Rebecca Teem

Rebecca Teem arrived in Europe to sing her debut as Brünnhilde in Die Walküre at Theater Lübeck, followed by her consequent performances in Siegfried and Götterdämmerung with much national and international press attention.  The Lübecker Ring production DVD was awarded the Golden Echo Klassic Prize in 2012.  Her success was followed by debuts in the roles of Turandot and  Isolde in Tristan und Isolde also with Theater Lübeck.  She went on to perform the title role in Turandot once again with Theater Braunschweig, and made her debut at the Deutsche Oper Berlin as Gerhilde in Die Walküre, as well as Gertrude in Hänsel und Gretel, and Fata Morgana, in Prokofiev’s L’amour des trois oranges.

Further performances as Brünnhilde include a very successful debut at Aalto Theater in Götterdämmerung, and again in 2015 in Die Walküre, and Frankfurt Oper in Wagner’s year 2013 conducted by Sebastian Weigle, where she will return as Brünnhilde for Der Ring des Nibelungen, in May and July of 2016.  She also celebrated a debut Bayerische Staatsoper München as Götterdämmerung‘s Brünnhilde under the baton of Kiril Petrenko.  As well as debuting as Staatsoper Berlin as Brünnhilde in the criticly acclaimed adaptation of Elfriede Jelinick’s, Rein Gold direction by Nicolas Stemman, and conducted by Markus Poschner.  Summer of 2014 gave the opportunity of debuting at the Bayreuther Festspiele as Gerhilde in Die Walküre.  Another debut with the work of Richard Wagner came to happen with her debut as Isolde in Staatstheater Stuttgart under the guidence of chief conductor Sylvain Cambriling.

Up and coming is the stage debut of the title role in Richard Strauss’s Elektra in Aalto Theater Essen with Thomas Netopil in 2016 and in Stuttgart in 2017.

Miss Teem studied voice at Kennesaw State University where she earned her MUBS in voice, and attended Brevard Music Center Festival.  Her early stage experience predominantly in Atlanta with Capitol City Opera in Mezzo Soprano fach roles such as Eboli, Meg Page in Nicolai’s Merry Wives of Windsor, and others.  She made appearances as well in Huntsville Opera Theaters production of Il Trovatore, as Azucena.  With her move to New York the change was officially made to the Dramatic Soprano fach. Her successful arrival on the German Stage was supported by her association with the Wager Society of Washington DC and the active interest and fostering of Thomas Sterwart and Evelyn Lear.