Inga Kalna

Soprano

Inga Kalna, born in Riga, studied singing and musicology at the Latvian Music Academy. After her first engagements with the Latvian National Opera she continued her studies at the Royal Academy of Music in London. Inga Kalna has won the Latvian Theatre Award twice and she is one of the very few singers who was awarded the Great Music Award of Latvia five times. In the United Kingdom she received the Goldberg Operatic Prize and the Bruce Millar Memorial Trust Award.   In 1999 the sopra
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no joined the Hamburgische Staatsoper where she still regularly appears as guest. Further engagements brought Inga Kalna to the Netherlands Opera Amsterdam, Vlaamse Opera, Belgium, Tampere/Finland, Opéra de Lausanne and Théâtre du Capitole in Toulouse, Bolshoi Moscow and the Salzburg Festival.   With the title role of Alcina, Inga Kalna debuted at the Opéra Nationale de Paris (December 2007) and at La Scala, Milano (March 2009).   Remarkable is Inga Kalna’s cooperation with two conductors: Marc Minkowski under whose baton she sang Alcina (Staatsoper Wien), Il Trionfo del Tempo e del Desinganno (Staatsoper Berlin), Lucio Silla (Salzburg) and René Jacobs who repeatedly invited her to the Dresdner Musikfestspiele. Innsbrucker Festwochen, Staatsoper Berlin and Festival Aix-en-Provence.   Important roles in Inga Kalna’s extensive opera repertoire are Donna Anna (Don Giovanni), Desdemona (Otello), Elettra (Idomeneo), Violetta (La Traviata), Donna Fiorilla in Rossini’s Il Turco in Italia, and the title roles in Maria Stuarda, Alcina and Agrippina, Lucio Cinna (Lucio Silla) which she performed at the Salzburg Festival, La Scala, Teatro del Liceu Barcelona, Teatro Real Madrid, Toronto and the Staatsoper Berlin. Apart from her opera activities Ms Kalna is also highly in demand as Lied interpreter and concert singer. She has worked with conductors such as Riccardo Muti, Ingo Metzmacher, Andrea Marcon, Stefan Soltesz, Gerd Albrecht, Marc Soustrot, Simone Young.   CD-recordings include Rinaldo (Harmonia Mundi/René Jacobs), Vivaldi’s Motezuma (DGG/Archiv, conductor Alan Curtis), Mathis der Maler (Oehms Classics, conductor Simone Young) and Händel’s Serse (Deutsche Grammophon/Maxim Emelyanychev).
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News/Quotes

This month, Inga Kalna interpretes the role of Vitella in La clemenza di Tito at Théâtre du Capitole in Toulouse, in a production of David McVicar. Conductor is Attilio Cremonesi. &nbs More...
Success for Inga Kalna\'s debut as Vitellia in Prague. May 11th, Inga Kalna made her role debut as Vitellia in Mozart\'s La clemenza di Tito at the Prague National Theatre under the baton More...
INGA KALNA Piacere in Il trionfo del tempo e del desinganno Swedish Radio Symphony Orchestra January 2018 Svenska Dagbladet: \"Inga Kalna is pure magic in Händel\'s aria t More...

Forumopéra”Après son émouvante Rodelinda en début d’année à Versailles également, Inga Kalna revient pour une Romilda définitivement arrachée aux trop petites voix, et dont elle fait une héroïne à part entière. Pianissimi impalpables et puissance appréciable, elle offre aussi toute l’émotion nécessaire (dans le duetto « L’amerete », par exemple) et un humour exquis lorsqu’elle avoue à Xerxès qu’Arsamène l’a… l’a… l’a… embrassée.” (Laurent Bury, 20-11-2017)

Olyrix ”Inga Kalna fait forte impression avec sa voix généreusement charpentée qui sait porter d’immenses lignes puis les alléger vers des tenues filées et des trilles de rossignol. ” (Charles Arden, 20-11-2017)

El Mundo”La pareja de Lucio y Celia, a cargo de una contundente Inga Kalna y una deliciosa María José Moreno nos enseña cómo el hombre y la mujer saben relacionarse cuando la imposición deja paso al fluir de las emociones;” (Álvaro del Amo, 14-09-2017)

Place de l’Opéra”In de eerste Duitse aria bezong Kalna met fluwelig timbre haar onvervulde verlangen, in de herhaling speelse ornamenten uitwisselend met de eerste violist.”
”De razende coloraturen van de wraakaria ‘Sù, mio core’ bracht ze soepel, maar niet karikaturaal, ondertussen met pretoogjes genietend van haar schurkenrol. Ook in de recitatieven imponeerde Kalna’s beeldende voordracht.”
”Met grote ogen en vurige stem belichaamde Kalna alle emoties van het omvangrijke acccompagnato in het hart van het stuk. Een imposante techniek, ook in de twee grote da capo-aria’s, vol onnadrukkelijke maar terdege aanwezige trillers.”