Almost immediately on completion of her vocal studies in Oslo (Norwegian Academy of Music), Paris (Conservatoire National Superieur) and then Copenhagen (Royal Danish Academy of Opera), young Norwegian soprano Mari Eriksmoen found herself with a dream offer to sing Zerbinetta in Theater an der Wien’s production of Ariadne auf Naxos which marked the start of a close relationship with this major theatre. Eriksmoen’s frequent return visits to Vienna have included Olympia (Les contes d’Hoffmann), Euridice (Monteverdi’s L’Orfeo), Teti (Rossini’s Le nozze di Teti e di Peleo) and Rosina (Paisiello’s Il barbiere di Siviglia), and she attracted wide attention and received universal praise for her portrayals of Susanna, Zerlina and Fiordiligi in a cycle of Mozart’s Da Ponte operas together with the late Nikolaus Harnoncourt in performances broadcast throughout Europe on both radio and television.

Other key appearances in recent seasons have included Pamina (Die Zauberflöte) at Festival d’Aix-en-Provence, The Norwegian Opera and last season at Opernhaus Zurich under General Music Director Fabio Luisi, Blondchen (Die Entführung aus dem Serail) at Oper Frankfurt, Glyndebourne Festival and at the 2015 BBC Proms, and in a display of repertoire versatility Eriksmoen has also appeared as Waldvogel in Wagner’s Siegfried as part of Daniel Barenboim’s epic Ring Cycles at Teatro alla Scala. Other roles include Fiakermilli (Arabella), Adele (Die Fledermaus), Amore and Euridice (Orfeo), Sandrina (L’infedelta delusa), Soeur Constance (Les Dialogues des Carmélites), and last season she had a major success as La Fée in Damiano Michieletto’s production of Cendrillon at Komische Oper Berlin under Henrik Nanasí.

A confident and versatile concert singer, Eriksmoen is often invited to sing Solveig in Grieg’s Peer Gynt while her wide concert repertoire includes Schumann’s Szenen aus Goethes Faust, Mozart’s Davide penitente and Mass in C minor, Poulenc’s Gloria, Orff’s Carmina Burana, Handel’s Messiah, Bach’s Mass in B minor, Haydn’s Stabat Mater and Brahms’s Ein deutsches Requiem. Eriksmoen is a regular guest of the Orchestre de Paris, Münchner Philharmoniker, Oslo Philharmonic, Gothenburg Symphony, Freiburger Barockorchester, Bayerische Rundfunk Orchester and Mahler Chamber Orchestra to name but a few, and she works with many eminent Conductors including Daniel Barenboim, Jeremie Rhorer, Ivor Bolton, Pablo Heras Casado, René Jacobs, Fabio Luisi, Daniel Harding, Marc Minkowski, Bertrand de Billy, Louis Langrée, Paavo Järvi and Robin Ticciati.

Current season opera highlights include company debuts at both Bayerische Staatsoper and at Savonlinna Opera Festival as Blondchen, and she reprises the role of Zerlina at Theater an der Wien where she also appears this season in Carlus Padrissa‘s staged version of Haydn’s Die Schöpfung conducted by Laurence Equilbey. In concert she appears with Orchestre de Paris under Daniel Harding, with Trondheim Symfoniorkester under Dalia Stasevska and with Bergen Philharmonic Orchestra under Sir Andrew Davis.

Future highlights also include her debut with Simon Rattle/Berlin Philharmonic Orchestra, debut at the Baden-Baden Festspiele, her debut at Opera Vlaanderen and at The Dutch National Opera, a return to Concertgebouw in Amsterdam, the Philharmonie in Paris and she returns to Festival d’Aix en Provence.

Eriksmoen has recorded Szenen aus Goethes Faust with Symphonieorchester des Bayerischen Rundfunks under Daniel Harding (available on Naxos), Blondchen (Die Entführung aus dem Serail) with the Akademie für alte Musik Berlin and René Jacobs (available on harmonia mundi), and she appears on DVD (Opus Arte) as Blondchen with Glyndebourne conducted by Robin Ticciati. Eriksmoen also released her first solo CD in 2016 to great acclaim.

“Mari Eriksmoen was a Blonde to rival that of Lucia Popp … the stage presence a continual source of vitality and the beauty of tone endlessly beguiling.”
(Roger Parker, Opera Magazine)

“Radiating an abundance of melodious sound and filling the theatre is Mari Eriksmoen as La Fée, with her magically mellifluous coloratura”
(Die Welt)

Mari Eriksmoen’s Pamina was luminous and poised!»
(Corinna de Fonseca-Wollheim, New York Times)

“In Vienna, Harnoncourt succeeded again in his discovery of a young singer…Norwegian soprano Mari Eriksmoen…She is a cunning and clever Susanna in “Figaro”, brings a touching naivety to Zerlina in “Giovanni”, and successfully portrays an internally tumultuous Fiordiligi in “Così”, mastering the music’s huge leaps Eriksmoen brings spotless intonation and dramatic presence to the stage.”
(Süddeutsche Zeitung)

“Mari Eriksmoen is a suitably fearless Blonde.”
(Opera Magazine, Hugo Shirley, September 2016)

«As La Fée, Mari Eriskmoen produces the most alluring, shimmering coloratura; pure magic.»
(Der Tagesspiegel, June 2016)

“Rising soprano Mari Eriksmoen has chosen her repertoire for this disc well…Her selection of nine songs by Hugo Wolf emphasises a sense of mischief, and the recording captures well the crystalline yet supple quality of her voice and her direct, communicative way with text. Her Strauss selection includes three of the Ophelia Songs, which she makes sound at once confiding and otherworldly…Eriksmoen is even more persuasive in her native Norwegian. Five songs by Grieg find her relishing each word – A Bird’s Song sounds especially posied and elegant.”
(Erica Jeal, The Guardian)

“Mari Eriksmoen gave a beautifully-sung live-wire performance as Blonde.”
(Michael Church, Independent)

“Mari Eriksmoen has a clear, agile soprano and light vibrato with which she spun fine pianos and gave a credible depiction of the caring, boisterous and naïve girl.”
(Hedy Mühleck, Bachtrack)

“The Norwegian soprano Mari Eriksmoen was lively and vocally excellent as Rosina.”
(Susanna Dalmonte, Deutschland Radio)

Eriksmoen fills the role of Pamina with touching intensity. Ach ich fühl’s is a highlight of the evening.»
(Peter Hagmann, Neue Zürcher Zeitung)

“Mari Eriksmoen delivers a crystal clear, pure Pamina.”
(Heinz W. Koch, Badische Zeitung)

“Having performed Susanna and Zerlina [in this Da Ponte cycle], Mari Eriksmoen made the biggest impression as Fiordiligi. She excelled in all aspects, she conquered the considerable vocal hurdles with flying colours, and maintained a beautiful, luminous tone throughout her skilful coloratura passages.”
(Walter Weidringer, Die Presse)

“Mari Eriksmoen is enchanting and brings a fresh tone to Zerlina.”
(Kleine Zeitung)

“Norwegian Mari Eriksmoen is well on her way to becoming the star of this [Da Ponte] cycle. After a charmingly clever Susanna, she now uses her bell-like soprano and impressive stage presence to create a smart and lovable Zerlina.”
(Salzburger Nachtrichten)

Mari Eriksmoen was a delightful Olympia, even voiced, accurate, and ample tone.”
(Moore Parker, The Opera Critic)

“Mari Eriksmoen was without doubt the highlight of the evening.”
(Der Standard)

“Mari Eriksmoen’s lip-biting Zerlina left no doubt as to her being an ideal first choice in her highly-charged, kittenish reading…Vocally sailing through the part, this Zerlina whet one’s appetite for greater challenges to come.”
(The Opera Critic, December 2016)