Christiane Libor

In the title role of Fidelio/Leonore was German soprano Christiane Libor, a performer of extraordinary calibre and power. Her “Abscheulicher!” aria is nothing short of jaw-dropping, with exquisite accompaniment by the WASO horns. Leonore sings about rescuing her husband Florestan from prison, and the aria is as demanding physically as it is emotionally. Libor has full command of her instrument, and she takes no prisoners in her delivery. She makes us believe beyond a shadow of a doubt that she is a force of nature, and nothing will stand between her and Florestan.
Broadway World, Cicely Binford

In Götterdämmerung, Schirmer pulled out all the stops for Siegfried’s Funeral March, pulsing with rage as well as gravity, and an Immolation Scene, in which he accompanied the remarkable Brünnhilde, Christiane Libor, lyrical and radiant throughout, with a secure grasp of the music’s ebb and flow. She had earlier sung an impassioned Sieglinde — whose final outpouring in Die Walküre crowns the orchestral postlude of Götterdämmerung — in equally shining voice, but it was her pianissimo singing as Brünnhilde that won her the unfettered admiration of the audience.
The Sunday Times, Hugh Canning

Hearing a great new voice for the first time, and watching an opera character leap to life, is the kind of experience fans cherish.  That’s what awaited Seattle Opera audiences on Saturday night, when the massively talented German soprano Christiane Libor sang her American opera debut in the title role of Beethoven’s only opera, “Fidelio.”  What a voice!…Libor’s gleaming, mighty soprano and passionate, no-holds-barred performance style made for a gripping evening.
Seattle Times, Melinda Bargreen


Christiane Libor was born in Berlin and studied at the ‘Musikhochschule für Musik Hanns Eisler.’  She further complemented her conservatory education training with Dietrich Fisher-Dieskau, Julia Varady, Hans Hotter, and Brigitte Fassbaender.

Ms. Libor has made great music with many of the world’s most respected conductors including Philippe Auguin, Asher Fisch, Philippe Jordan, Kurt Masur, Ingo Metzmacher, Marc Minkowski, Helmuth Rilling, Sebastian Weigle, Simone Young, and Jaap van Zweden.

Performances anticipated in the 2020-21 season include Fidelio at Opéra de Oviedo, the title role of Turandot for the Badisches Staatstheater Karlsruhe, Der fliegende Holländer with Oper Leipzig, and Siegfried with Oper Frankfurt.  On the concert stage she is engaged to perform with Concerto Köln in a Wagner Gala conducted by Kent Nagano, with Hamburger Symphoniker in the second act of Tristan und Isolde and Beethoven’s Ninth Symphony, both conducted by Sylvain Cambrelling, and to sing Strauss’ Vier Letzte Lieder with the Badische Staatskapelle under the baton of Georg Fritzsch.

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The 2019-20 season was to feature an international tour of Beethoven’s Fidelio with the Mahler Chamber Orchestra and a Los Angeles Philharmonic debut in performances of Schoenberg’s Gurre-Lieder, both under the baton of Gustavo Dudamel.  Highlights of the season included the title role of Turandot for the Badisches Staatstheater Karlsruhe, Brünnhilde in Götterdämmerung with Oper Leipzig, and Fidelio at the West Australian Symphony Orchestra led by Asher Fisch.

Highlights of the recent past include Die Walküre conducted by Jaap van Zweden in a production directed by Vera Nemirova with the Salzburg Easter Festival on tour at the Beijing Poly Theatre, the three Brünnhildes in Der Ring des Nibelungen, in the span of just four days, at Oper Leipzig led by Ulf Schirmer, a role debut as Kundry in Parsifal for Oper Stuttgart in a production by Calixto Bieito conducted by Sylvain Cambreling, Der fliegende Holländer with Oper Leipzig in a new production, Die Walküre both with Oper Frankfurt under the baton of Sebastian Weigle and in concert with the BBC Philharmonic conducted by Omer Meir Wellber, and the title role of Ariadne auf Naxos at Seattle Opera and Opera Stuttgart.

Christiane Libor gave her American debut at Seattle Opera in 2012-13 as Leonore in Beethoven’s Fidelio and she has sung the title role of Janáček’s Jenůfa for Innsbruck’s Tiroler Landestheater.  Other titles in her repertoire include Das Liebesverbot in a concert version for Oper Frankfurt, Tannhäuser at the Grazer Oper, Götterdämmerung under Philippe Jordan at the Paris Opera, and Wagner’s Das Liebesverbot in Bayreuth and Leipzig.

Symphonic appearances have brought her to the Berlin Radio Symphony Orchestra for Shostakovitch’s Fourteenth Symphony with Marek Janowski, to Auckland for Strauss’ Vier Letzte Lieder with the New Zealand Symphony Orchestra conducted by Edo de Waart, and together with the Berliner Philharmoniker for Penderecki’s Lukas Passion conducted Antoni Wit.  As Resident Artist of the Bard Festival in 2010, Ms. Libor joined Leon Botstein and the American Symphony Orchestra for numerous programs including Berg’s Altenberg Lieder, Schmidt’s Das Buch Mit Sieben Siegeln, and Hindemith’s Sancta Susanna.

Since 2011, she has held a professorship at the University of Music Karlsruhe, Germany.



Der fliegende Holländer, Washington National Opera


Der Ring des Nibelungen, Oper Leipzig


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Artists Management Hartmut Haase
Hartmut Haase

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