The Saison of 17/18 brings Anna Prohaska back to Theater an der Wien for Claus Guth’s new production of Handel’s Saul and to the Royal Opera House in Covent Garden for her role debut as Nannetta in Verdi’s Falstaff. At her Berlin artistic home, the newly reopened Staatsoper Unter den Linden, she will be premiering the title role in Monteverdi’s L’incoronazione di Poppea and also performing Debussy oratorios in Berlin and the Vienna Musikverein with the Staatskapelle Berlin and Daniel Barenboim. After having sung at the opening concerts of the new Pierre Boulez Saal, she will fulfil a life-long dream of performing Schönberg’s Pierrot Lunaire under the baton of Zubin Mehta and Daniel Barenboim at the piano.

Anna Prohaska is passionately dedicated to the boundless repertoire of early music. She frequently sang with Nikolaus Harnoncourt and the Concentus Musicus, also with the Academy of Ancient Music, the Freiburg Barockorchester, Akademie für Alte Musik Berlin and Il Giardino Armonico with Giovanni Antonini. Tours this season include her own programmes Serpent & Fireand Medea with Il Giardino Armonico and Shakespeare & Music with the Akademie für Alte Musik Berlin. Furthermore, Anna Prohaska is in great demand as a contemporary music interpreter. The following works were created for her: the virtuosic role of Inanna in Jörg Widmann’s Babylon, world premiered at the Bayerische Staatsoper, Rihm’s Mnemosyne and Requiem Strophenwith the Berliner Philharmoniker and the Bavarian Radio Symphony Orchestra, Samothrake with the Leipzig Gewandhaus Orchestra and Giacomo Manzoni’s Il Rumore del Tempo with Maurzio Pollini. After the Salzburg world premiere of Toshio Hosokawa’s Klage Anna Prohaska has been invited to sing the long awaited Japan premiere in December 2017 on tour with the NHK Symphony Orchestra.
She is no less devoted to the regular concert repertoire with orchestras like the Vienna Philharmonic (Boulez), the Berliner Philharmoniker (Rattle, Harding and Abbado), the Bavarian Radio Symphony Orchestra (Jansons, Harding, Blomstedt and Nézet-Séguin), the LSO (Rattle), Los Angeles Philharmonic (Dudamel), the Cleveland Orchestra (Welser-Möst) and the Boston Symphony Orchestra (von Dohnányi). 2013–2015 she was triennial artist-in-residence as a “Junge Wilde” at the Dortmund Konzerthaus and 2016/17 the “Focus” artist at the Alte Oper Frankfurt. 2017/18 is her season as artist-in-residence at the Philharmonie Luxembourg.
She has performed her thematic recitals – “Faith + Ecstasy”, “Sirène”, “Ophelia Sings”, “Behind the Lines” etc. – in Schwarzenberg, Berlin, Vienna, Frankfurt, London, Hamburg, Amsterdam and Luzern with pianists such as Eric Schneider, Andras Schiff and Daniel Barenboim.
In 2018, marking the centennial of the end of the First World War, she will tour her „Behind the Lines“ programme including venues such as the the Amsterdam Concertgebouw and the Hamburg Elbphilharmonie.
Chamber music also plays a key role in Anna Prohaska’s creative spectrum. She sings in various ensembles, her partners including Jörg Widmann, Veronika Eberle, Vilde Frang, Alisa Weilerstein and Isabelle Faust.
The documentary feature “The Fabulous World of Anna Prohaska” (2013, director: Andreas Morell) displays Anna Prohaska’s creative persona most strikingly in her unconventional music videos. She has ventured into narrative cinema in “The Casanova Variations” (2014, director: Michael Sturminger) alongside John Malkovich. Recordings include Rufus Wainwright’s setting of Shakespeare sonnets with the BBC Symphony Orchestra (“Take all my Loves”, 2016 Deutsche Grammophon) Pergolesi’s Stabat Mater, Mozart’s Entführung with Yannick Nézet-Séguin and the Chamber Orchestra of Europe, Berg’s Lulu Suite with Vienna Philharmonic, and Mozart’s Requiem with the Lucerne Festival Orchestra and Claudio Abbado. Her first solo album, Sirène, was released in 2011 on the Deutsche Grammophon label, followed by Enchanted Forest in 2013, and in 2014 Behind the Lines. Her most recent album Serpent & Fire: Arias for Dido and Cleopatra (2016 by alpha) with Il Giardino Armonico and Giovanni Antonini entered the top of the German classical music charts immediately after release.