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Stephan Klemm | Bass | Opernsänger


The opera singer (bass) Stephan Klemm, born and raised in Sax­ony-Anhalt, ini­tial­ly signed on for Ger­man lit­er­a­ture and fine arts at Mar­tin-Luther-Uni­ver­si­ty before he decid­ed to move to Leipzig’s Felix Mendelssohn-Bartholdy col­lege to study singing with Hel­ga Forner. Lat­er on he worked with Brigitte Fassbaender.
While still a stu­dent he made his début at the Hans Otto The­atre in Pots­dam, per­form­ing Bar­to­lo (The Mar­riage of Figaro), Saras­tro (The Mag­ic Flute), the King of Egypt (Aida), Angelot­ti (Tosca) and Fafn­er (The Rhine­gold), among oth­er roles. Con­tin­u­ing from here, Stephan Klemm devel­oped con­tin­u­ous­ly into a seri­ous bass.
His engage­ments led him to renowned Ger­man opera hous­es such as The­atre Dessau, The­atre Dort­mund, Nation­al The­atre Weimar, Nation­al The­atre Mannheim, the Hes­s­ian State The­atre Wies­baden, the state opera Han­nover, Cologne Opera, the state the­atre Gärt­ner­platz or to the Opera Leipzig. But also to Cagliari, Inns­bruck, or Warsaw.

Important Roles

He was engaged for sev­er­al roles in Wag­n­er plays: as Fasolt/ Fafn­er in Rhine­gold, Hund­ing in the Valkyrie, Fafn­er in Siegfried, Hagen in Göt­ter­däm­merung, King Hein­rich in Lohen­grin, King Marke in Tris­tan, Land­graf in Tannhäuser and Daland in The Fly­ing Dutch­man. He also sang de Kezal in The Bartered Bride, Gremin in Tschaikowki‘s One­gin or Ram­phis in Aida as well as Saras­tro in The Mag­ic Flute.
Impor­tant pro­duc­tions of recent years are the pro­duc­tions of The Ring of the Nibelung in Dessau from 2013–2015, as Fasolt, Hund­ing and Hagen, as well as in the cur­rent Ring of the Nibelung at the Leipzig Opera as Fasolt in Rhinegold.

Further development

A spe­cial love con­nects him with the con­cert and song sec­tor. Lat­est con­certs brought him to numer­ous inter­na­tion­al podi­ums. He has per­formed with the War­saw Phil­har­mon­ic, the Span­ish Nation­al Orches­tra Madrid, the Ham­burg Sym­pho­ny Orches­tra, the Orches­tra I Musi­ci de Mon­tre­al, and the Berlin­er Philharmoniker.

He col­lab­o­rat­ed with var­i­ous con­duc­tors such as Ste­fan Sander­ling, Jac van Steen, Marko Leton­ja, Christof Prick, Howard Aman, Antoni Wit, Jef­frey Tate or Ulf Schirmer. At the open­ing of the Sczcenin­er Phil­har­monie 2014, Stephan Klemm, under the baton of Jacek Kasp­szyk, per­formed in Beethoven’s 9th Symphony.

Teaching activity

For some years now, Stephan Klemm has devot­ed part of his time to the train­ing and fur­ther edu­ca­tion of young singers. Since the sum­mer semes­ter in 2017, he will take up a posi­tion as assis­tant at the Hochschule für Musik Karlsruhe.

His next assign­ments will take him to the Sem­per­op­er Dres­den in March 2017 and in Sep­tem­ber 2017 for his role debut as King Phillip in Don Car­los in Mün­ster. For fur­ther dates, please have a look at the cal­en­dar.


Der neue Merker

Von den Solis­ten überzeugt zuerst Stephan Klemm, der nicht nur die stimm­lichen Voraus­set­zun­gen für einen wirk­lich schwarzen Hagen mit­bringt, son­dern auch mit Musikalität und vor­bildlich­er Artiku­la­tion fes­selt. Das ist ein erster Aktiv­posten für diesen neuen ‘Ring’.”.

Press reviews

Stephan Klemm stat­tet den König Philipp mit dun­klem Bass aus. Seine große Arie im drit­ten Akt “Ella giammai m’amo!” avanciert durch seine ein­dringliche Inter­pre­ta­tion und großar­tige Stimm­fär­bung zu einem musikalis­chen Höhep­unkt des Abends.

omm.deKönig Philipp II. “Don Carlos”

Dage­gen überzeugte Stephan Klemm als Hund­ing mit aus­drucksstarkem, immer fein aus­ge­sun­genem, abgestuften Bass und zeich­nete so ein ein­dringlich­es Bild als Chef der Nin­ja- Rächer.

Das Opern­glasHund­ing “Walküre”