Miah Persson

Recent: Donna Elvira Don Giovanni  at the Liceu Barcelona; Blank Out at the Lucerne Festival and New York Park Armory; Mozart Requiem with the LA Philharmonic; Mahler 2 at Teatro alla Scala

Forthcoming: Mahler 4 with Orchestre National de Lille; recitals at the Pierre Boulezsaal, Wigmore Hall and the Concertgebouw; Brahms Requiem at the Gulbenkian Foundation; Sunken Garden for Dallas Opera; Countess Capriccio for Garsington Opera

© Monika Rittershaus


Internationally-renowned Swedish soprano Miah Persson has worked all over the world as concert artist and recitalist, as well as on the operatic stage.

Throughout her distinguished career Miah has performed Fiordiligi Cosi fan tutte, Gretel Hansel und Gretel and Pamina Die Zauberflöte at the Metropolitan Opera; Susanna Le Nozze di Figaro at the Royal Opera House; title role L’Incoronazione di Poppea and Governess Turn of the Screw at Teatro alla Scala; Fiordiligi, Sophie and Susanna at the Wiener Staatsoper; Governess The Turn of the Screw, Fiordiligi, Donna Elvira and Anne Trulove The Rake’s Progress at the Glyndebourne Festival; Donna Elvira at the Theatre Champs Elysees and the Liceu Barcelona; Fiordiligi at the Bayerische Staatsoper, Hamburgische Staatsoper, New National Theatre Tokyo, Bayerische Staatsoper, in Stockholm and for a Deutsche Grammophon recording at the Festspielhaus Baden-Baden; L’Incoronazione di Poppea at Carnegie Hall; and Michel van der Aa’s Blank Out, a chamber opera for solo soprano, for Netherlands Opera with performances in Amsterdam, Rome and New York.

Miah’s solo recordings include ‘Soul & Landscape’ with Roger Vignoles (Hyperion), ‘Mozart: Un moto di gioia: Opera and Concert Arias’ (BIS) with Sebastian Weigle conducting the Swedish Chamber Orchestra, and ‘Portraits – songs by Clara and Robert Schumann’ (BIS) with pianist Joseph Breinl.


Performance Schedule

24 Feb 2019 10:30
La Monnaie (Brussels), BRUSSELS
More Info Coming Soon...
21 Mar 2019 19:30
Musikverein Vienna, VIENNA

WOLFGANG AMADEUS MOZART Piano Concerto No. 12 in A major K414
WOLFGANG AMADEUS MOZART Vado, ma dove o Dei! K 583
WOLFGANG AMADEUS MOZART Bella mia fiamma, addio!…Resta, o cara! K.528
WOLFGANG AMADEUS MOZART Piano Concerto No. 25 in C major K503
WOLFGANG AMADEUS MOZART “Ch’io mi scordi di te” K505

Fortepiano, director: Kristian Bezuidenhout
Soprano: Miah Persson
Orchestra: Freiburg Baroque Orchestra

20 Apr 2019 19:30
Glasgow Royal Concert Hall, GLASGOW
More Info Coming Soon...
25 Apr 2019 20:00
Lutfi Kirdar Convention & Exhibition Centre, ISTANBUL

JOHANNES BRAHMS Ein Deutsches Requiem

Soprano: Miah Persson
Baritone: Adam Plachetka
Conductor: Sascha Goetzel

  • More info  
    10:30 24 Feb 2019 La Monnaie (Brussels), BRUSSELS
    More Info Coming Soon...
  • More info  
    10:30 25 Feb 2019 La Monnaie (Brussels), BRUSSELS
    More Info Coming Soon...
  • More info  
    19:30 21 Mar 2019 Musikverein Vienna, VIENNA

    WOLFGANG AMADEUS MOZART Piano Concerto No. 12 in A major K414
    WOLFGANG AMADEUS MOZART Chi sa qual sia K582
    WOLFGANG AMADEUS MOZART Vado, ma dove o Dei! K 583
    WOLFGANG AMADEUS MOZART Bella mia fiamma, addio!…Resta, o cara! K.528
    WOLFGANG AMADEUS MOZART Piano Concerto No. 25 in C major K503
    WOLFGANG AMADEUS MOZART “Ch’io mi scordi di te” K505

    Fortepiano, director: Kristian Bezuidenhout
    Soprano: Miah Persson
    Orchestra: Freiburg Baroque Orchestra

  • More info  
    19:30 20 Apr 2019 Glasgow Royal Concert Hall, GLASGOW
    More Info Coming Soon...
  • More info  
    20:00 25 Apr 2019 Lutfi Kirdar Convention & Exhibition Centre, ISTANBUL

    BRUCKNER Te Deum
    JOHANNES BRAHMS Ein Deutsches Requiem

    Soprano: Miah Persson
    Baritone: Adam Plachetka
    Conductor: Sascha Goetzel


  • More info  
    Mahler Symphony No. 4 / Nicht zu schnell

    Label: PENTATONE

    Release Date: 02 Feb 18

    Miah Persson joins Gustavo Gimeno for Mahler’s 4th Symphony with the Orchestre Philharmonique du Luxembourg.

  • More info  
    Miah Persson - Sempre libera

    Label: BIS Records

    Release Date: 01 Jun 15

    Bel canto, opéra lyrique and verismo arias with the Sveriges Radios Symfoniorkester conducted by Daniel Harding.

  • More info  
    Miah Persson, Roger Vignoles - songs by Schubert, Sibelius and Grieg

    Label: Wigmore Hall Live

    Release Date: 01 Feb 11

    Miah Persson and Roger Vignoles perform a recital live at London’s Wigmore Hall.

  • More info  

    Label: BIS Records

    Release Date: 01 Jan 11

    Songs by Clara and Robert Schumann including Frauenliebe und Leben

    Soprano: Miah Persson
    Piano: Joseph Breinl

  • More info  
    Un Moto Di Gioia

    Label: BIS Records

    Release Date: 01 Jan 09

    W. A. Mozart Opera & Concert Arias

    Miah Persson
    Swedish Chamber Orchestra
    Conductor: Sebastian Weigle

  • More info  
    09 Mar 18 Van der Aa 'Sunken Garden' (Iris)
    Dallas Opera

    “The vocal highlight was the comparatively small role of Miah Persson’s Dr. Iris Marinus. While Dr. Marinus does not appear until late in the opera, Persson steals the show with her steely, impressive soprano and her elegant blonde stage presence.”
    J. Robin Coffelt, North Texas Performing Arts News, 13 March 2018


  • More info  
    19 Jun 17 MOZART 'Don Giovanni' (Donna Elvira)
    Liceu Barcelona

    “La Elvira de Miah Persson, soprano mozartiana de máxima confianza, discurrió sin altibajos, compacta de inicio a fin, aderezada con una gestualidad adecuada -profundamente afectada en su trastorno emocional, aunque no enloquecida del todo, como Anna-: fue la mejor de las mujeres”

    “Miah Persson’s Elvira, the most trustworthy Mozart soprano, sung smoothly, solid from start to finish, dressed up with an appropriate gesture – deeply affected by her emotional upheaval, though not completely crazed, like Anna- : was the best of the women”
    Javier Blánquez, El Mundo, 21 June 2017

    “Miah Persson sang Donna Elvira with customary elegance, singing with an evident musicality”
    John Marten Barnard, Bachtrack, 21 June 2017

  • More info  
    22 Mar 17 Recital Schumann and Grieg
    Carnegie Hall

    “Ms. Persson, who gave an acclaimed performance in the title role of Monteverdi’s “Coronation of Poppea” during Carnegie Hall’s recent Venice festival, was at her best on Wednesday, singing with radiant sound and refreshingly direct expressivity. She brings bloom and sweetness to her voice when called for. But she turns her sound slightly earthy or pale when the emotional situation demands it.

    Ms. Persson opened her recital with Grieg’s six Op. 48 songs, to verses by German poets. Grieg’s gifts for wistful lyricism and poignant harmonic writing were vividly conveyed by Ms. Persson and Mr. Martineau in these varied works, especially the emotionally charged “Lauf der Welt” (“The Way of the World”).

    She paired those seldom-heard songs with Robert Schumann’s beloved “Frauenliebe und Leben” (“Woman’s Love and Life”). Ms. Persson brought such disarming immediacy to her singing that this familiar work, depicting a young woman’s emotional life cycle, seemed remarkably fresh. Mr. Martineau played sensitively, with special alertness to the dissonant elements that activate Schumann’s harmonic language.

    In the second half, it was especially rewarding to hear the four songs published together as Op. 37 by Robert and Clara Schumann: two by him, two by her. The program closed with two songs written in 1852, when Robert Schumann was often unstable and ill. The stark “Gebet” (“Prayer”), with its grim chords and stern melodic line, seemed here the composer’s premonition of his coming suicide attempt.

    Ms. Persson had the perfect encore: Grieg’s dreamy “Jeg elsker deg” (“I love you”), which brought the recital back to its beginnings, and which she sang meltingly.”
    Anthony Tommasini, New York Times, 23 March 2017

  • More info  
    19 Mar 17 Recital Schumann and Grieg
    Cal Performances Berkeley

    “The Swedish soprano put in a communicative and often dazzling appearance in Berkeley’s Hertz Hall”

    “She boasts a combination of lustrous high notes and a husky, almost improbably expressive middle register, and her phrasing and diction are so pristine that everything she sings come through with uncommon clarity.”
    Joshua Kosman, San Francisco Chronicle, 21 March 2017

    “Miah Persson’s Beautiful Voice Flourishes in Recital”

    “a standout afternoon. Without a doubt the most bright-toned recital in a seven-day period that will include four recitals by top-rank singers (Mark Padmore, Persson, Nicholas Phan, and Sarah Connolly), the afternoon showcased a glowing-voiced Persson singing German lieder by Edward Grieg and the Schumanns Robert and Clara.”

    “Indeed, she did sound wonderful. With Martineau at his most engaging, Persson was ideal in such dew-kissed Schumann songs as “Mondnacht” (Moonlit night), “Schneeglöckchen” (Snowdrop), and “Er ist’s” (Spring is here). With Elisabeth Schumann, Irmgard Seefried, and Elly Ameling no longer around to entrance us, Persson, Christiane Karg, and Carolyn Sampson (who presents a not-to-be-missed San Francisco Performances recital on May 17) are probably the three sopranos currently in mid-career most suited to convey the uncomplicated, pristine loveliness of these songs.”

    “Persson’s ability to shift with ease from a mere thread of sound to full-voiced emission, all while sounding at the peak of vocal health, was masterful.”
    Jason Victor Serinus, San Francisco Classical Voice, 21 March 2017

  • More info  
    21 Feb 17 MONTEVERDI 'L'incoronazione di Poppea' (Poppea; Fortuna)
    Carnegie Hall

    “As soon as they started playing, and the first notes burst forth from the glorious soprano Miah Persson, who sang the dual roles of the goddess Fortuna and the seductress Poppea, I knew that all was right with the world–or, at least, for that moment, with these musicians, in this temple of music…
    “Concerto Italiano, led by Alessandrini from the harpsichord, gave an immaculate performance that put the singers–and Maestro Monteverdi–first, putting together an outstanding group of singers for the evening, starting with Persson, who was glamorous both musically and physically in her roles.”
    Richard Sasanow, Broadway World, 24 February 2017

    “Miah Persson was a seductive Poppea, with a luscious soprano.”
    Harry Rolnick, Concerto Net, 21 February 2017

  • More info  
    14 Sep 16 Britten 'Turn of the Screw' (Governess)
    Teatro alla Scala, Milan

    “La Scala has fielded the finest casts for Britten since the tenure of former Superintendent Stéphane Lissner. Ian Bostridge, a regular recitalist here in recent years, makes his operatic debut with music he has made his own. Yet it is Swedish soprano Miah Persson’s eloquently fraught Governess that makes this production tick. She does so without once leaving the stage.”
    James Imam, Financial Times, 18 September 2016 

    “Miah Persson’s Governess was pivotal to the success of the performance, with her bright, gleaming soprano able to find the multi-faceted emotions asked of her in this production.”
    Michael Sinclair, Opera Critic, 17 October 2016 

    “Miah Persson presents a compelling Governess, whose ringing, precise interpretation and luminous expression contain the hint of zealotry that will lead her to inhabit the dark secret revealed by Mrs Grose.”
    Katherine Syer, Bachtrack, 19 September 2016

  • More info  
    05 Jun 16 Mahler Symphony No. 2 cond. Daniel Harding London Symphony Orchestra
    Barbican Centre

    “soaring entrances demonstrated beyond doubt that she has progressed beautifully past her Susanna and Zerlina days”
    Kevin W Ng, Bachtrack, 6 June 2016

  • More info  
    20 Mar 16 Van der Aa 'Blank Out', March 2016
    Netherlands Opera, Muziekgebouw Amsterdam

    “the live performance is an astonishing tour de force for Persson, meticulous in its detail, and perfectly controlled.”
    Andrew Clements, Guardian, 22 March 2016 

    “The Woman, who is almost constantly on stage, makes or breaks this opera, and Miah Persson gave a riveting, superbly sung performance. Blind panic, rationalisation, tenderness, disassociation – she cast and recast the molten metal of her voice into the ever-changing feelings of the mother.”
    Jenny Camilleri, Backtrack, 22 March 2016 

    “The Woman, who is almost constantly on stage, makes or breaks this opera, and Miah Persson gave a riveting, superbly sung performance. Blind panic, rationalisation, tenderness, disassociation – she cast and recast the molten metal of her voice into the ever-changing feelings of the mother.”
    Jenny Camilleri, Backtrack, 22 March 2016 

  • More info  
    09 Nov 15 'Sempre Libera' CD Swedish Radio Symphony Orchestra cond. Daniel Harding

    “Swedish Soprano Miah Persson has heretofore been known as a Mozart specialist, with a few forays into Sophie in Der Rosenkavalier, Gretel and Anne Trulove. She has recently been hinting at a change to more mature and deeper characters, switching from Zerlina to Donna Elvira in Don Giovanni and adding to her repertory the Governess in Britten’s Turn of the Screw. And here, in her splendid new album of arias, Sempre Libera, there isn’t a Mozart piece to be found. She’s testing the waters of bel canto, opera lyrique, and Verdi and Puccini, and is quite successful at all.

    Persson’s bright soprano is a pleasure to hear: even in all registers, excellent coloratura, fine trills and high notes seemingly fly from her without any hint of effort. She seems quite comfortable throughout the mostly familiar arias here (Juliette’s waltz song, Marguerite’s jewel song, Musetta’s waltz, and the inevitable “O mio babbiono caro”) and brings much life and spirit to the less familiar (“Ombre legere” from Meyerbeer’s Dinorah, and “Le jour sous le soleil beni” from Messager’s version of the Butterfly story, Madame Chrysantheme).

    Three of the first four tracks on the CD deal with high-spirited, ebullient young characters, and they suit Persson’s voice and personality perfectly. Norina’s “Quel gardo il cavaliere…So anch’io la virtu magica” from Donizetti’s Don Pasquale is rendered with charm, wit and agility; she brings the same spirits and glistening soprano to the jewel song from Faust and Gounod’s Juliette’s “Ah! Je vous vivre.” Mixed in with these is Bellini’s languid, longing “Eccomi in lieta vesta…Oh! Quante volte,” where Giulietta’s intense yearning for Romeo spills out in sensual bel canto lines. Persson gives much passionate ardor especially in the phrase “Ardo…una vampa, un foco tutta mi strugge” (I burn, a flame, a fire consumes me) but still manages to keep the vocal line delicate and beautifully spun. If Ms. Persson had gone deeper into this character’s transition from girl to woman in the aria, it would have had a stronger sense of morbidezza, but this is a minor quibble.

    Smoky sensuality is not a quality I’ve previously associated with Persson’s voice, usually noted for its brightness. But two selections on this disc (both duets with mezzo-soprano Katarina Karneus) show Persson’s strong abilities in projecting these very qualities: “Viens, Mallika” from Delibes’ Lakme, and even more strongly, Offenbach’s “Belle nuit, o nuit d’amour” from Les Contes d’Hoffman. In this familiar barcarole, Persson and Karneus weave a sensual web of romance and desire with hints of a darker purpose underneath.

    Also here are the staggering coloratura pyrotechnics of “Ombre legere” from Meyerbeer’s Dinorah, which Persson tosses off with stunning agility and ease, and the Madame Chrysanthème aria, the closest thing to verismo on the disc where Persson does a fine job of darkening the voice, but one longs for a bit more vocal heft. She is more successful in her Puccini selections, such as a sexy yet witty “Quando me’n vo” and a charmingly girlish “O mio babbino caro”.

    The title track, the scena “È strano!…Ah, fors’è lui…Sempre libera” finds the soprano in excellent voice, and certainly makes a case that Persson is quite ready for at least the first act of La Traviata’sVioletta. The first section is infused with Violetta’s longing for and fear of committed love, and when she flies into “Sempre libera,” there is a great sense of ease and freedom. The only downside of this track is the bleating tenor of Andrew Staples as the offstage Alfredo. And, oddly, this is the only track on the CD that is followed by thunderous audience applause.

    Daniel Harding is a sensitive and supportive conductor, and leads the Swedish Radio Symphony Orchestra in some thrilling work in this variety of musical styles. This excellent disc should only increase the demands for Persson in the world’s opera houses, perhaps in much wider repertory.

    Henson Keys, Opera News, November 2015

  • More info  
    13 Aug 15 Mozart Le nozze de Figaro
    Budapest Festival Orchestra, Usher Hall

    “The strongest elements were Miah Persson, previously an enchanting Susanna, here a finely poised, silver-faced Countess, and Hanno Müller-Brachmann, whose Figaro radiated a nicely Tiggerish combination of the gormless and bumptious.”
    Rupert Christiansen, Telegraph, 14 August 2015

    “Performances throughout are superb. The Budapest Festival Orchestra perform a flawless rendition of Mozart’s full four-act score, and the cast are uniformly excellent. If standouts must be highlighted, then Miah Persson’s Countess Almaviva provides some spine-tingling moments of vocal splendour”
    Keith Dumble, Edinburgh Spotlight, 14 August 2015

    “Miah Persson’s Countess is glamorous”
    Kate Molleson, Guardian, 14 August 2015

  • More info  
    19 Aug 14 Cosi fan tutte LA Philharmonic cond. Dudamel
    Walt Disney Concert Hall, Los Angeles

    “Of course, the fact that the costumes were draped on six excellent singers didn’t hurt either… This was the real success of Miah Persson’s Fiordiligi and Roxana Constantinescu’s Dorabella. Both radiated sexuality and sweetness, but their singing (even more than their acting) brought out the different shades of their characters.”
    James C. Taylor, Opera magazine, September 2014

  • More info  
    14 Nov 13 Bach, Handel, Mozart New York Philharmonic Orchestra cond.Bernard Labadie
    Avery Fisher Hall

    “The concert opened with Bach’s Cantata No. 51, “Jauchzet Gott in allen Landen,” followed by Handel’s “Let the Bright Seraphim” from “Samson,” with the Philharmonic trumpeter Matthew Muckey taking the spotlight alongside Ms. Persson. In both works, his bright and vibrant sound proved a lovely foil for her clear and lithe soprano

    …Ms. Persson gave a joyful performance that showed great sensitivity to the text, allowing her voice to cave in a little on the word “schwäche” (“weak”) and keeping the melisma in the Bach aria “Höchster, mache deine Güte,” about worshipers as children, playful rather than showy.”

    Corinna da Fonseca-Wollheim, New York Times, November 2013

  • More info  
    19 Feb 13 Le Nozze di Figaro (Countess)
    Budapest Festival Orchestra

    “The soprano Miah Persson, a lovely and vulnerable Countess Almaviva, brings sumptuous sound and elegant lyricism to her affecting performance.”
    New York Times, Anthony Tommasini, 12 August 2013

  • More info  
    01 Jul 12 Schubert, Sibelius, Grieg Songs CD, Wigmore Hall Live
    Wigmore Hall, London

    “That elegant Swedish lyric soprano Miah Persson has given British audiences enormous pleasure over recent years, as this live recording at the Wigmore Hall recital demonstrates….it is in her native Scandinavian repertoire that she excels…Grieg songs bubble with character and fun, which Sibelius’s Flickan kom brings the programme to an intensely emotional climax.”
    The Daily Telegraph Review, 22 September 2012

    “Persson and Vignoles together deliver a lovely, beautifully balanced recital, recorded in February last year. In an opening Schubert set, Persson, for all the natural brightness of her voice, achieves the right aching heaviness in Lied der Mignon, and a beguiling sense of gentle repose in Du Bist die Ruh. She then turns to Grieg’s six Op. 48 songs, mixing charm, depth and romantic ardour. A final Sibelius group, written to texts in Persson’s native Swedish, consolidates all that has gone before.”
    The Sunday Times, July 2012

  • More info  
    01 Jun 12 Donizetti L'elisir d'amore (Adina)
    Festspielhaus Baden-Baden

    “Charming and confident Miah Persson is confident and quick witted, with several men at once, as the flirtatious Adina. She also stars in the film, which is currently being filmed in a Western setting. Charmingly she keeps Sergeant Belcore busy. This production includes shootouts, fights and daring escape attempts. Full of Action. But for the duets and solos, Villazón keeps a clear stage so that none of the beautiful, flowing, bel canto singing is lost, and no-one is distracted from the sparkling coloratura of Miah Persson.”
    Pforzheimer Zeitung, June 2012

  • More info  
    01 Aug 11 The Turn of the Screw, The Governess
    Glyndebourne Festival Opera

    “Miah Persson is compelling as the Governess, a powerful mix of insecurity and manic determination, reflected in her natural and passionate singing.”
    The Telegraph, August 2011

    “Miah Persson was one of the best acted and sung Governesses I’ve seen…she pointed the text fabulously and her diction was superb, and her singing was at turns febrile, determined and abandoned.”, August 2011

    “As for the Governess of Miah Persson, the first thing to say is that this is a highly intelligent, carefully considered performance. Persson is a singer who projects well in solo passages, but who listens to her fellow singers and adjusts her dynamic to blend well in ensembles. She conveyed well the touching vulnerability of the Governess, the love and sympathy she felt for her charges and the mounting horror of the situation she finds herself in (without the voice hardening under stress in the higher tessitura passages, as it sometimes does)… Persson delivered a deeply moving account of the role, and rarely have I gone into the Act One interval feeling so absolutely shattered at the conception of the piece. This was music theatre at its most thrillingly intense.”, August 2011

    “At the centre of the drama is the young, pretty, vulnerable Governess of Miah Persson. The very picture of 1950s innocence, she inhabits the role absorbingly and…sings with impeccable English and such insight that the nerve-endings of the character are laid bare.”
    Financial Times, August 2011

    “Yet the real stars of this performance were Miah Persson as The Governess, whose beautiful voice is just perfect for the intimate surroundings of Glyndebourne opera house, and the 12-year-old boy soprano Thomas Parfitt.”, August 2011

    “Persson’s Governess is flawlessly voiced, her words keenly articulated, the ambiguity of her character – determined saviour of the children in her care, or a fantasist steadily falling apart? – is maintained right to the close.”
    The Stage Reviews, August 2011

    “Miah Persson certainly plays her without neurotic hysteria, singing with a glorious purity and simplicity that seems indicative of her moral state.”
    The Telegraph, August 2011

    “Persson’s diction is flawless and her rich lyric soprano is ideally suited to the growing intensity of the character. It is the Governess who has shrill moments, not the singer.”
    The Classical Source, August 2011

    “Miah Persson, the rising soprano of the moment, is an ideal Governess, as pure in tone as in spirit.”
    The Independent, August 2011

    “To the role of the Governess, Swedish soprano Miah Persson brings the fresh, wholesome looks of a young Liv Ullmann, the vocal bloom and focus of a young Renee Fleming and unforced emotional transparency all her own.”
    Matthew Gurewitsch, Opera News, March 2013



The Rake’s Progress (Anne Trulove)
The Turn of the Screw (Governess)
Peter Grimes (Ellen Orford)

Orfeo ed Euridice (Euridice)

Alcina (title role)
Giulio Cesare (Cleopatra)
Rodelinda (title role)

Hansel und Gretel (Gretel)

L’incoronazione di Poppea (Poppea)

Cosi Fan Tutte (Fiordiligi)
Die Zauberflote (Pamina)
Don Giovanni (Donna Elvira)
Le nozze di Figaro (Countess)
Mitridate (Aspasia)

Arabella (title role)
Capriccio (Governess)
Der Rosenkavalier (Marschallin)

The Rake’s Progress (Anne Trulove)

Blank Out
Sunken Garden (Iris)


Mass in B minor

Christmas Oratorio
St John Passion
St Matthew Passion

Symphony no. 9

Frühe Lieder


Te Deum

Peer Gynt


Nelson Mass
The Seasons

Des Knabens Wunderhorn
Symphony No.2
Symphony No.4

Exsultate Jubilate


Der Hilt auf dem Felsen

Faust Szenen

Vier letzte Lieder