Jasmin Delfs has quickly established herself as a promising new talent of Europe’s next generation. Born in Eutin, Germany, Jasmin’s vibrant young career has already seen major role debuts, as well as prominent concert work. Notable concerts this season have included Gustav Mahler’s Eighth Symphony at the Bavarian State Opera (K. Petrenko), Carl Orff’s Carmina Burana with the Munich Bach Choir at the Isar Philharmonic (J. Soller), and Arnold Schönberg’s Die Jakobsleiter at the Berlin Philharmonie (K. Petrenko). She began her season as the Queen of the Night in Die Zauberflöte, her house debut at the Staatsoper Unter den Linden in Berlin, repeating the role later at the Bavarian State Opera. Additional role and house debuts this season included Blondchen in Giorgio Strehler’s historic production of Die Entführung aus dem Serail at La Scala di Milano, Max in a new production by Nikolaus Habjan of O.Knussen’s Wo die Wilden Kerle wohnen (Where the Wild Things are) at the Theater an der Wien, Poppea (L’incoronazione di Poppea) at the Opéra de Toulon, and Najade in Ariadne auf Naxos – the first performance of this opera at Teatro la Fenice in Venice.

Jasmin Delfs took singing lessons from an early age and studied at the Lübeck University of Music with Prof. Manuela Uhl. From 2021 to 2023, she was an opera studio member of the Bayerische Staatsoper, where she performed roles such as Papagena (Die Zauberflöte), Najade (Ariadne auf Naxos), and Vespina in Haydn’s rarely performed L’infedeltà delusa. In 2022, she participated in the Salzburg Festival Young Singers Program, during which she sang the Queen of the Night in a new production by Lydia Steier under Joanna Mallwitz’s musical direction at the Haus für Mozart, as well as first flower maiden in Parsifal under Daniel Barenboim. She has been a guest artist of the Wiener Staatsoper (Queen of the Night in The Magic Flute for Children), Staatstheater Darmstadt, Isarphilharmonie Munich, Berlin Philharmonie, as well as the Laeiszhalle Hamburg.

Jasmin’s 2024/25 season begins with her debut in the title role of Nicolò Porpora’s Ifigenia in Aulide, in the work’s modern premiere, at the Bayreuth Baroque Festival in Max Emmanuel Cencic’s staging, under Christophe Rousset’s musical direction. She will then join Semperoper Dresden as a member of their ensemble, appearing in new productions of Prokofiev’s Die Liebe zu den drei Orangen, Ravel’s L’Enfant et les sortilèges, Handel’s Saul, as well as revival productions as Marzelline in Beethoven’s Fidelio, Queen of the Night, and Adele in Strauss’s Die Fledermaus.