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Raphael Höhn

Raphael Höhn vor einer Steinmauer

Raphael Höhn

The singer gained his first stage experience as an alto soloist with the Zurich Boys’ Choir and then styrted his studies in classical singing. His broad repertoire ranges from Renaissance to contemporary music, but Raphael Höhn’s passion lies especially within the interpretation of baroque works.

About the artist

Raphael Höhn mit verträumtem Blick

Love to interpret baroque works

Career

Raphael Höhn gained his first singing experience as an alto soloist with the Zurich Boys' Choir, with whom he performed in Mozart's Magic Flute at the Zurich Opera House as well as making CD recordings. After a preparatory course with Frédéric Gindraux, he began his studies in classical singing at the Zurich University of the Arts with Scot Weir. This was followed by a Master of Arts in Early Music at the Royal Conservatory in Den Haag, where he was taught by Rita Dams, Peter Kooij, Michael Chance and Jill Feldman. He attended master classes with Andreas Scholl, Gerd Türk, Mariëtte Witteveen and Jean-Paul Fouchécourt, among others.

On Stage

As a soloist he is regularly engaged for concerts throughout Europe with, e.g. the RIAS Kammerchor, the Nederlandse Bachvereniging, the NDR Choir and the Bachstiftung St. Gallen. Within his broad repertoire ranging from Renaissance to contemporary music, he is particularly dedicated to the interpretation of Baroque works, with special emphasis on the rhetorical realisation of the textual underpinnings. He has worked with Ton Koopman, Frans Bruggen, Jos van Veldhoven, Vaclav Luks, Rudolf Lutz, Justin Doyle, Laurence Cummings and Howard Griffiths, and his career has taken him to the Lucerne Festival, the Händel Festspiele Göttingen, Appenzeller Bachtage and the Bachfest Leipzig. He also sings in the professional vocal ensembles Voces Suaves and Vox Luminis.

Avards

Raphael Höhn is, among other things, winner of the Migros Culture Percentage Study Prize (2014) and prize-winner of the International Bach Competition Leipzig (2016).

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