Dorothee Mields

German classical and choral performer Dorothee Mields has gained recognition for her distinctive and alluring performances. She is from Gelsenkirchen. The songs "Mass in B Minor, BWV 232: Aria: Qui sedes ad dextram Patris (Alto)", "Gelobet seist du, Jesu Christ, BWV 91: V. Aria "Die Armut, so Gott auf sich nimmt"", and "Ode for St. Cecilia's Day, HWV 76: Air: What passion cannot Music raise" are some of her most well-known compositions.

These tracks, as well as "Jesu, Meine Freude, BWV 227: I. Choral "Jesu, Meine Freude," "La Mi La Sol," and "Mass in B Minor, BWV 232: Kyrie eleison (Chorus)," all showcase Mields' virtuosity. She truly excels at capturing the emotion and complexity of each song, and her attention to detail is audible in every note she sings.

Overall, the performances of these great songs show Dorothee Mields' love of classical and choral music. She truly excels at bringing each piece to life, and her distinct aesthetic and reinterpretation set her apart from other artists in the field. It is understandable why followers of classical and choral music have been so devoted to her work.

The renowned German classical and choral soprano Dorothee Mields continually produces outstanding music. "Pastorale - Musik und Texte (2022)," her most recent album, is a delightful compilation of tranquilizing tunes that capture the pastoral ambiance. In dulci jubilo, Denn alles Fleisch es ist wie Gras, and Aria 'So fast ein rauschend Wasser schiesst' are only a few of the songs on the CD. Mields' extraordinary vocal range and capacity to teleport listeners to a tranquil and calm world are on full display in every song on this album.

"Gibbons: See, See, the Word Is Incarnate (2023)," Mields' most recent song, displays her breadth and talent as an artist. Orlando Gibbons' choral arrangement is well interpreted in this song, and Mields' haunting and entrancing vocals add to the song's beauty. Her 2020 single, "English Songs, HWV 228: No.4, Bacchus," is another evidence of her extraordinary talent and capacity to breathe new life into any classical composition.

The song "IV. Transporting, Joy, tormenting fears (Aria)," which was released by Mields in the same year, is the epitome of both her extraordinary vocal range and her capacity to elicit strong feelings from listeners. Mields' music is a reflection of her commitment to her profession and her love of choral and classical music. For everyone who enjoys peaceful music that can take them to another realm, her most recent albums are a must-listen.

German classical and choral performer Dorothee Mields has performed throughout her career in a variety of settings and festivals. Her appearances at TivoliVredenburg, Musis Arnhem, and Kirche St. Mangen rank among her most memorable ones.

Mields gave a series of Bach performances at TivoliVredenburg in Utrecht, Netherlands, including the well-known St. John Passion. Both the technical prowess and emotional depth of her performance received high praise. She performed a number of Handel compositions, including his well-known Messiah, at Musis Arnhem. Her voice, which was crystal clear and strong, stood out in the performance.

Additionally, Mields has performed at many festivals, including as the Bachfest Leipzig and the Boston Early Music Festival. She demonstrated her versatility as a singer by presenting a program of French Baroque music at the Boston Early Music Festival. She gave a number of Bach performances, including the Mass in B Minor, at the Bachfest Leipzig. Her performance received plaudits for its precision and clarity.

All things considered, Dorothee Mields is regarded as one of the most gifted and adaptable Classical and Choral artists of her day. She has developed a reputation as a master of her art as a result of her appearances at prestigious venues and festivals.

Throughout her career, Dorothee Mields has worked with a variety of artists, including Johannette Zomer and Jan Kobow on Bach's "Mass in B Minor, BWV 232: Aria: Qui sedes ad dextram Patris (Alto)." Bach's composition is beautifully performed by the three, with Mields' voice mixing harmoniously with Zomer and Kobow's harmonies. The end result is a hauntingly lovely work that highlights Mields' breadth of experience as a classical pianist.

Another noteworthy collaboration is for Bach's "Jesu, Meine Freude, BWV 227: I. Choral "Jesu, Meine Freude"" with Philippe Herreweghe and Collegium Vocale Gent. Mields' vocal soars above the chorus in the group's performance, which is a brilliant interpretation of Bach's piece. The choir and orchestra are expertly unified under Herreweghe's leadership, brilliantly capturing the essence of Bach's work.

Additionally, Mields and George Frideric Handel worked together on two compositions, "Ode for St. Cecilia's Day, HWV 76: Air: What passion cannot Music raise" and "Ode for St. Cecilia's Day, HWV 76: Interlude." Her rendition of "What passion cannot Music raise" stands out in particular because her voice effectively conveys the emotional range of Handel's piece. Beautiful instrumental music that displays Handel's talent as a composer makes up the interlude.

The performances of classical and choral music produced by Dorothee Mields' partnerships with other artists are among the most exquisite of all time. She is a unique artist in the world of classical music because of her talent as a vocalist and her capacity to work well with other musicians.