres: la eslovaca Simona Houda Saturova como Pamina y la argentina Laura Rizzo como Reina de la Noche. La primera por su interpretación hondamente sensible y su refinadísima musicalidad, la segunda por sus cristalinas agilidades vocales.
Egon Friedler www.puntoclasico.com
Las excelentes actuaciones de la soprano eslovaca Simona Houda-Saturova en el papel de Pamina, de Laura Rizzo como la Reina de la noche y de Hernán Iturralde como Papageno hicieron el resto
Good voices and a smart direction renew the magic The Slovaquian soprano Simona Houda Saturov gave an excellent portrayal of Pamina. With her beautiful timbre, good phrasing and acting ability, she shone above the rest of the cast.
Diego Fischerman, Página/12 | fecha de publicación: 09/04/2004
A. Dvořák - Svatební košile , Tonhalle Zurich
Und auch die Auswahl der Vokalsolisten war mehr als glücklich: Simona Houda-Saturova (Sopran), Tomás Cerný (Tenor) und Ivan Kusnjer (Bariton) standen
nicht nur für sprachliche Authentizität. Sie durchdrangen ihre Partien auch mit jener glühenden Intensität und kraftvollen Gestik, welche die beiden ungleichen Schwesterwerke zu voller Wirkung bringt.
Neue Zürcher Zeitung, 13.3.2004, Christoph Ballmer Zürich
A. Dvořák - Svatební košile , Tonhalle Zurich
Und ausdrucksstark waren auch die Solopartien, für die Kennel einmal mehr Spezialisten geholt hat - was sich insbesondere in Dvoráks im Vergleich zu Amarus sowohl dramatischerer als auch lyrischerer "Geisterbraut" bewährte. Simona Houda-Saturova war trotz Erkältung eine berührend innige Braut, ihre Gebetsszenen waren die Höhepunkte des Abends.
Tagesanzeiger, 13.3.2004, Susanna Kübler
