Biography

The soprano, Martina Welschenbach, was born in Stuttgart, Germany. She studied music at the Stuttgart Conservatory, at the Guildhall School of Music, and at the Royal College of Music in London. Whilst still studying, she gave guest performances in minor roles at Staatstheater Stuttgart and at the National Theater in Zagreb. She has won grants from the Konstantin and Kid Lambert foundation and from the German Academic Exchange Service (DAAD).

In 2005, she joined the International Opera Studio at the opera house in Zürich. Within a few weeks, she was engaged as a member of the ensemble at the opera house. In the 2008/09 season, Martina Welschenbach joined the ensemble of the Deutsche Oper Berlin. Here she sang Musetta/La Bohème, Gretel/Hänsel und Gretel, Oscar/Un ballo in maschera, Ännchen/Der Freischütz and Echo/Ariadne auf Naxos as well as Clorinda/La Cenerentola, Susanna/Le nozze di Figaro, Zerlina/Don Giovanni, Micaëla/Carmen, Pamina/The Magic Flute, Woglinde/Das Rheingold and Götterdämmerung, Karolka/Jenufa, Solveig/Peer Gynt, Liu/Turandot and Füchslein Schlaukopf/Schlaues Füchslein.

Throughout her career, Martina Welschenbach has worked with such renowned conductors such as Christoph Eschenbach, Vladimir Fedosejev , Nikolaus Harnoncourt, Cornelius Meister, Ingo Metzmacher, Carlo Rizzi, Donald Runnicles, Nello Santi, Peter Schneider, Franz Welser-Möst, Jonathan Nott, Sir Simon Rattle and stage directors Claus Michael Gruber, Jens-Daniel Herzog, Martin Kuschej, Carlo Lievi, Christof Loy, Giancarlo del Monaco, and David Pountney.
 
In the season 2012/13, she made her debut as Freia in Wagner's Das Rheingold and Eva in Die Meistersinger von Nürnberg, successfully breaking ground in German repertoire.

Guest engagements and concerts led her to Vienna, Paris, Lucerne, Stuttgart, Düsseldorf, Eutin, Leipzig, and Gera among others. Highlights include her acclaimed debut at the Opéra National de Paris as Regina in Mathis der Maler under Christoph Eschenbach, the role of Thekla/Wallenstein with the ORF under Cornelius Meister at the Vienna Konzerthaus, her role debut as Fiordilig/Così fan tutte in a concert version under Marcus Bosch, the role debut of Tatjana/Eugene Onegin in several concertante performances with the Nordwestdeutsche Philharmonie, as well as her debut with the Berlin Philharmonic Orchestra with Claude Debussy's La Damoiselle élue under the baton of Sir Donald Runnicles.

From season 2015/16 on, Martina Welschenbach works freelance, but remains an acclaimed guest singer at Deutsche Oper Berlin, her roles including Mimì/La Bohème, Europa/Die Liebe der Danae, Irene in Wagner's Rienzi, Freia/Das Rheingold, Helmwige/Die Walküre, Fiordiligi/Così fan tutte, Gretel/Hansel and Gretel as well as Senta/ Der fliegende Holländer, a role which she performed in Nantes-Angers and  Rennes too. Important role debuts given were the title role in the new production of Lulu at Wuppertaler Bühnen, Marschallin/Der Rosenkavalier as well as Leonore/ Fidelio at the Theater Bonn in the 19/20 season. In early 2020 follows the  premiere of Jan Dvořák and Philipp Stölzl's musical theater revue Phantoms of the Opera at the Nationaltheater Mannheim, before she returns to the Deutsche Oper Berlin* as Senta/ Der Fliegende Holländer and Irene/ Rienzi.

With her parade role of Senta/Der Fliegende Holländer, which she most recently sang at Deutsche Oper Berlin and at the opera houses in Nantes /Angers and Rennes, she will make her first guest appearance at Tampere Opera in Finland* in the 2020/21 season alongside bass, Mika Kares and under the direction of Anja Bihlmaier.

In the upcoming seasons Martina Welschenbach will be celebrating two exciting role debuts, once as Sieglinde/Walküre under the baton of Nicholas Milton and the direction of Aron Stiehl at the Stadttheater Klagenfurt, aswell as her debut at the Teatro Comunale di Bologna as Elsa/Lohengrin under the baton of Asher Fisch. She will also make a guest appearance at the New National Theatre Tokyo under James Conlon with Senta/Der Fliegende Holländer.

*postponed due to Covid 19 pandemic

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