About Caroline Cartens
Caroline Cartens is a Dutch lyric soprano, specialised in opera and contemporary music.
Caroline Cartens studied at the Royal Conservatoire in The Hague with Gerda van Zelm and Barbara Pearson. After her graduation with honours (2004), she continued her studies at the Dutch National Opera Academy, where she graduated Cum Laude as a Master of Music (2006). After her studies she had lessons with Gemma Visser, Gerda van Zelm and Sylvia Sass.
In 2009, she was awarded the “Prix du CNIPAL” at the “Concours International dʹOpéra de Marseille “. She was a member of the CNIPAL-ensemble for the 2010‐2011 season.
In Februari 2011 she made her official debut at De Nederlandse Opera (Dutch National Opera) in Amsterdam, as the Second Angel in Peter-Jan Wageman’s “Legende”. Conducted by Reinbert de Leeuw and directed by Marcel Sijm. In 2010 she performed the very small part of First old woman in ‘’A Dog’s Heart”, by A. Raskatov directed by Simon McBurney, at the same company. In 2013 she returned at DNO, performing the Pale Lady in Prokovjev’s “The Gambler”, directed by Andrea Breth, with Mark Albrecht conducting.
Furthermore Caroline has performed roles like Dido in Purcell’s “Dido and Aeneas” (Barokopera Amsterdam 2013/2014); Juliette in Gounod’s “Roméo et Juliette” (Opera Mosset, 2010); La Contessa in Mozart’s “Le Nozze di Figaro” (Barokopera Amsterdam, 2010/2011); Lauretta in Puccini’s “Gianni Schicchi” (Dutch National Opera Academy, 2006); Donna Anna in Mozart’s “Don Giovanni” (Arezzo Ensemble, 2005); Hellena in Britten’s “A Midsummer Night’s Dream” (Dutch National Opera Academy, 2006); Violetta in Verdi’s “La Traviata” (2008) and Hedwige in Offenbach’s “Robinson Crusoé” (2009), both at the Resident Artist Programme of the’Nationale Reisopera’; Anna in Weill’s “Die Sieben Todsünden” (De Ereprijs, 2004); Cathleen in Vaugn-Williams’ “Riders to the Sea” (Drama Academy Amsterdam, 2005); Second woman, First and Second witch in Purcell’s “Dido and Aenaeas” (Dutch National Opera Academy, 2006) and was understudy for Liù in Puccini’s “Turandot” at Dorset Opera (2007).
Cartens has sung world premières of several compositions and opera’s. She created a main role in the Chiel Meijering opera “Alzheimer” (Muziektheaterunie/ Mondriaan Kwartet, Juriaan Hempel, 2007); created Janna in “Grenspost Zinnenwald” and performed the World première of “Boogloze Boogpees” by the same composer (De Ereprijs, 2009/2010). She performed the title role in “De Dood van Poppaea” (The Death of Poppaea), an opera by Huba de Graaff (Productiehuis Rotterdam 2007/2008/2012). She created ‘Pooky’ in the mini solo-opera “The Evolution”, by the same composer (WilCo, 2008/2009). She sang the Dutch première of “Fremdkörper” by Hans Koolmees (De Doelen Ensemble, 2009). She sang the Worldpremiere of “Wanted:Ferne Geliebte” by Giel Vleggaar (Asko Ensemble, Bas Wiegers, 2008).
With the Orchestra of the 21st century she performed “Three reflections on previous thought’s” (2014), “Zeuf a GoGo” (2013) and “Nederland Muziekland” (2012/2013), by Martijn Padding.
In 2010 she created the parts of The Nature in “Het vlot van de Medusa” by Bruno Nelissen (Kameroperahuis Zwolle); Fadime 2 in “Lege Wieg/Bos Besik” by Seung-Ah Oh (Hollands Diep/VocaalLAB); CEO in “Inflatable Trust Inc.” by Graham Flett (Fast Opera Productions).
Caroline performed the “Mass in c-minor” by Beethoven and the Mozart Requiem, both with the Orchestra of Cannes-PACA, with Phillipe Bender. She performed the “Chorphantasie” by Beethoven, with the Limburgs Symfonie Orkest, with Ed Spanjaard conducting (2009). She was understudy for the “Vier letzte Lieder” by Strauss, at the Conservatory, conducted by Jac van Steen (2005). She performed the solo part in Brahm’s “Ein Deutsches Requiem” (I Romantici, 2005) and performed Stravinskij’s “Les Noces” with the orchestra of the Royal Conservatoire, conducted by Béni Csillag (2009).
She was a member of Holland’s smallest opera company: Fast Opera Productions (FOP). With this company she made, produced and performed short online-opera’s, based on the actuality. These opera’s were produced in one month and recorded in one single day (hence the name of the company). In a reaction to the economic crisis, all participants, from composer to sound-engineer, were asked to work for free. FOP managed to premiere every month a new opera on YouTube for one year.