Melanie Forgeron

Following her completed violin studies at the Meistersinger-Konservatorium in Nuremberg, Melanie Forgeron studied opera singing at the University for Music and Theatre in Hanover with Prof. Richardson-Smith and completed her studies with a degree in 2005.

Master classes with Prof. Michèle Crider, Ks. Brigitte Fassbaender, Prof. Michelle Breedt, and Prof. Klesie Kelly rounded off her vocal training. Since 2018, Melanie Forgeron has been studying privately with Dame Gwyneth Jones in Zurich.

Melanie Forgeron was an established member of the Theater Aachen ensemble from 2005 to 2010, where she made her début with great success, in roles which included Annius in Mozart’s “La Clemenza di Tito”,   Nerone in Handel’s “Agrippina”, Charlotte in Massenet’s “Werther”, Idamante in Mozart’s “Idomeneo”, Muse/Niklausse in Offenbach’s “The Tales of Hoffmann” and as Olga in Tchaikovsky’s “Eugen Onegin”.

At the same time, guest performances led Melanie Forgeron to the Theater Lüneburg as Hansel in “Hansel and Gretel”, to the Summer Festival in Eutin as Mercedes in “Carmen”, to the Staatsoperette (performing arts theatre) in Dresden, both as Orlofski in “Die Fledermaus” and as Carmen in “Carmen”, as well as to the Landestheater Detmold.

From 2010 to 2015, Melanie Forgeron was an established member of the ensemble at the Theater Bielefeld, where she celebrated wonderful successes as Donna Elvira in Mozart’s “Don Giovanni”, as Dorabella in Mozart’s “Così fan tutte”, as Dido in Purcell’s “Dido and Aeneas”, as Lucretia in Britten’s “The Rape of Lucretia” and as Xerxes in Handel’s “Xerxes”. Further roles in Bielefeld included Suzuki (“Madama Butterfly”), Lola (“Cavalleria Rusticana”) and Page/Giovanna/Maddalena (“Rigoletto”).

In August 2015, Melanie Forgeron made her début at the Kioi-Hall in Tokio, where she sang The Composer (“Ariadne on Naxos”), Annina (“Rosenkavalier”) and Kundry (“Parsifal”).

At the opera festivals in Heidenheim, she sang the role of “Frau Mary” in „Der Fliegende Holländer” by R. Wagner in July 2017.

In 2018, Melanie Forgeron gave her debut as “Ulrica” in “Un Ballo in Maschera” by G. Verdi at the Opera Zuid (Netherlands).

Media Center
Calendar
Acclaim
Press Kit

Current & Upcoming Performances

25
May
2019
5:00 pm
Song Recital
with Edward Rushton at the piano
Uttwil, Switzerland
Seeburg Concerts
12
January
2020
5:00 pm
Chamber Music Concert
with members of Tonhalle Orchesters Zürich
Zürich, Switzerland
Johanneskirche in Zurich

Past Performances

Past Performance Schedule Coming Soon

Wesendonck-Lieder

“The spring concert of the Philharmonic Orchestra Riehen … became a sensation. The Zurich-based mezzo-soprano Melanie Forgeron was responsible for this, as she trumped with the Wesendonck songs by R. Wagner. … Melanie Forgeron made the songs a great experience. Her far-reaching depth was sustainable and well-sounding. The effortless height enveloped the audience and created deep well-being.”
Die Oberbadische, “Triumph der Sopranistin”, 8th April 2019


Un Ballo in Maschera

“Whenever the graceful Melanie Forgeron appeared as the fortune teller Ulrica, she captivated the audience.”
De Volkskrant, Persis Bekkering, 24.05.2018

“Melanie Forgeron (…) interprets the ominous role of the mysterious fortune teller Ulrica with a gorgeous, dark voice and a convincingly gloomy demeanor.”
Theaterkrant, Laura Roling, 19.05.2018


Xerxes

“Melanie Forgeron uplifted the title role with her agile mezzo …”
Online Musik Magazin, “Barockspektakel aus Papier”, 3.5.2015

„Melanie Forgeron shines as the Persian King Xerxes. She alternates between childlike enthusiasm and dangerous determination, while lending the figure her vocal and dramatic depth.“
Westfalen Blatt, 2015


Saint-Saens “
Oratorio de Noël

“…Melanie Forgeron’s (mezzo soprano) rendition of the aria ‘Expectans, expectavi Dominum’ was brilliant.“
“ … The velvety timbre of mezzo soprano Melanie Forgeron…”
Neue Westfälische, “Europäische Weihnacht”, 16.12.2014


Madame Butterfly

“As Suzuki, Melanie Forgeron succeeds with a velvety-empathetic mezzo hue.”
Westfalen Blatt, 29.9.2014

„Powerful: Melanie Forgeron.”
Neue Westfälische, “Beklemmendes Psychodrama”, 29.9.21014

„We were also presented with a great vocal performance by … Melanie Forgeron as the servant Suzuki.”
Lippe aktuell, “Liebe, Lüge, Wahn und Schmerz”, 4.10.2014


The Rape of Lucretia

„Excellent! Melanie Forgeron in the title role.”
Opernwelt, 6.7.2014

„With Melanie Forgeron as Lucretia in the centre. She cautiously builds up the crescendo, giving her mezzo the necessary space and time to unfold. She creates the figure’s tragedy with almost imperceptible vocal colour changes, fine dynamic accents and the mesmerising sensuality of her alto register.”
Opernlounge.de, Juli 2014

„Melanie Forgeron positions her alto notes so unadornedly statuesque that both Lucretia’s strength and her vulnerability become sensually tangible.”
Die deutsche Bühne, “So fern und doch so nah”, 26.5.2014

„Melanie Forgeron as Lucretia is the ideal role. With her darkly shaded mezzo, she perfectly fills the burden, the deep sadness of the role, but also flexibly masters the short, brighter emotions.”
Westfalen Blatt 26.5.2014


Mahlerlieder aus „Des Knaben Wunderhorn”

„Melanie Forgeron’s and Alexander Kalajdzic’s rendition of the Lied “Urlicht” was so moving, that breathless silence prevailed. The mezzo soprano offered her listeners a sophisticated interpretation in every respect. Her vocal culture, from a wonderful timbre to lyrical lightness, even at extreme pitches, all the way to her clear diction and an unobtrusive yet expressive facial expressions removed any mellifluousness or banality.”
Westfalen Blatt on her performance at the Rudolf Oetker Halle on 16.12.2013

„For this I need the voice and simple expression of a child, just as – from the sound of the little bell onwards – I imagine the soul in Heaven.” …. This little bell could be heard during the 3rd Chamber Concert of the Bielefelder Philharmonics – in the voice of Melanie Forgeron…… Mahler’s intonation of the ›Urlicht‹ to the ›Highlight‹ … Forgeron’s coloraturas in ›Wer hat das Liedlein erdacht› are rendered as wonderfully light …”
Neue Westfälische on her performance at the Rudolf Oetker Halle on 16.12.2013


Cosi fan tutte

„With a warmly melting note, Melanie Forgeron convinces as a Dorabella, who does not hesitate.”
Westfalen Blatt about her premiere on 07.12.2013

„Melanie Forgeron has increasingly gained in stature; she impresses with her darkly rich timbre, noble mezzo and presents a Dorabella, who walks the path of infidelity with great determination.”
Neue Westfälische, “Spritzige Bielefelder Inszenierung”, 10.12.2013


Eugen Onegin

„In her role as Olga, Melanie Forgeron left nothing to be desired, neither musically nor theatrically.”
Ostwestfalenblatt, 11.03.2013

„Melanie Forgeron (Olga) impressed with her well-balanced voice at a lower pitch, elucidated even more by the great volume of her voice.”
Opernpoint 11.3.2013


Hansel und Gretel

„… led by the title heroes. This cannot be sung or acted better, more adequately, more ideally than … and Melanie Forgeron (Hansel).”
Heidenheimer Zeitung, “Hänsel und Gretel ein musikalischer Leckerbissen”, 16.12.2012