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6 May 1965|
|Genres||Baroque, classical, romantic, 20th century|
|Occupation(s)||Opera Singer, Conductor|
|Instruments||Voice, piano, bassoon|
Opéra de Genève
Opéra de Paris
Orchestre de Chambre de Paris
Amsterdam Baroque Orchestra & Choir
Born in Suresnes, Île-de-France, she first studied with her mother (soprano Christiane Stutzmann), then at Nancy Conservatoire and later at the Ecole d’Art Lyrique de l’Opéra de Paris, focusing on lied, under Hans Hotter's tutelage. She is well known for her interpretations of French mélodies and German lieder. Her repertoire includes major works of baroque, classical, romantic and 20th-century music. Stutzmann also plays piano, bassoon and is a chamber musician. Stutzmann debuted as a concert singer at the Salle Pleyel, Paris, 1985, in Bach's Magnificat (BWV 243). Her recital debut was the following year in Nantes. Some of her operatic performances have included: Ombra felice (Mozart's pasticcio), Radamisto (Handel), Orfeo ed Euridice (Gluck) and Giulio Cesare (Handel). She has sung at the Théâtre des Champs-Élysées, Royal Festival Hall / “BBC Proms”, Carnegie Hall, Musikverein, Mozarteum, the Concertgebouw, La Monnaie, the Suntory Hall in Tokyo, La Scala, the Opéra de Genève and the Berliner Philharmonie.
Stutzmann performs frequently for opera, concert, recital and recording. She began performing and recording with Swedish pianist Inger Södergren in 1994. She took part in the project of Ton Koopman and the Amsterdam Baroque Orchestra & Choir to record Bach's complete vocal works. Nathalie Stutzmann is Chevalier des Arts et Lettres and continues (as of 2007) to perform around the world and teach master classes.
In 2009 Stutzmann founded the chamber orchestra Orfeo 55, which she directs, and performs more widely as an orchestral conductor. Commencing September 2017, she became the Principal Guest Conductor of the RTÉ National Symphony Orchestra in Dublin, Ireland, with a contract for three years.
Il y a deux types d’artistes : ceux qui s’attachent toute leur vie à montrer à quel point ce qu’ils sont en train de faire est difficile – ils ont leur public –, puis il y a ceux qui passent leur vie à essayer de faire croire que ce n’est pas du tout difficile, catégorie à laquelle j’appartiens. C’est sans doute aussi une forme de folie. C’est moins spectaculaire, peut-être, mais je préfère que le public puisse aller à l’essentiel. Je ne veux pas qu’il s’arrête à la performance, tout en la remarquant, mais qu’il puisse s’abandonner d’abord à la beauté de la musique.
There are two types of artists: those that strive their whole life to show how much what they're doing is difficult - they [do] have their audience -, then there are those who spend their life trying to make people believe it is not at all difficult, which is the category I belong to. That is also probably a form of madness. It is less spectacular, perhaps, but I prefer that the audience be able to go to what is essential [in the music]. I do not want them to stop at [being impressed with] the performance, even though they might notice it, but that they be able to abandon themselves to the beauty of the music.
She has over fifty recordings on labels including EMI, Erato, Deutsche Grammophon, Harmonia Mundi, Philips, RCA and Sony and Virgin. Some of her most admired recordings are of Schumann Lieder, Chausson and Poulenc melodies, Mahler Symphony No. 2 with Seiji Ozawa, Vivaldi’s Nisi Dominus and Schubert's Winterreise for Calliope. In 2014 Stutzmann, with Orfeo 55, made a new exclusive contract with Erato Records.
- Ashley, Tim (13 November 2014). "Handel: Heroes from the Shadows CD review – a force to be reckoned with". The Guardian. London. Retrieved 27 January 2015.
- "Nathalie Stutzmann". Museec, Paris. Retrieved 27 January 2015.
- https://orchestras.rte.ie/performinggroup/rte-national-symphony-orchestra/, accessed 16 February 2018.
- Nathalie Stutzmann: Interview by Bernard Schreuders (January 2010) Forum Opéra (in French)
- "Erato signs exclusive contract with contralto and conductor Nathalie Stutzmann". Warner Classics. 8 July 2014. Retrieved 27 January 2015.