Arriving in Germany to continue her studies at the Folkwang Conservatorium, Essen, Suzanne McLeod's first audition in Europe resulted in the offer of a solo contract at the Theater-Muenster, where she has since been granted permanent tenure. She has had the opportunity to sing many of the greatest roles in the mezzosoprano repertoire, from Angelina in Rossini's "La Cenerentola", Bizet's "Carmen", and the Composer in Strauss's "Ariadne auf Naxos" to the more dramatic repertoire of Wagner, Verdi and Strauss, including Eboli in "Don Carlo", Ortrud in "Lohengrin", and Fidès in Meyerbeer's "Le Prophète".

Opera houses in which the Australian mezzosoprano has guested include Bonn, Bremen, Cologne, Karlsruhe, Mainz, Oldenburg, Osnabrück, Weimar, Wuppertal, the English National Opera and the Metropolitan Opera, New York.  She has participated in the productions of directors such as Dietrich Hilsdorf, Robert Carsen, Lorenzo Fioroni, Gabriele Rech, Philipp Kochheim, Fred Berndt, Heinz-Lukas Kindermann and Roland Aeschlimann. She has appeared with conductors such as Peter Schneider, Sir Jeffrey Tate, Lothar Koenigs, Rainer Mühlbach, Catherine Rückwardt, Will Humburg und Ivan Törz.

Suzanne McLeod was born in Sydney, Australia. Before being awarded the Graduate Diploma of Opera at the NSW Conservatorium of Music, she completed her Bachelor of Arts/Archaelogy at the University of Sydney.  While still a student, she was chosen to take part in performances at the Australian Opera (including Handel's "Alcina" and Mussoursky's "Boris Godunov"), as well as appearing as a soloist in radio broadcasts and televised opera.




Main roles:
Composer Work Role
Britten Peter Grimes Auntie
Hindemith Sancta Susanna Klementia
Menotti Das Medium Madame Flora
Meyerbeer Le Prophète Fidès
Poulenc Dialogues des Carmélites Mme de Croissy
Strauss Salome
Verdi Falstaff
Don Carlo
Il Trovatore
Wagner Lohengrin
Ring des Nibelungen
Meistersänger von Nürnberg
Der Fliegende Holländer
Weill Mahagonny Leocadia Begbick
Supporting roles:
Janacek Katya Kabanova Kabanicha
Mozart Le nozze di Figaro Marcellina
Ravel L’enfant et les Sortilèges Maman,Tasse chinoise, Libellule
Rossini La Cenerentola Tisbe
Smetana Die Verkaufte Braut Hata
Strauss Der Rosenkavalier Annina Valzacchi
Tchaikowsky Eugen Onegin Larina (Deutsch)
Verdi La Traviata


Composer Work Role
Beethoven 9. Sinfonie Alt
Berlioz Nuits d’été (voix graves)
Elgar The Dream of Gerontius Angel
Mahler Lieder eines Fahrenden Gesellen  
Montsalvatge Cinco Canciones Negras  
Ravel Chansons Madécasses  
Rossini Petite Messe Solonnelle  
Verdi Messa di Requiem Mezzosopran
In preperation
Mahler Das Lied von Der Erde Mezzosopran
Wagner Wesendonck Lieder  



Verdi - Aida

"Suzanne McLeod (Amneris) imposes both voice and stature onto the decisive fourth act, which she carries with spectacular presence and dramatic fire." (Westfälische Nachrichten, 19.10.07)

"Suzanne McLeod is a proud Amneris - splendid in the low tessitura, she has the ability to harness the power of her voice with great precision. " (, 19.10.07)

Poulenc - Les dialogues des carmèlites

"Suzanne McLeod fills the role (of Mme Croissy) with dignity, impressing with opulent voice, electrifying presence, and great subtlety of acting. Her change from the proud, commanding convent Prioress to a woman panic-stricken in her overpowering fear of death is absolutely convincing." (W.N. 17.1.07)

Wagner - Lohengrin

  “Suzanne McLeod knows how to insinuate the demonic self-confidence of is she who impresses most in the production, giving the evil enchantress both dramatic and vocal personality.” (Theater Pur, Opernwelt).

Meyerbeer - Le prophète

"An excellent, even truly great performance was delivered by Suzanne McLeod (Fidès), with a broad expressive palette, immense vocal beauty, and incomparable stage presence. In Act 4, the conductor, Ivan Törzs, had to interrupt the performance due to bravo accolades." (Orpheus, 1+2, 2005)

Suzanne McLeod manages the astounding feat of singing the arduous alto role of  Fidès with a velvet flow to rival that of any coloratura soprano.”(Nord-See Zeitung)

“First among the soloist stands Suzanne McLeod, whose bright-timbred mezzo demonstrates an impressive agility, lending particular eloquence to the gran’scena “O toi, qui m’abandonne.” (Opernglas).

“Of the cast, only Suzanne McLeod, as Fidès, was able to transform her enormously difficult role into a sheer tour de force of expression." (Opernwelt)



Month Performance Location
2015: August 29: Contes d'Hoffmann (P)(La Mère) R:Peters, M: Veselka Münster
September 2,5,9,29: Contes d'Hoffmann (La Mère)  



19: Die Zauberflöte (WA) (3. Dame)

26: Anything Goes (WA), (Fr. Harcourt) (R)Peters,(M) Veselka



Oktober 4, 30: Contes d'Hffmann (La Mère)  

2, 11, 25, 31(D): Die Zauberflöte (3. Dame)

17(P), 23: Hänsel u.Gretel (Gertrud),  (R)Beuermann,(M)

November 21: Contes d'Hoffmann (La Mère)  
  3, 5, 8, 14, 27: Hänsel u.Gretel (Gertrud)  
  12, 28:  Anything Goes (Fr. Harcourt)  
Dezember 1, 4, 25: Contes d'Hoffmann (La Mère)  

6, 27: Hänsel u.Gretel (Gertrud)

31 (D): Anything Goes (Fr. Harcourt)

2016: Januar 8, 24(D): Contes d'Hoffmann (La Mère)  


  26: Hänsel u. Gretel (Gertrud)  
Februar 3,7: Hänsel u.Gretel (Gertrud)  
März 12 (D): Hänsel u. Gretel(Gertrud)  
April 9 (P),17, 21: Mahagonny (Begbick) (R) Peters (M) Schmid-Kapfenburg  


7: Mahagonny (Begbick)  
  21(P) Cavalleria/Bajazzo (Mamma Lucia) (R) Kochheim (L) Ventura  

17: Mahagonny (Begbick)

  4, 10, 21, 26: Cavalleria/Bajazzo (Mamma Lucia)  
July 1 (D): Mahagonny (Begbick)  
  3, 8 (D): Cavalleria/Bajazzo (Mamma Lucia)  
Änderungen vorbehalten:




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