Full Biography
Within just a few years, Swiss soprano Regula Mühlemann has established herself as one of her generation’s most important voices. Equally at home on the operatic and concert stages, she is acclaimed by audiences and critics alike for her exceptionally beautiful timbre and sensitive performances. For her performances in the Salzburg Festival’s 2022 production of Die Zauberflote, The Telegraph hailed: “Regula Mühlemann is outstanding as a radiant Pamina.”
Mühlemann opens the 2025/26 season with her highly anticipated role debut as Konstanze in Die Entführung aus dem Serail with the Semperoper Dresden, staged by Michiel Dijkema and conducted by Leo Hussain. Later in the season, she reprises Konstanze with the Bayerische Staatsoper, where Martin Duncan’s production is conducted by Ivor Bolton. The soprano returns to the Zürich Opera House as Adele for Anna Bernreitner’s new production of Die Fledermaus under the baton of Lorenzo Viotti, and with Teatro alla Scala she reprises her portrayal of Gilda in Rigoletto, directed by Mario Martone and conducted by Marco Armiliato.
Mühlemann’s 2025/26 concert season is filled with exciting tours and collaborations. The soprano can be heard in the New Year Concerts with the Lucerne Symphony Orchestra and Michael Sanderling. Together with La Folia Barockorchester, the soprano embarks on tour to present a program of baroque arias from their album Cleopatra in Zurich, Antwerp, Essen and Liepaja. She joins Orchester der Oper Zürich for concerts in Zurich, Dijon and Hamburg with Mozart’s Exsultate jubilate & Pergolesi’s Stabat Mater. Mühlemann sings Mozart’s Requiem at Les Grandes Voix concerts in Bern and Paris and returns to the Théâtre des Champs-Élysées to perform Haydn’s The Creation. Mühlemann performs a series of concerts with the Munich Radio Orchestra across Bavaria, joins the Zurich Chamber Orchestra for performances in Zurich and Gstaad, while her enchanting recitals can be heard in Linz, Aarau and Weiden in der Oberpfalz.
Among the highlights of her previous seasons were her role and company debut at the Vienna State Opera as Adina (L’elisir d’amore) as well as Susanna (Le nozze di Figaro), Adele (Die Fledermaus) and Blonde (Die Entführung aus dem Serail). With Staatsoper Unter den Linden in Berlin, she was heard as Sophie (Der Rosenkavalier) and Susanna (Le nozze di Figaro) under the baton of Daniel Barenboim, and at Festspielhaus Baden-Baden she performed the role of Ilia (Idomeneo) in concert under the musical direction of Thomas Hengelbrock. Mühlemann starred as Gilda in Verdi’s Rigoletto at Theater Basel, as Adele in Die Fledermaus at Teatro Maggio Musicale in Florence under Zubin Mehta, and as Juliette (Roméo et Juliette) at the Lucerne Theatre. Mühlemann joined the Salzburg Festival as Pamina in Mozart’s Die Zauberflöte and as Bellezza in Handel’s oratorio Il Trionfo del tempo e del disinganno alongside Cecilia Bartoli, and saw performances as Marie in La fille du regiment with Opéra de Monte-Carlo.
On tour, the Swiss soprano’s captivating presence on the concert stage has been shared with thousands of audience members. Selected concert performances of recent seasons include the Mater gloriosa in Mahler’s Symphony No. 8 “Symphony of a Thousand” at Teatro alla Scala under Riccardo Chailly, at the Royal Albert Hall in London led by Vasily Petrenko and with Staatskapelle Dresden conducted by Christian Thielemann, at the Vienna Konzerthaus with the Vienna Symphony Orchestra and its former chief conductor Philippe Jordan. She performed Beethoven’s Missa Solemnis with the Balthasar Neumann Orchestra, Bach’s Jauchzet Gott in allen Landen with the NDR Elbphilharmonie Orchester under the baton of Herbert Blomstedt, Messiah with the Kammerorchester Basel, Mozart’s Die Schuldigkeit des ersten Gebots with the Münchner Rundfunkorchester and Alessandro De Marchi. Mühlemann was heard in Mahler’s Symphony No. 4 with Mo. Roberto Gonzalez-Monjas and the Belgian National Orchestra, with the Marseille Philharmonic under the baton of Michele Spotti, as well as on tour with Theodor Currentzis and the Utopia Orchestra and with the Sächsische Staatskapelle Dresden under the baton of Mariss Jansons at Salzburg’s Easter Festival. Additional repertoire includes Mozart’s Great Mass in c-minor, Mendelssohn’s Lobgesang, Beethoven’s Symphony No. 9, Bach’s Passions as well as his Mass in b-minor, Haydn’s The Seasons and The Creation, Carmina Burana, Brahms’ Ein deutsches Requiem. Regula Mühlemann works regularly with renowned conductors and has been a guest of the most prestigious concert halls in Europe such as the Berlin Philharmonie, Alte Oper Frankfurt/Main, Casino Bern, Vienna Konzerthaus, Geneva, Madrid, New York’s Carnegie Hall, London’s Wigmore Hall, Théâtre des Champs-Élysées, and Dublin’s RIAM Concert Hall, among others.
Regula Mühlemann made many best-selling and price winning recordings with Sony Music Classical. Her debut album Mozart Arias (2016) was not only highly acclaimed by critics, but also awarded with the Deutsche Schallplattenkritik (Bestenliste). Her second album Cleopatra (2017) was also well received: “how captivatingly beautiful does the voice alloyed with gold and silver [sound]”; “the recital stands out, sweepingly said, due to the musical sequence of pictures as well as the encounter with a vocal and technical giftedness” (Jürgen Kesting/Fono Forum). In 2018, Regula Mühlemann was the winner of the OPUS KLASSIK “Newcomer of the Year” award. In autumn 2019 her third solo album Songs from Home was released, featuring a delightful selection of songs by Franz Schubert and Swiss composers. In 2020, she produced her fourth solo album, Mozart II, in collaboration with the Basel Chamber Orchestra and Umberto Benedetti Michelangeli, for which she was awarded the OPUS KLASSIK for Solo Recording Voice (Opera) in 2021. For her fifth album Fairy Tales (2022) she worked out a special concept with a musical selection of “magical” pieces that take the listener into the world of fairies, elves and nymphs and in 2023 she has received OPUS KLASSIK award in the “Vocal Solo” category. In addition to her robust recording career, Mühlemann has also debuted on the silver screen in the feature film “Hunter’s Bride”, based on Weber’s Der Freischütz and in the film adaption of Gluck’s Orfeo ed Euridice, as well as in Bernhard Weber’s documentary “The sound of the voice” from 2018.
Regula Mühlemann was born in Lucerne and studied at the Conservatory of Lucerne with Prof. Barbara Locher. Her first experiences on the opera stage took place at the Lucerne Theatre, followed by international debuts with Teatro La Fenice as Despina in Così fan tutte and at the 2012 Salzburg Festival in von Winter’s Das Labyrinth. Regula Mühlemann has been the recipient of numerous awards and prizes, and notably was a Finalist representing Switzerland at the 2015 Cardiff Singer of the World Competition.
© CSAM, August 2025
