About Dorothee Mields
German soprano Dorothee Mields has emerged as a leading figure in the performance of both Baroque and contemporary music, praised by Forbes as "unflappable at any tempo." Mields was born in Gelsenkirchen, in the industrial Ruhr valley, in 1971. Her training was German: at the University of Bremen with Harry van der Kamp and later independently in Stuttgart, where her teacher was Julia Hamari, and she has continued to study with Richetta Manager during her active career. Mields took a position teaching at the Franz Liszt Academy in Weimar in 2001. In the early 2000s her performing and recording career began to develop rapidly.
Mields' recordings have been devoted mostly to Baroque music. She made her debut on CPO with a 2002 release of chamber cantatas by Gottfried Heinrich Stölzel, followed two years later by a second volume of those and by a recording of the rare Gellert Oden of C.P.E. Bach. After a four-year hiatus, she began recording for the German labels Deutsche Harmonia Mundi, Accent, and Carus, as well as continuing with CPO. For Accent she released O woe! O woe! My canary is dead!, a collection of secular cantatas by Telemann. She has made thematic recordings, delved into other little-known composers, ventured forward to the Classical period with Boccherini's Stabat Mater and even beyond with an album of Chopin songs, sung in Polish. (She has also recorded Purcell in English. In 2018 Mields released Lass Mein Herz, an album of cantatas by Christoph Graupner, on Accent.
Mields has often appeared in innovative chamber music projects such as Lord Nelson at the River Nile (including music by various composers dealing with that military figure) and White as Lilies Was Her Face, setting texts by Heinrich Heine to music by John Dowland. She has performed contemporary music by Gérard Grisey, Pierre Boulez, and others. Since 2016 she has been a voice teacher at the Royal Conservatory of Music in The Hague. ~ James Manheim