American soprano Robin Johannsen is rapidly earning a reputation as one of the most sought-after young artists of her generation. On both the operatic and concert stages, she is emerging as a consummate artist, known for impeccable performances of Classical and Baroque music, acclaimed by critics and audiences alike.

She made her European debut as a Young Artist with the Deutsche Oper Berlin in 2002 resulting in an invitation to join their Ensemble, where she sang Susanna inLe nozze di Figaro, Norina in Don Pasquale, Aljeja in Aus einem Totenhaus, Oscar in Un ballo in maschera, and Soeur Constance in Les dialogues des Carmélitesover the next three seasons.  In summer 2003 she made her Bayreuth Festival debut as the Young Shepherd in Tannhäuser; she continued to appear as the Shepherd and the Forest Bird in Siegfried for the following five seasons.  In 2005 she was engaged by Oper Leipzig, where she appeared for two seasons in such roles as Gretel, Marzelline, Blonde, Valencienne, Susanna, and Pamina.

Working independently since 2008, Robin Johannsen has appeared with many prominent opera companies, festivals and symphony orchestras in Europe: Among her most recent performances, she sang Pamina in Antwerp and Ghent for Vlaamse Opera’s new production of Die Zauberflöte; Handel with Academia Montis Regalis under Alessandro De Marchi in Innsbruck and Bruges; a German tour of Carmina Burana with the Internationale Bachakademie Stuttgart under Celso Antunes; a New Year’s Eve gala in Essen with Cappella Coloniensis under Bruno Weil; Mademoiselle Silberklang in Mozart’s Impresario with Concerto Köln; Vivaldi’s Gloria and Dixit dominus with NDR Hannover under Robert King; and the Waldvogel in Frankfurt Opera’s new production of Siegfried under Sebastian Weigle. 

She has become a regular performer at the Innsbruck Festival of Early Music where in 2011 she sang Hasse’s Romolo ed Ersilia with Attilio Cremonesi and in 2010, Pergolesi’s La serva padrona and Bach’s Coffee Cantata under Alessandro De Marchi. She has become a favorite of the renowned conductor Helmuth Rilling, singing many performances under his baton in Germany and the United States: a tour of Handel’s Messiah and Bach’s Christmas Oratorio with the Internationale Bachakademie Stuttgart; Handel’s Messiah with the Dallas Symphony and Bach cantatas with the Philadelphia Chamber Orchestra. She made her debut with theOregon Bach Festival in 2009 in Haydn’s Creation under Maestro Rilling and sang the world premiere of Sven-David Sandström’s Messiah.  This was followed by a German tour of the work and a recording with Rilling and the Bachakademie. She returned to the Oregon Bach Festival in 2011 singing Belinda in Dido and Aeneason tour with Monica Huggett and the Portland Baroque Orchestra, Handel’s Ode to St. Cecilia under Matthew Halls, and Bach’s Magnificat under Jeffrey Kahane.

Other career highlights include Adele in a new production of Die Fledermaus at the Staatsoper Stuttgart under Manfred Honeck; appearances at the Komische Oper Berlin as Marzelline in Fidelio (1805) and Agilea in Handel’s Teseo; a staged production of Haydn’s Die Jahreszeiten at the O.T. Theater Rotterdam under Christopher Moulds; John Adams’ El niño in Stuttgart and Basel under Dennis Russell Davies; and Vivaldi with the Danish National Chamber Orchestra under Ottavio Dantone. She sang Handel’s Messiah with the Pittsburgh Symphony Orchestra under Robert Page; Haydn’s Creation with the Dresden Philharmonic under Rafael Frühbeck de Burgos; the Messiah (Mozart version) with the Helsinki Philharmonic under Andreas Spering; Cavalli’s Giasone with the Vlaamse Opera in Antwerp and Ghent; Konstanze in Die Entführung aus dem Serail with the Freiburg Baroque Orchestra at the Lucerne Festival, Festspielhaus St. Pölten and theTheater Freiburg; and made her debut with Musica Angelica of Los Angeles with John Malkovich and Martin Haselböck in an original production: Seduction and Despair (later: The Infernal Comedy).

Upcoming engagements include Konstanze in a new production of Die Entführung aus dem Serail at the Konzert Theater Bern; Ravel’s Shéhérazade with the Berlin Brandenburgisches Staatsorchester Frankfurt; Handel’s Aminta e Fillide with the Belgian Baroque Orchestra B’Rock in Antwerp and Ghent; Handel’s Saul with Helmuth Rilling and the Internationale Bachakademie Stuttgart; Beethoven’s Mass in C Major with Celso Antunes and the São Paulo Symphony; Orff’s Carmina Burana with the Baltimore Symphony Orchestra under Marin Alsop and another Carmina Burana with Jonathan Nott and the Bamberger Symphoniker - Bayerische Staatsphilharmonie.

Robin Johannsen can be heard on several CD and DVD recordings including the Waldvogel in Wagner’s Siegfried from Bayreuth, conducted by Christian Thielemann (Opus Arte); Scarlatti’s Davidis Pugna Et Victoria with Alessandro De Marchi (Hyperion); music of Bach, Telemann, and Hertel with Jeremy Joseph, Organ and Gonzalo X. Ruiz, oboe (New Classical Adventure); Sven David Sandström’s Messiah under Helmuth Rilling (Carus Verlag); Cavalli’s Il Giasone with F.M. Sardelli (Dynamic – CD and DVD); Handel – Caldara: Carmelite Vespers 1709 with Alessandro De Marchi (Deutsche Harmonia Mundi).





Konstanze in Mozart’s Abduction from the Seraglio, René Jacobs, conductor, in Berlin, Perugia, Amsterdam, and Brussels:

“Superior cast with splendorous soprano Robin Johannsen shining greatly.”

- Het Parool - September 22, 2104


“Consistently highly pleasing performances, highlights being Robin Johannsen.”

- Forum.Festspiele.De - September 21, 2014


“An excellent vocal cast starting with Robin Johannsen in the role of Konstanze.”

- La Nazione – September 7, 2014


Bella Italia concert at the Konzerthaus at Gendarmenmarkt, Berlin:

Robin Johannsen - an exhilarating discovery “There was the attractive, popular Eva Lind and the young Romanian newcomer. But the happiest discovery of the evening was the American, Robin Johannsen. In just two arias she manages to develop their impressive sensual potential. In Verdi's ‘Mercè, Dilette amiche’ she sings with a slightly more flexible, sunlit voice. Albinoni's ‘Amore perduto’ shows a sweeter soprano, deeply moving, full of love’s pain.”

- Berliner Morgenpost - July 6, 2014


Title role in Handel’s Almira, Hamburg State Opera:

“The performance is a fireworks of costumes with a wonderful Robin Johannsen in the title role.”

- Hamburg Journal - May 26, 2014


“In the truest sense of the word, an impressive framework for the Hamburg debut of soprano Robin Johannsen, who is to be especially celebrated for her portrayal of Almira.”

- Hamburger Morgenpost - May 27, 2014


“At the top, Robin Johannsen as Almira with a silvery shimmering soprano. She is also an excellent vocal actress when it comes to making different effects distinct in the arias. Her interpretation of the well-known ‘Lascia ch’io pianga’ became a very big moment.”

- Bremer Nachrichten - May 27, 2014


In Dolce Amore, Alessandro De Marchi, conductor, SONY Records

“Johannsen sings with limpid sweetness in ‘In dolce amore’. There are judicious contrasts in dramatic situations and musical moods. Johannsen’s versatile singing helps to reveal an enriching glimpse of Caldara’s virtues.”

- Gramophone - September 2014


“The protagonist of this interesting CD is the promising young American soprano, Robin Johannsen. Very musical, secure on the technical and stylistic side, coloratura singing with great ease, secure ringing high notes, she combines excellent Italian pronunciation with distinctive interpretative skills.”

- GBOpera - August 2014


“Johannsen is a singer of considerable resources, completely at ease with the musical style of the eighteenth century: beautiful trills, supple voice, bright treble and excellent Italian diction. Her embellishments are abundant but very natural; the agility addressed without effort, and very expressive when needed. Surely this is a singer we shall hear a lot about in the coming years.”

- Sala Del Cembalo. - July 8, 2014


“Cantatas and arias from six Caldara operas give Robin Johannsen the opportunity to show her talent in virtuoso showpieces and touching lamentations. The singer is extremely confident and composed. With her colorful voice Johannsen is at ease in the most virtuoso arias as well as in the delicate passages, finding in every moment the right expression. Her singing never becomes artificial, but carries genuine human feelings.”

- Pizzicato - June 26, 2014


An album full of discoveries and surprises.

“The first solo CD of soprano Robin Johannsen records solo cantatas and arias from his operas. All are small jewels in their composition as well as in this interpretation. Johannsen can be proud of her career, covering the great operatic roles as well as oratorios and experimental projects like ‘The Infernal Comedy’ starring John Malkovich. ‘In dolce amore’ is an exciting mix of opera arias with impressive emotional language, dramatic coloratura passages and captivating melodies. Johannsen brings the tenderest feelings to light in Caldara's music. She can portray agonizing grief, with a sleek and ultra-mobile soprano, which feels as at home in the virtuosic cascades of these opera arias as well as in the dramatic leaps and highly expressive turns of the arias and recitatives. And from the usually quiet cantatas - which offer joy and pain, cruelty and jealousy, rejection and claims of ownership for her to sing. Robin Johannsen molds these exquisitely. ‘In dolce amore’ is a wonderful match for her current Handel appearances at the Hamburg State Opera.”

- KulturPort - May 23, 2014


Handel Messiah, Duke Chapel, North Carolina

“The enunciation and projection of the two women soloists were excellent. Soprano Robin Johannsen brought an almost instrumental purity to the quality of her singing; her voice was beautifully focused and seemingly seamless..”

- - December 6, 2013


Mozart Mass in C minor, Munich Philharmonic Robin Johannsen and Anne-Carolyn Schlüter sang their arias flawlessly.

- Abendzeitung - December 2, 2013


Orff Carmina Burana, Bamberg Symphony:

“Robin Johannsen was a deliciously cheeky soprano, all coquettishness and swooning.”

- Entartete Musik - July 21, 2013


Orff Carmina Burana, Baltimore Symphony, Marin Alsop, conductor:

“There was radiant singing from soprano Robin Johannsen, especially in 'Stetit puella,'”

- Baltimore Sun - June 7, 2013


“Kudos to tenor John Tessier, who sang his high notes in the 'Roasting Swan,' and to soprano Robin Johannsen, who nailed 'Dulcissime,'”

- Washington Post- June 10, 2013


Konstanze in Mozart’s Die Entführung aus dfem Serail, Konzert Theater Bern:

“The audience must be pleased with the vocal and musical quality of the evening. Robin Johannsen plays a very distressed Konstanze, but she delights with her secure high notes and flexible voice.”

- Berner Oberländer - March 9, 2013


“Impressive Mozart voices are to be heard here, especially Johannsen (Konstanze). Johannsen does not yet possess a dramatic soprano, but instead an exciting, flexible, silver voice. She is rightly celebrated at the end.”

- Berner Zeitung - March 4, 2013


“He allowed enough development space to the American Robin Johannsen, who, as Konstanze, won in warmth and clarity in the course of the performance and awarded her role vocal character.”

- Neue Zürcher Zeitung - March 4, 2013


“Robin Johannsen as Konstanze on one hand laid down her horrendously difficult coloratura regally and on the other, did much for an impressive portrait of her role with her intelligent choice of vocal style.”

- Die Südostschweiz - March 5, 2013


“There are tender and touching moments: when Robin Johannsen as Konstanze tries to be clear about her true feelings. The singers are excellent, one wants to listen to them for a long time. Especially Robin Johannsen as Konstanze, who possesses fantastic high notes and beautiful tonal shades that are able to make her inner conflicts believable whether she is standing alone on the stage or falling into a frenzy.”

- Der Bund - March 4, 2013


Pamina in Die Zauberflöte, Vlaamse Opera, Antwerp and Ghent:

“The soloists were role for role excellent. Tamino (Rainer Trost) has a fresh youthful tenor voice, Pamina (Robin Johannsen) is sweetly subtle where necessary but also acts with a strong personality.”

- - December 17, 2012


 “Excellent singers: Robin Johannsen, extraordinary Pamina.”

- - December 17, 2012


 “Trost and Johannsen’s vocal health and flawless technique, this art of legato which is the basis of singing Mozart, have confirmed Aviel Cahn’s reputation as a talent scout that has earned since his appointment as head of Vlaamse Opera.”

- ForumOpera – December 15, 2012


 “This production excels in the vocal casting.  The cast gets a top level.  The young couple Tamino (Rainer Trost) and Pamina (Robin Johannsen) sing effortlessly and work convincingly through the crazy adventures.”

- - December 14, 2012


 “Most convincing was the Tamino-Pamina duo of Rainer Trost and Robin Johannsen.”

- De Morgen – December 14, 2012


 “Robin Johannsen could conjure with her sound.  She was a beautiful Pamina.”

- OperaMagazine.NL - December 13, 2012


 “The largest applause is for Robin Johannsen as Pamina,…”

- - December 13, 2012


 “American soprano Robin Johannsen as Pamina is a pearl.  The manner in which she sings “Ach ich fühls, es ist verschwunden“ – an aria that is quite wrongly less known to the public – is magnificent... In this aria, Johannsen explains feelings of despair and sounds more desperate by the minute.”

- - December 12, 2012


Ravel: Shéhérzade, Brandenburgisches Staatsorchester Frankfurt, Howard Griffiths, conductor:

“Robin Johannsen interpreted the meditative texts with silvery, sparkling soprano: expressive and elegant. Large, special applause is certain for her.”

- Potsdamer Neueste Nachrichten - November  19, 2012


CD and DVD: Isifile in Cavalli’s Il Giasone, Vlaamse Opera:

 “As Isifile, Giasone's lawfully wedded wife from back home, Robin Johannsen pours forth touching laments in a rich, vibrant soprano.”

- Opera News- September 22, 2012


CD: Handel-Caldara, Carmelite Vespers 1709, Deutsche Harmonia Mundi:

 “Interpolated with plainchant, the psalms dovetail sweetly, the playing is supple, the choir bright, sopranos Roberta Invernizzi and Robin Johannsen delicious.”

- The Independent, May 6, 2012

Handel I vespri dei Carmelitani, Brugge Mafestival, Alessandro de Marchi, conductor:

“The sopranos Roberta Invernizzi and the American Robin Johannsen were another story.  They competed for the crown, exactly the way it was at the start of the eighteenth century in Italy, where opera was the most popular genre.  Johannsen proved herself to virtuosity, energy, agility, and endurance.”

- - August 5, 2011


 “The American Robin Johannsen, with her pure voice, brought everyone to heavenly spheres.” 

- - August 6, 2011


 “Soprano Robin Johannsen was a discovery for me, a round, warm, and engaging voice.”

- - August 20, 2011


Handel Ode to St. Cecilia, Oregon Bach Festival, Matthew Halls, Conductor:

“Soloist Robin Johannsen’s brilliant and supple soprano rang out marvelously…”

- - July 13, 2011

“Johannsen sang with ease and beauty, ornamenting much of her music and singing the rapid passages with aplomb.”

- Register-Guard - July 10, 2011


Purcell Dido and Aeneas, Oregon Bach Festival, Monica Huggett:

“Robin Johannsen’s brilliant opening arioso… In Act I, Johannsen skillfully portrayed an earnest and spirited Belinda with magnificent vocal shimmer and clarity that soared through melody and story line, thanks to her evident sensitivity to Purcell’s brilliant marriage of text, melody and harmonic movement.  In Act II, she adjusted her skilled instrument to embrace a timbre riddled with deviousness.”

- Register-Guard - June 30, 2011


“Equally evocative and flexible was the singing of Robin Johannsen in the role of Belinda.”

- - June 29, 2011


Hanne in Haydn’s Die Jahreszeiten (staged), O.T. Theater Rotterdam, Christopher Moulds:

“Johannsen is a farmer’s dream woman: young, strong and with a disarmingly fresh, natural voice. Her singing alone is worth making the trip to Rotterdam’s Nieuwe Luxor Theater.” 

- De Volkskrant - May 24, 2011


“As cheerfully and divinely as she may sing, soprano Robin Johannsen’s farmer girl ultimately falls prey to a guerrilla fighter.”

- Handelsblad - May 26, 2011


“In particular the young soprano Robin Johannsen has a clear, compelling voice. With painted red lips and a cheerful smile, the diva romps over the stage as a real farm girl. Her body moves just as gracefully as the runs in her arias.”

- Rolinde Hoorntje, - May 24, 2011


“With soprano Robin Johannsen, tenor Tom Randle and bass Tim Mirfin, Haydn’s ode to nature had a great cast. With her sleek, pure timbre, Johannsen was an ideal farmer’s daughter.”

- Trouw - May 28, 2011


 “Robin Johannsen is a discovery: what a gracious and expressive appearance and what a clear voice!”

- - May 27, 2011


Händel Messiah, Dallas Symphony Orchestra, Helmuth Rilling, conductor

“Soprano Robin Johannsen has a stage presence that sparkles. Her voice shimmers.”

- - April 15, 2011


“Soprano Robin Johannsen had a bright gleam on a warm core of sound.”

- Dallas Morning News - April 15, 2011


 “Robin Johannsen’s sweet soprano produced some lovely moments.”

- - April 15, 2011


CD: Sven-David Sandström, Messiah, Helmuth Rilling, conductor:

“The technical demands on the soloists are high; they have to execute quite a lot of coloratura, which they do with aplomb. The two female soloists in particular are very good and Robin Johannsen’s Behold, a virgin shall conceive is masterly.”

- - June 2010


Isifile in Cavalli’s Il Giasone, Vlaamse Opera, Antwerp and Ghent:

The two ladies in our hero’s life - Bradic’s Medea and Robin Johannsen’s Isifile were both outstanding. [...] the latter revealed an enchantingly clear, bright soprano that is able to deal with the demands of the one character exposed to real suffering her third-act lament was a highlight. 

- Opera - October 2010


Soprano Robin Johannsen sings the final song of the tragic Isifile so beautifully that it hurts.

- NRC Handelsblad - May 3, 2010


“For those, the American soprano, Robin Johannsen as Isifile/Hypsipyle, young in love, girl deploys celestial high notes and a lower register to break hearts.  In a three penny dress with her twins around her breasts, she is magnificent.”

- - May 18, 2010


“The American soprano Robin Johannsen put forward her gifts as a tragedienne in the heartbreaking laments of Hysipyle…”

- Luxemburger Wort - May 17, 2010


“…the production can count on a particularly credible, young, engaged cast for which the theatre and the song are one…and Robin Johannsen, refined soprano, Isifile.”

- - May 5, 2010


“The music was sung by splendid young soloists...The American Robin Johannsen as the legitimate spouse of Giasone, Isifile, has a warm soprano, expressive, and straightforward.”

- - May 2, 2010


“The work of the leading countertenor must be classified as sensational…and the same for the unfortunate ‘Isifile’ of the soprano Robin Johannsen, with a crystalline voice and impeccable intonation in the most serious role of this work.” - May 2010


“The most dense and credible figure, the queen of Lemnos, a tender and combative Isifile, whose last lament represents the climax of the opera… Sardelli and Clément have at their disposal an ideal cast. The young singers know how to perform and they give without reserve: the sweet and ethereal Isifile of Robin Johannsen, so touching in her laments.”

- - May 11, 2010


“Medea’s opponent Isifile, beautifully performed by the American soprano Robin Johannsen, stands for the serious in this opera.  It is hers to win back Jason, bring him to reason in a very heartfelt last aria in which she asks to be tortured.”

- - May 12, 2010


“In every respect the French countertenor Christophe Dumaux as Giasone and the vocally strong American soprano Robin Johannsen as the constant Isifile were a dream pair.”

- Volkskrant - May 3, 2010


“The rest of the cast sang, however, more than outstandingly, whereby the leading players particularly excelled: Medea shone with a large range, Isifile [Robin Johannsen] sounded especially emotional in her lamenti and Giasone himself convinced effortlessly and applied gorgeous accents.”

- Cutting Edge -May 1, 2010


CD: Alessandro Scarlatti, Davidis pugna et victoria, Alessandro De Marchi, conductor:

“Antonio Abete, … is ideally cast - likewise the soprano Robin Johannsen, who sings the part of Jonathan with manly grace and  intimacy and lets his calls to war glow with the brilliance of a baroque trumpet.” 

- - May 29, 2010


“American soprano Robin Johannsen’s clean, limpid sound is perfectly suited to Baroque music.  As Jonathan, she collaborates beautifully with her two co-stars.”

- Opera News Online - January 2010


“Johannsen’s is a crystal-clear soprano with a beautiful tone and as such is well matched to David, sung by soprano Roberta Invernizzi.”

- Musical - October 14, 2009


“The oratorio, a learned dramatisation of the story of David and Goliath, is given a crisp performance by Academia Montis Regalis...The opposing attitudes of the courageous Jonathan... and melancholic Saul... are sung sensitively by Robin Johannsen and Martin Oro.”

- Gramophone Magazine - December 2009


Händel Messiah, Pittsburgh Symphony Orchestra, Robert Page, conductor

“That quality [coloratura] was supplied in spades by soprano Robin Johannsen, who sang 'Rejoice greatly O Daughter of Zion' at an astonishingly fast tempo and clear as a bell.”

- Pittsburgh Tribune-Review - December 12, 2009


Händel Messiah, Oregon Bach Festival, Helmuth Rilling, conductor

“Soprano Robin Johannsen sang “Rejoice greatly, O daughter of Zion” with ardency.  Her voice was shimmering.” 

- The Register Guard - July 14, 2009


Sandström Messiah, Oregon Bach Festival, Helmuth Rilling, conductor

 “Soprano Robin Johannsen delivered “Behold, a Virgin Shall Conceive” and other arias with radiance and power.”

- The Register Guard - July 21, 2009


Konstanze in Die Entführung aus dem Serail, Lucerne Festival:

“From a homogeneous Mozart ensemble, the brightly shining, agile soprano of Robin Johannsen as Konstanze … stood out beguilingly.”

- Neue Luzerner Zeitung - September 16, 2008


“The singers thank him with a beautiful ensemble performance from which Robin Johannsen as Konstanze, with slender intonation and noble coloratura, stands out. ”

- Die Presse - September 21, 2008


“Robin Johannsen as an expressive and wonderfully coloratura-secure Konstanze... ”

- Südkurier - September 17, 2008


“In conclusion, by the majority appealing, the light-voiced singer ensemble offers, above all, the clearly- focused Robin Johannsen as Konstanze.”

- Wiener Zeitung - September 15, 2008


“The expressive Robin Johannsen is...the most convincing singer of the evening.”

- Stuttgarter Nachrichten - September 17, 2008


“When Konstanze sings the aria, 'Traurigkeit ward mir zum Lose' and her alter ego...dances, it is enough to make you weep... Robin Johannsen as Konstanze, she is vocally the high point of the evening. ”

- DRS2 (Radio) - September 15, 2008


“Robin Johannsen is an equally enchanting and burdened Konstanze. ”

- Die Kronen Zeitung - September 21, 2008


“In Robin Johannsen’s Konstanze, one heard the noble and gentle beauty in the voice as well.”

- Tages-Anzeiger - September 16, 2008


“The two women, Lini Gong from the Freiburg Theater (Blonde) and Robin Johannsen (Konstanze) are convincing with first-rate articulation and – above all the latter- with brilliant coloratura.” 

- Badische Zeitung - September 16, 2008


New Year's Concert 2008, Nikolaisaal, Potsdam:

“...No less involved in the success of the evening was opera diva Robin Johannsen from the USA. Since her scholarship in 2002-2003at the Deutsche Oper Berlin, she counts as one of the sought after opera stars in Germany and is even a regular guest at the Bayreuth Festival. Her voluminous, unerring soprano made the 'Cavatina of Rosina' (Rossini - Barbiere), the virtuosic aria of Linda (Gaetano Donizetti), the mad Shadow aria of Dinorah (Giacomo Meyerbeer) or the 'Fruehlingsstimmen-Walzer' of Johann Strauss, the Son, into a singing experience. Sure in all coloratura, with widely faceted dynamic presentation and simply likeable, she advanced, moment by moment to the public's favorite. ”

- Märkische Allgemeine Zeitung - January 3, 2008