The soprano Vera-Lotte Boecker is among the most versatile singers of her generation. In 2022, the trade magazine “Opernwelt” named her Singer of the Year in its annual critics’ poll.

The new season will begin with Vera-Lotte’s role debut as Dorota in Tobias Kratzer’s new production of Schwanda (Weinberger) at the Theater an der Wien; Petr Popelka is the musical director.
Vera-Lotte returns to the Staatsoper Berlin as Daphne, conducted by Thomas Guggeis in Romeo Castellucci’s production.
At the Bregenzer Festival, she will debut in the role of Agathe in Philip Stölzl’s new production of Freischütz. She will debut with the Bergen Philharmonic Orchestra under Kirill Petrenko as the 5th Maid in Elektra.
She will perform on the concert stage at the Musikverein with Brahms’s German Requiem.
Alban Berg’s Seven Early Songs will be on the programme with the Stuttgart Philharmonic; in the spring she can be heard in the soprano role in Mendelssohn’s Paulus for the first time at the Wiener Konzerthaus.
In addition, she will be a guest at Christian Gerharer’s Lied Festival at Schloss Elmau, where she will give her first Lieder recital together with pianist Sarah Tysman.

The highlights of the 2022-23 season included her acclaimed role debuts as Daphne (Staatsoper Berlin, Castellucci/Guggeis) and at the Wiener Festwochen as Lulu (Freitas/Maxime Pascal).
At the Vienna State Opera, she celebrated great successes in the past season as Sophie (Rosenkavalier, Vienna State Opera under Philippe Jordan), Daughter (Cardillac, Vienna State Opera), and in Calixto Bieito’s staged production of Mahler’s Das klagende Lied conducted by Lorenzo Viotti.

In 2022 she received the Austrian Musical Theatre Prize in the young talents category for performance as Micaëla in Calixto Bieito’s production of Bizet’s Carmen (Vienna State Opera 2022).
As a concert singer, she performed with the Vogler Quartet at the Konzerthaus Berlin, and sang the soprano part in Beethoven’s 9th Symphony conducted by Rafael Payare in Montreal. 

 A high point in her career thus far is Bluthaus (Munich 2022): she was selected as Singer of the Year (Opernwelt) for her performance as Nadja in Georg Friedrich Haas’s opera. Claus Guth directed this extraordinary production, while Titus Engel was its musical director. 

 She was a member of the ensembles of the Komische Oper Berlin (2017–2020) and the Vienna State Opera (2020–2022), and sang important roles for her vocal category at both opera houses.
Her repertoire ranges from Mozart (Donna Anna, Pamina, Komische Oper Berlin 2018) to Halévy (La Juive, La Princesse Eudoxie, Bavarian State Opera 2016) to Verdi (La Traviata, Violetta Valéry (Komische Oper Berlin 2018); Rigoletto, Gilda (Vienna State Opera 2022); Falstaff, Nanetta (Vienna State Opera 2022)), to operetta: Die Fledermaus, Adele (Vienna State Opera 2021), Viktoria in Viktoria und ihr Husar (Komische Oper 2019), and Lydia in Weinberger’s Frühlingsstürme (Komische Oper Berlin, Opus Klassik Award 2021).
The contemporary roles in her repertoire include Agnès in Written on Skin (Bolshoi Theater 2017), Autonoe in Henze’s 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), Nadja in G. F. Haas’s Bluthaus (Bavarian State Opera 2022), and Alban Berg’s Lulu in Lulu (Wiener Festwochen 2023). 

 Vera-Lotte studied vocal performance at the Hanns Eisler Academy of Music, at the Opera Academy of the Royal Danish Theatre in Copenhagen, and at the Berlin University of the Arts with Beatrice Niehoff.