Swiss soprano Regula M\u00fchlemann has established herself as one of her generation\u2019s 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, virtuosity and sensitive performances.<\/p>\n
In the 2026\/27 season, M\u00fchlemann continues to expand her repertoire with two highly anticipated role debuts. She makes her debut in the title role of Donizetti’s Lucia di Lammermoor<\/em> <\/strong>at Theater Basel in a new production by Vincent Huguet. Later in the season, she debuts as Almirena in Handel’s Rinaldo<\/em><\/strong>, first at Paris\u2019 Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es and subsequently at Opernhaus Z\u00fcrich, with Philippe Jaroussky conducting and Valentina Carrasco directing. M\u00fchlemann also returns to Z\u00fcrich as Pamina in Daniele Finzi Pasca\u2019s new production of Die Zauberfl\u00f6te,<\/em> <\/strong>and to Basel as Marie in a concert performance of La fille du r\u00e9giment<\/em><\/strong>.<\/p>\n Alongside her operatic engagements, M\u00fchlemann remains in high demand as a concert and recital artist. The 2026\/27 season begins with the season-opening gala concert of the Bern Symphony Orchestra, followed by season-opening concert of Lucerne Symphony Orchestra under Michael Sanderling. \u00a0She joins the S\u00e4chsische Staatskapelle for the traditional ZDF-Advent Concert in Dresden and the Deutsches Symphonie-Orchester Berlin under Kazuki Yamada for Rufus Wainwright’s Dream Requiem<\/em><\/strong>. In Baden-Baden she performs Beethoven’s Symphony No. 9<\/em><\/strong> in at the W\u00fcrth Forum, sings Brahms’s Ein deutsches Requiem<\/em><\/strong> in Pisa, and embarks on a Bel Canto Tour with the Kammerorchester Basel, appearing in Linz, Zurich, Bern, Ludwigsburg, and Augsburg. Further highlights include recital appearances in Aarau and Biel.<\/p>\n Among the highlights of her previous seasons were her role and company debut at the Vienna State Opera as Adina (L’elisir d’amore<\/em><\/strong>) as well as Susanna (Le nozze di Figaro<\/em><\/strong>), Adele (Die Fledermaus)<\/em><\/strong> and Blonde (Die Entf\u00fchrung aus dem Serail)<\/em><\/strong>. In 2026 M\u00fchlemann made her first appearance at the Bayerische Staatsoper as Konstanze in Die Entf\u00fchrung aus dem Serail, <\/em><\/strong>a role she earlier debuted at the Semperoper Dresden. With Staatsoper Unter den Linden in Berlin, she was heard as Sophie (Der Rosenkavalier)<\/em><\/strong> and Susanna (Le nozze di Figaro<\/em><\/strong>) under the baton of Daniel Barenboim, and at Festspielhaus Baden-Baden she performed the role of Ilia (Idomeneo<\/em><\/strong>) in concert. M\u00fchlemann starred as Gilda in Verdi’s Rigoletto<\/em><\/strong> at Theater Basel and at Teatro alla Scala, as Adele in Die Fledermaus<\/em><\/strong> at Teatro Maggio Musicale in Florence and at Z\u00fcrich Opera House, as Juliette (Rom\u00e9o et Juliette<\/em><\/strong>) at the Lucerne Theatre, and as Marie in La fille du regiment<\/em><\/strong> with Op\u00e9ra de Monte-Carlo. M\u00fchlemann joined the Salzburg Festival as Pamina in Mozart’s Die Zauberfl\u00f6te<\/em><\/strong> and as Bellezza in Handel’s oratorio Il Trionfo del tempo e del disinganno<\/em><\/strong> alongside Cecilia Bartoli.<\/p>\n Selected concert performances of recent seasons include Mahler’s Symphony No. 8 \u201cSymphony of a Thousand\u201d <\/em><\/strong>at Teatro alla Scala under Riccardo Chailly, at the Royal Albert Hall in London led by Vasily Petrenko, 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\u2019s Missa Solemnis<\/em><\/strong> with the Balthasar Neumann Orchestra and Thomas Hengelbrock, Bach\u2019s Jauchzet Gott in allen Landen<\/em><\/strong> with the NDR Elbphilharmonie Orchester under the baton of Herbert Blomstedt, Messiah <\/em><\/strong>with the Kammerorchester Basel, Mozart\u2019s Die Schuldigkeit des ersten Gebots<\/em><\/strong> with the M\u00fcnchner Rundfunkorchester and Alessandro De Marchi. M\u00fchlemann was heard in Mahler\u2019s Symphony No. 4<\/em><\/strong> 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 S\u00e4chsische Staatskapelle Dresden under the baton of Mariss Jansons at Salzburg\u2019s Easter Festival. Additional repertoire includes Mozart\u2019s Great Mass in c-minor <\/em><\/strong>and Requiem<\/em><\/strong>, <\/em><\/strong>Mendelssohn\u2019s Lobgesang<\/em><\/strong>, Beethoven\u2019s Symphony No. 9<\/em><\/strong>, Bach\u2019s Passions <\/em><\/strong>as well as his Mass in<\/em><\/strong> b-minor<\/em><\/strong>, Haydn\u2019s The Seasons <\/em><\/strong>and The Creation, <\/em><\/strong>Carmina Burana, <\/em><\/strong>Brahms’ Ein deutsches Requiem, <\/em><\/strong>Pergolesi\u2019s Stabat Mater<\/em><\/strong>. <\/em><\/strong>Regula M\u00fchlemann works regularly with renowned conductors and has been a guest of the most prestigious concert halls in Europe such as the Berlin Philharmonie, Casino Bern, Vienna Konzerthaus, New York’s Carnegie Hall, London’s Wigmore Hall among others.<\/p>\n Regula M\u00fchlemann made many best-selling and price winning recordings with Sony Music Classical. Her debut album Mozart Arias<\/em><\/strong> (2016) was not only highly acclaimed by critics but also awarded with the Deutsche Schallplattenkritik (Bestenliste). Her second album Cleopatra<\/em><\/strong> (2017) was also well received: \u201chow captivatingly beautiful does the voice alloyed with gold and silver [sound]\u201d; \u201cthe recital stands out, sweepingly said, due to the musical sequence of pictures as well as the encounter with a vocal and technical giftedness\u201d (J\u00fcrgen Kesting\/Fono Forum<\/em>). In 2018, Regula M\u00fchlemann was the winner of the OPUS KLASSIK \u201cNewcomer of the Year\u201d award. In autumn 2019 her third solo album Songs from Home<\/em><\/strong> was released, featuring a delightful selection of songs by Franz Schubert and Swiss composers. In 2020, she produced her fourth solo album, Mozart II<\/em><\/strong>, 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<\/em><\/strong> (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, M\u00fchlemann has also debuted on the silver screen in the feature film \u201cHunter\u2019s Bride\u201d, based on Weber\u2019s Der<\/em><\/strong> Freisch\u00fctz<\/em><\/strong> and in the film adaption of Gluck\u2019s Orfeo ed Euridice<\/em><\/strong>, as well as in Bernhard Weber\u2019s documentary \u201cThe sound of the voice\u201d from 2018.<\/p>\n Regula M\u00fchlemann 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 Cos\u00ec fan tutte<\/em><\/strong> and at the 2012 Salzburg Festival in von Winter\u2019s Das Labyrinth<\/em><\/strong>. Regula M\u00fchlemann 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.<\/p>\n \u00a9 CSAM, August 2026<\/p>\n <\/p>\n \u00a0<\/strong><\/p>","protected":false},"excerpt":{"rendered":" Swiss soprano Regula M\u00fchlemann has established herself as one of her generation\u2019s 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, virtuosity and sensitive performances.<\/p>\n","protected":false},"author":5,"featured_media":9315,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-85","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-soprano"],"acf":[],"_links":{"self":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/85","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/comments?post=85"}],"version-history":[{"count":33,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/85\/revisions"}],"predecessor-version":[{"id":12751,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/85\/revisions\/12751"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/9315"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=85"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=85"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=85"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}