Her stage debut as a twenty-year-old in the role of Pamina in Harry Kupfer’s production of The Magic Flute at the Komische Oper Berlin, and her much-fêted performance as Snow White in the premiere of the opera of the same name (Schneewittchen) by Heinz Holliger in Zurich ten years later are prime examples of Juliane Banse’s outstanding artistic versatility. By now her operatic repertoire ranges from the Countess in Figaro, Eva (Meistersinger von Nürnberg), Fiordiligi (Così fan tutte), Genoveva (title role), across Tatyana (Eugene Onegin), Donna Elvira (Don Giovanni), Arabella (title role), Grete (Der ferne Klang) to Vitellia (La Clemenza di Tito).
On the concert stage too, Ms Banse is sought after in a wide variety of roles: Humperdinck’s Königskinder with Ingo Metzmacher in Berlin, Haydn’s L’infedelta delusa with Concentus musicus under Nikolaus Harnoncourt in Vienna, Bruckner’s Mass in F minor with the Berlin Philharmonic under Herbert Blomstedt, Mendelssohn’s Elijah alongside Bryn Terfel at the Verbier Festival, Mozart’s C minor Mass with the Cleveland Orchestra under Franz Welser-Möst in Vienna, and Mahler’s Fourth Symphony under Ivan Fischer with the Munich Philharmonic. She has worked with numerous other conductors of note, including André Previn, Lorin Maazel, Riccardo Chailly, Bernard Haitink and Mariss Jansons.
Beside her numerous appearances on opera and concert stage she has also a wide repertoire in the field of chamber music projects and lieder recitals.
Ms Banse was born in southern Germany and grew up in Zurich. She started playing the violin when she was five, took ballet lessons, and started singing when she was fifteen. She took lessons first with Paul Steiner, and later with Ruth Rohner at the Zurich Opera House, completing her studies under Brigitte Fassbaender and Daphne Evangelatos in Munich.
Many of her CD recordings have won awards, for example the new recording of György Kurtágs Kafka-Fragmente for soprano and violin (violinist András Keller).