Resume – long – English

The German Mezzo-soprano Cornelia Lanz has performed solistically among others at the Wuerttembergisches Staatstheater Stuttgart, Tonhalle Zuerich, Deutsches Schauspielhaus Hamburg, Prinzregententheater Muenchen, Liederhalle Stuttgart, Kathedrale Bergen, Église Saint-Jacques Liège, Stiftskirche Stuttgart, Ulmer Muenster, and Friedenskirche Ludwigsburg. She has worked with conductors such as M. Honeck, A. Fischer, J. Opela, T. Horn, and F. Froeschle and orchestras such as the Staatsorchester Stuttgart, SWR Stuttgart, Stuttgarter Symphonic Orchestra, Zuercher chamber orchestra, chamber orchestra of the Munich Philharmonic, Berliner Symphonic, L’Arte del Mondo, Kurpfaelzisches Kammerorchester Mannheim, Hassler Consort und L’arpa festante.

She is currently in the studio of the famous singer Eva Randova.At the Musikhochschule Stuttgart and at the Manhattan School of Music, New York, she studied voice, supported by a scholarship from the Landesstiftung Baden-Wuerttemberg. Additionally she finished her exams in music education (Schulmusik) with majors in violin and conducting, as well as in Anglistics and Americanistics, studied at the University of Stuttgart and Columbia University, New York. Cornelia Lanz has received a scholarship from the Richard-Wagner-Society, the Bruno-Frey-prize, culture prize of the District of Biberach and was in the finale of the Nico-Dostal-operetta-competion in Vienna.. Her voice teachers were Thomas Pfeiffer, Mignon Dunn; she participated in several master classes, e. g. of Dunja Vejcovic, Hans Sotin and Jaume Aragall.

In New York she directed her first opera Alcina by Haendel. She sang the leading character in a complete opera recording of Haendel’s Oreste.

In the field of oratorio she has performed all the major alto parts: Bach’s Mass in B-minor, Magnificat, St. John’s Passion, St. Matthew’s Passion, Christmas Oratorio and many cantatas; Beethoven’s Mass in C-Major, Brahms’ Alto Rhapsody, Bruckner’s Te Deum and Masses, Dvorak’s Mass in D-Major and Stabat Mater, Franck’s Les Beatitudes, Haendel’s Israel in Egypt and Messiah, M. Haydn’s Requiem, Honegger’s Le Roi David, Mendelssohn-Bartholdy’s Elijah and Paul, various masses by Mozart, Pergolesi’s Stabat Mater, Rossini’s Petite Messe Solenelle and Stabat Mater as well as Vivaldi’s Stabat Mater.
She sang numerous Lied concerts of various styles and in thematically very differing programs. Her opera repertoire includes Bizet’s Carmen and Mercedes (Carmen), Gluck’s Orfeo (Orfeo), Haendel’s Oreste (Oreste) and Ruggiero (Alcina), Humperdinck’s Haensel (Haensel and Gretel), Lortzing’s Irmentraut (Der Waffenschmied), Mozart’s Cherubino and Marcellina (Le Nozze di Figaro) and J. Strauß’ Orlowsky, and Ida (The Bat).

Currently her musical activities cover a broad field from the international concert stage to musical basic work with amateurs: Besides her solo activities, Cornelia Lanz is engaged as voice mentor, choir coach, conductor, and stage director.