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Salome Kammer’s talent transcends musical boundaries. Her repertoire defies categorisation and is comprised of a mix of avant-garde music, virtuoso voice experiments, classical melodrama, Lieder recitals, Dada poetry and Broadway songs. Whether performing as a singing actress or as an acting singer, Kammer’s stage presence in musical cabaret and theatre roles is fascinating. Numerous contemporary music works have been dedicated to and premiered by her, both nationally and internationally. Composers such as Helmut Oehring, Wolfgang Rihm, Georges Aperghis, Bernhard Lang, Isabel Mundry, Mauricio Sotelo and Carola Bauckholt have dedicated works to her, inspired by the manifold facets of her voice and her exceptional expressiveness.

Salome Kammer studied music from 1977 to 1984, majoring in cello and studying with Maria Kliegel and Janos Starker in Essen. In 1983, she was engaged at the Heidelberg Theatre appearing in countless plays, musicals and operettas. In 1988, she moved to Munich to begin filming Die zweite Heimat with director Edgar Reitz. While working on this monumental film project she began her formal vocal training, taking lessons from teachers such as Yaron Windmüller. She has been performing as a vocal soloist in contemporary music concerts since 1990. Heimat 3, which was premiered in Venice in 2004 and broadcast throughout Europe, also allowed her to exhibit the breadth of her abilities in the role of Clarissa.

Her wide-ranging repertoire includes classics of modern music such as Arnold Schönberg’s Pierrot Lunaire and String Quartet No. 2, La fabricca illuminata by Luigi Nono, works by composers such as John Cage, Luciano Berio and Hans Zender, as well as Lieder by Kurt Weill and Hanns Eisler. Her expertise in interpreting Weill’s and Schönberg’s music has resulted in invitations to appear at the Rheingau Music Festival, Kurt Weill Fest Dessau, Beethovenfest Bonn and Lucerne Festival.

Salome Kammer has wowed audiences in numerous productions of new operas including Helmut Lachenmann’s Das Mädchen mit den Schwefelhölzern at the Stuttgart Opera and the Opéra National de Paris, Jörg Widmann’s Das Gesicht im Spiegel at the Bavarian State Opera, and Isabel Mundry’s Die Odyssee – Ein Atemzug at the Deutsche Oper Berlin. She has performed a staged version of Kurtág’s Kafka Fragments with violinist Carolin Widmann internationally many times.

Numerous radio and CD productions document Salome Kammer’s exceptional talent. Her latest solo CDs I hate music, but I like to sing(Capriccio), salomix-max (wergo) and I’m a Stranger Here Myself(Capriccio), all chronicle the results of her long-standing collaboration with the pianist Rudi Spring and received rave reviews.

In the 2018/19 season she performs with the Klangforum Wien in Hamburg, makes her debut with the Philharmonia Orchestra in London (Zender’s Cabaret Voltaire) and sings premieres at the Impuls Festival Sachsen-Anhalt, Festival NEUE MUSIK Rockenhausen and at the Festival Milano Musica. Furthermore, she sings premieres at the Impuls Festival Sachsen-Anhalt, Festival NEUE MUSIK Rockenhausen, at the Festival Milano Musica and of Felix Leuschner’s new opera Requiem für einen Lebenden at the Opera Festival Munich at the invitation of the Bavarian State Opera. She also interprets Berio’s Sequenza III at the Musikfestspiele Potsdam.

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