At the latest since her successes at the Vienna State Opera and Bavarian State Opera, soprano Vera-Lotte Boecker has become one of most exciting emerging singer-performers of our time. Her varied repertoire ranges from operetta to grand opera to contemporary music.

In 2022, the trade magazine "Opernwelt" named her "Singer of the Year" in its annual critics' poll.

She was a member of the Vienna State Opera ensemble from 2020 to 2022, and in the coming season will remain closely associated with the opera house.

The current season begins for Vera-Lotte with a Vienna premiere of Gustav Mahler’s “Das klagende Lied” in a scenic performance by Calixto Bieito, conducted by Lorenzo Viotti. A role debut follows in a revival of Paul Hindemith’s rarely performed opera “Cardillac”, where she will play the Daughter of the goldsmith alongside Tomasz Konieczny. In December Vera-Lotte is particularly looking forward to her Vienna debut as Sophie in Richard Strauss’s “Rosenkavalier” under the musical direction of Philippe Jordan. At the turn of the year, she can be experienced again as Adele in Otto Schenk’s timeless production of “Fledermaus”, conducted by Simone Young.

An important debut of a role at a Berlin opera house awaits her in February: once again in a Richard Strauss opera, Vera-Lotte will debut as Daphne at the Staatsoper Berlin, conducted by Thomas Guggeis and directed by Romeo Castellucci. That is followed immediately by another dream role: during the Vienna Festival, Vera-Lotte will for the first time sing Lulu in Alban Berg’s opera of the same name. Musical direction is in the hands of Maxime Pascal; Marlene Monteiras Freitag will direct the opera in the 2-act version.

In the past season, Vera-Lotte enjoyed great successes in two different premieres, both of which were highly acclaimed by the press and the audience for their topical, thematic relevance and their brilliant staged and musical realisation: at the Bavarian State Opera Vera-Lotte played Nadja in G.F. Haas’s opera “Bluthaus” (directed by Claus Guth, conducted by Titus Engel), and at the Vienna State Opera she could be experienced in Henze’s “Das verratene Meer” as Fusako Kuroda (Wieler/Morabito/Young). The latter production was also released as a DVD in 2022.

Auf dem Konzertpodium war Vera-Lotte in vielen wichtigen Sälen zu erleben, so etwa im Wiener Konzerthaus, der Kölner Philharmonie, dem Dresdner Kulturpalast, der Stuttgarter Liederhalle und dem Wiener Musikverein. In der kommenden Spielzeit wird sie unter der Moderation von Christian Jost und gemeinsam mit dem Vogler Quartett Ariberts Reimanns „Mignon“ für Sopran und Streichquartett im Konzerthaus Berlin zum Erklingen bringen. In Manchester wird sie mit der Lulu-Suite von Alban Berg zu hören sein.

Vera-Lotte’s wide-ranging repertoire includes Mozart (Donna Anna, Pamina, Komische Oper 2017), Halévy (La Princesse Eudoxie, Bavarian State Opera 2016), Verdi (Violetta Valéry (Komische Oper Berlin 2018), Gilda (Vienna State Opera 2022), Nanetta (Vienna State Opera 2022)), operetta (including Adele (Vienna State Opera 2021), “Viktoria und ihr Husar” (Komische Oper 2019)), as well as less well-known pieces such as “Frühlingsstürme” (Jaromir Weinberger, Komische Oper, Opus Klassik Award 2021). The contemporary roles in her repertoire include Agnès in “Written on Skin” (Bolshoi Theater 2017), Autonoe in “The Bassarids” (Salzburg Festival 2018), Natalie in “Prinz von Homburg” (Staatsoper Stuttgart 2018), Iris in Lucia Ronchetti’s “Esame di mezzanotte” (premiere of the year), and Nadja in G. F. Haas’s “Bluthaus” (Bavarian State Opera 2022).

Vera-Lotte studied singing with Beatrice Niehoff at the University of arts in Berlin. Furthermore she works together with Jack LiVigni and Tanja Ariane Baumgartner.