Ana Maria Labin established herself as an acclaimed Mozart singer as Contessa in Nozze di Figaro, Donna Anna in Don Giovanni and in 2017 as Fiordiligi in Cosi fan tutte in Ivan Alexandre’s Da Ponte Trilogy under Marc Minkowski in Drottningholm and Versailles. Other Mozart roles include Konstanze in Entführung aus dem Serail at Glyndebourne on Tour, Arminda in La Finta giardiniera at the Festival Aix-en-Provence, Luxemburg and Toulon, Celia in Mozart’s Lucio Silla, staged by Günter Krämer at the Mannheimer Mozartsommer under the baton of Dennis Russel Davies/Adam Fischer and Erste Dame in Die Zauberflöte at the Bayerische Staatsoper München, Opera Amsterdam, Opéra de Montpellier and Théâtre du Châtelet Paris under Lawrence Foster.
Her further roles include Klara in Haydn’s Die Welt auf dem Mond under Julia Jones, La Baronessa Irene in Haydn’s La vera costanza under Andreas Spering at the Brühler Schlosskonzerte, Héro in Berlioz’ Béatrice et Bénédict, and Giulietta in Bellini’s I Capuleti ed i Montecchi with the Chelsea Opera Group, Euridice in Gluck’s Orfeo ed Euridice in Zürich and Najad in Ariadne auf Naxos at the Glyndebourne Festival under Vladimir Jurowski. She made her debut at the Opéra de Paris Garnier singing Valencienne in Die lustige Witwe and has recently moved on to singing Hanna Glawari in the same operetta.
From the Baroque repertoire, Ana Maria Labin has performed such roles as Armida in Robert Carsen’s production of Händel’s Rinaldo at Glyndebourne on Tour under Laurence Cummings, Manto in Agostino Steffani’s Niobe, Regina di Tebe under Thomas Hengelbrock at the Schwetzingen Festival, the soprano part in Purcell’s King Arthur by Corinne and Gilles Bénizio (alias Shirley & Dino) under Hervé Niquet with Le Concert Spirituel at the Festival of Radio France in France and Japan, the title role of La Giuditta by Scarlatti alongside Michael Chance in Holland, Belinda in Purcell’s Dido and Aeneas at the Festival Retz and Galatea in Händel’s Acis and Galatea under Raymond Leppard with the English Chamber Orchestra.
Ana Maria Labin’s concert engagements have taken her to the Vienna Konzerthaus performing Haydn’s Il ritorno di Tobia, The Creation and The Seasons in the Congress Innsbruck, the Philharmonie Luxembourg and the Haydn Festival in Eisenstadt with the Austro-Hungarian Haydn Philharmonie under Adam Fischer. Other engagements have included a tour to Italy and Turkey with the English Concert under Harry Bickett singing Vivaldi’s motet “In furore iustissimae iras” and arias from Handel’s Giulio Cesare and Rinaldo, Pergolesi’s La Maddalena al sepolcro and Stabat Mater at the Festival La Chaise-Dieu under Giulio Prandi and the Ghislieri Consort and Ino in Telemann’s Ino Kantate under Michael Schneider.
She has been invited to sing Haydn’s Scena di Berenice and Beethoven’s concert aria Ah, perfido with Boston Baroque; Strauss’ “Vier letzte Lieder” at the Tonhalle St. Gallen and Mozart’s Vesperae Solennes de Confessore under Claus Peter Flor with the Orchestra Santa Cecilia in Rome. She performed Mozart airs and duets with the Mahler Chamber Orchestra under the baton of Antonello Manacorda at the newly built opera house in Bahrain and has sang in the renowned New Year’s Eve concert at the Semperoper Dresden under Christian Thielemann. The concert has been broadcast live on TV and was released on CD/DVD with Deutsche Grammophon.
The young soprano has also premiered contemporary pieces such as La chevelure de Bérénice of Dominique Lemaître with the Orchestra Sinfonica Nazionale della RAI under Daniel Kawka; a song cycle by Richard Dubugnon under Alain Altinoglu at the Festival Présences Radio France and sang compositions by Beat Furrer under David Zinman and Luciano Berio’s Sequenza III at the Tonhalle Zürich.
