“You often set limits for yourself before they exist,” says Elsa Dreisig. This is certainly not true for the French-Danish native, who is rapidly establishing herself as one of today’s most captivating lyric sopranos. Since joining the studio of the Berlin State Opera in 2015 and going on to become an ensemble member, she has made role debuts at leading houses across Europe, from Paris to Zurich, from Vienna to London. As an exclusive recording artist with the label Erato, Elsa in January 2022 released her third album, Mozart x 3, featuring arias from W.A. Mozart’s three Da Ponte operas and three opere serie. The composer occupies a central place in her career.

At Paris National Opera, she has appeared as both Pamina (Die Zauberflöte) and Zerlina (Don Giovanni). In the summer of 2020, Elsa sang the role of Fiordiligi in a new production of Così fan tutte at the Salzburg Festival that was fully staged while most institutions had to close their doors due the corona pandemic. In 2022, she returned to the Da Ponte trilogy at the Berlin State Opera under Daniel Barenboim featuring her debut as Donna Elvira after her Countess debut the year before.

Elsa’s interpretations stand out through her commitment to continually uncovering new facets in a role. That also means transcending historic constructs so that the performance comes to life in a believable way. For the soprano, no female personality – whether Manon, Juliette, Violetta or Fiordiligi – should ever be a victim. “It’s the modern blood that flows in my veins and should also flow into my singing,” she explains.

And yet the ultimate goal is to “make the score heard: with a solid technique – that goes without saying – but also a body that can recreate the character in the flesh.” She likens the psychological knowledge required to a kind of inner nourishment that feeds her musical delivery. Upon debuting in the title role of Donizetti’s Anna Bolena at the Grand Théâtre de Genève in 2021, Elsa above all focused on the queen’s emotional state, choosing to relate to her on a personal level.

In 2022, she made her first appearance as Salome in the eponymous Richard Strauss opera at the Festival d’Aix -en-Provence (where she had previously performed as Micaëla in Bizet’s Carmen). The production came together through a collaboration with the conductor Ingo Metzmacher and the director Andrea Breth, who from the outset envisioned a young, lyrical soprano for the role. The project satisfied Elsa’s non-conventional appetite: “I don’t want to force destiny but rather take what life offers me,” she says, citing the career of Maria Callas as inspiration.

More recent season highlights include multiple appearances with the Bayerische Staatsoper for Le nozze di Figaro (Contessa), Il Trittico (Lauretta/Ein Liebespaar), and a European tour performing Mahler’s 4th Symphony. She also returned to Deutsche Staatsoper Berlin in Mitridate, re di Ponto as Sifare, and to Grand Theatre de Geneve for performances of Roberto Devereux, Maria Stuarda (Elisabetta) and Anna Bolena. Elsa made her role debut as Mimi in La bohème with Trondheim Opera and had a further role debut at Salzburg Festival as Gräfin in Capriccio.

The 24/25 season began in Vienna at the Wiener Staatsoper, as Micaëla in Carmen and at the Theater an der Wien in Das paradies und die Peri (Soprano -Peri). She embarked on a European tour as the title role in Alcina with Il Pomo d’Oro, returned to the Hamburgische Staatsoper as Manon and returned to the Aix -en-Provence Festival as the title role in their new production of Louise. Elsa also made her eagerly anticipated debut at Teatro Real Madrid as Sifare in Mitridate, re di Ponto¸ returning to the role in concert at Salzburg Festival. The season also included recitals in Barcelona, Brussels, Paris, and Copenhagen, as well as performances with the Orchestre de Paris and Orchestre National du Capitole de Toulouse.

Elsa’s 2025/26 season promises a variety of exciting operatic and recital engagements. She starts the season by taking on the role of Fiordiligi in a new production of Mozart's Così fan tutte at Teatro alla Scala in Milan. Operatic highlights include performances as Pamina in Mozart's Die Zauberflöte with the Deutsche Staatsoper Berlin, the title role in Louise at Opéra de Lyon and Mimi in La Bohème at Teatro di San Carlo in Naples. In addition to her stage appearances, Elsa will be presenting a new recital programme based on Schumman’s Frauen-Liebe und Leben , with performances planned at Bulgarian Concert Hall in Sofia, Wigmore Hall in London, and the Grand Théâtre de Genève .

Elsa thrives on participating in what she identifies as exceptional events – even if they involve some risk. In 2017, she jumped in on a day’s notice to sing Haydn’s Creation with the Berlin Philharmonic under Simon Rattle. Last season, after giving concerts with two different orchestras in Copenhagen, the Berlin State Opera called on her to appear as Pamina just a few hours later. In 2023 she stepped in last minute as Manon at the Vienna State Opera as Contessa in Le nozze di Figaro at Teatro alla Scala, Milan, both being house debuts leading to re-invitations. “I hope to never rest on my laurels,” she says, “and continue to explore.”