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Nathalie Stutzmann


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    Handel: Alessandro, HWV 21, Act 3: "Sarò qual vento" (Cleone) - George Frideric Handel, Orfeo 55
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    Handel: Giulio Cesare, HWV 17, Act 1: "Son nata/nato a lagrimar" (Cornelia, Sesto) - George Frideric Handel, Orfeo 55
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    Stabat Mater: Largo - Antonio Vivaldi, Vladimir Spivakov
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    Handel / Orch Orfeo 55: Alcina, HWV 34, Act 2: "Ah, mio cor, schernito sei " (Alcina) [Orch. Orfeo 55] - George Frideric Handel, Orfeo 55
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Nathalie Stutzmann is a French contralto, especially noted as a recital and concert performer, but also seen on European opera stages.
She sings a wide variety of music, including art songs of the 19th and 20th centuries, Baroque opera and oratorio, and the symphonies and song cycles of Mahler. Her particular interest in German lieder is unusual for a French singer, but not surprising, since she studied with two of the finest singers of that repertory in recent memory -- Hans Hotter and Christa Ludwig. Her singing is dark-hued and unmannered.
Stutzmann's musical education included not only singing, but also piano and bassoon studies; she is an accomplished chamber musician on both instruments. After vocal studies at the Ecole Nationale in Paris, she won the 1983 Brussels vocal competition, and made her concert debut in 1985, singing Bach's Magnificat in Paris. In 1986 she performed and recorded Magnard's opera Guercoeur and received positive reviews for performances of Purcell's Dido and Aeneas at the Opéra de Paris. A 1989 recording of Handel's Amadigi (with Marc Minkowski) cemented her reputation, and since that time she has enjoyed an unbroken schedule of performances and recordings. Other notable operatic roles include Gluck's Orfeo, Handel's Giulio Cesare, and Geneviève in Debussy's Pelléas et Mélisande. Her oratorio repertory includes all the major works of Bach, Handel, and Vivaldi. Her discography includes over 60 titles, primarily for RCA Victor, but also for Erato, EMI, Philips, Harmonia Mundi, and Sony. Her volumes of Schumann lieder, and mélodies by Chausson, Fauré, and Poulenc are representative of her best recital work.
In 2009, Stutzmann added another dimension to her artistic pursuits, founding her own chamber orchestra, Orfeo 55. She had studied conducting with Jorma Panula, and the orchestra allows her to apply the same interpretive approach that she used in vocal roles to that of a conductor.


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