"No present-day singer understands German sacred music of the seventeenth century better than the soprano Dorothee Mields and, unsurprisingly therefore, no one sings it better."Andrew O’Connor, International Record Review
Dorothee Mields is one of the leading interpreters of 17th- and 18th-century music and is beloved by audiences and critics alike for her unique timbre and moving interpretations. Her flawless technique and the ethereal clarity of her voice also make her ideally suited for works by contemporary composers like Beat Furrer, Gérard Grisey, Hans Werner Henze and Pierre Boulez.
She appears regularly with the Collegium Vocale Gent, Bach Collegium Japan, Netherlands Bach Society, Freiburger Barockorchester, RIAS Kammerchor, Orchestra of the Eighteenth Century, L’Orfeo Barockorchester, Lautten Compagney and Klangforum Wien under such conductors as Stefan Asbury, Ivor Bolton, Frans Brüggen, Pierre Cao, Beat Furrer, Paul Goodwin, Philippe Herreweghe, Wolfgang Katschner, Gustav Leonhardt, Emilio Pomárico, Hans-Christoph Rademann, Ludger Rémy, Peter Schreier, Andreas Spering, Christoph Spering, Stephen Stubbs, Masaaki Suzuki and Jos van Veldhoven.
Dorothee Mields is a welcome guest at international festivals, including the Leipzig Bach Festival, Suntory Music Foundation Summer Festival in Japan, Boston Early Music Festival, Flanders Festival, Vienna Festival, the Handel Festival in Halle, Niedersächsische Musiktage and Musikfest Bremen.
She is a devoted chamber musician and offers a range of highly interesting projects such as “Lord Nelson at the river Nile” (music by Haydn and contemporaries dealing with the battles of Lord Nelson), “White as Lillies was her Face” with songs by John Dowland combined with texts by Heinrich Heine, “Mort exquise, mort parfumée” with French impressionistic compositions, as “Duft und Wahnsinn” (fragrance and lunacy) together with Hille Perl, viola da gamba, and Lee Santana, lute, as well as “Birds” with flutist Stefan Temmingh.
A steadily growing discography with several award-winning recordings documents her artistic achievements. Recent releases of “In Darkness Let me Dwell” and “Loves Alchymie” (with Hille Perl and Lee Santana, Sony/dhm) and Purcell “Love Songs” and “Loves Madness” (with the Lautten Compagney, Carus) have received great critical acclaim. Equally well received was the Telemann album “Die Hoffnung des Wiedersehens” with L’Orfeo Barockorchester (Sony/dhm), Krieger Cantatas with Hamburger Ratsmusik (Carus) and last but not least “Inspired by Song” and “Birds” with Stefan Temmingh (Sony/dhm).
Highlights of the season 2017/18 include appearances with the RIAS Kammerchor (Monteverdi “Vespro della Beata Vergine”) and at the Heinrich Schütz Musikfest, as well as concerts with Ensemble Pygmalion and Tafelmusik Toronto. In November 2017, Dorothee Mields will perform the title role in Handel’s “Almira” with the Boston Early Music Festival Opera. In spring 2018, she is going to sing Buxtehude with The English Concert at the Wigmore Hall London. She will furthermore appear at the Salzburg Easter Festival together with Collegium Vocale Gent and the Sächsische Staatskapelle Dresden, followed by a China tour together with Stefan Temmingh.
Since autumn 2016, Dorothee Mields teaches voice a the Royal Conservatory The Hague.
“Dorothee Mields is among the finest, most genteel, singers of our time […] This soprano has everything: sweetness, “unaffected purity” (Charles Downey), pitchperfect intonation, unflappable at any tempo, and with a movingly dramatic execution of the text because she loves the word nearly as much as the note.”Forbes.com, Jens F. Laurson, 23.03.2016
“Quignard’s nightingale is another standout […] pairing Temmingh at his woodiest and most rich with Mields, tone gilded and darkened at this lower end of her register.”Gramophone, Alexandra Coghian, 03.2016
“[…] Dorothee Mields a compelling Amaranthe and Proserpine.”Gramophone, Julie Anne Sadie, 09.2014
“The songs are sung by the German soprano Dorothee Mields, whose voice is more in English early-music style than English folk but whose performances are secure and intelligent, with a beguiling slight flutter.”Gramophone, Lindsay Kemp, 08.2014
“Dorothee Mields sings with stylistic sureness and radiant personality in ‚Flösst, mein Heiland, flösst dein Namen‘ […]”Gramophone, David Vickers, 01.2014
“No present-day singer understands German sacred music of the seventeenth century better than the soprano Dorothee Mields and, unsurprisingly therefore, no one sings it better.”International Record Review, Andrew O’Connor, 10.2013
“Dorothee Mields sings beautifully throughout. Hers is a voice of great purity and refinement, possessing much subtlety within a calibrated palette of colours.”Musicweb International, Jonathan Woolf, 11.2013
“It is hard to think of a better specialist German Baroque soprano than Mields at the moment; her flawless tone, awareness of instrumental interplay, delivery of poetry and shapely phrasing provide nothing but undiluted pleasure.”Gramophone, David Vickers, 06.2013
Dorothee Mields returns to the Bachfest Leipzig. She performs Bach’s St. John Passion on the 16th of... read more
Dorothee Mields performs the title role in Purcell’s Dido and Aeneas at the NOSPR Concert Hall... read more
Dorothee Mields and Stefan Temmingh, recorder, join again – this time for a concert at Schlossgut... read more
Dorothee Mields is on tour with Collegium Vocale Gent under the baton of Philippe Herreweghe. The... read more
Dorothee Mields and the Lautten Compagney Berlin perform Purcell „Love Songs“ at the Accademia... read more
Dorothee Mields performs Bach’s Weihnachtsoratorium (Part I-VI) at the St. Michaelis Church Hamburg... read more
The WDR Sinfonieorchester and WDR Rundfunkchor perform their annual Christmas concert. Alongside Ian... read more
The International Classical Music Awards have announced their nominees. Twelve artists managed by... read more
Dorothee Mields performs Monteverdi’s „Vesperae della Beatae Mariae Virginis“ at the opening concert... read more