Chen Reiss: “The Music of Mahler Is Close to My Heart”

The Israel Philharmonic opens its season with Mahler’s Fourth, featuring the exquisite soprano from our interview singing 'Das himmlische Leben'

Israeli soprano Chen Reiss belongs to that rare category of artists for whom the art of singing begins not so much with sound as with words. In her interpretations, opera and chamber music inhabit a shared space—a space where poetry becomes music, and music acquires a voice of its own, speaking directly to the listener.

In September 2026, Chen Reiss appeared at the VIII International Tsinandali Festival in Georgia, a festival that brings together outstanding musicians from different generations and countries each year. The singer’s performance was part of a rich festival programme in which classical music was presented in an atmosphere of cultural dialogue, creating a dialogue between the musical traditions of the Caucasus and Europe.

                     Chen Reiss. Photo by Paul March Mitchell

The music of Gustav Mahler occupies a special place in Chen Reiss’s repertoire. She performs his songs with rare inner concentration, listening not only to the musical fabric of each work, but also to every word, its sound and emotional subtext. For her, Mahler is not simply a great composer, but an artist with whom she enters into a profound personal dialogue—one that touches on love, memory, life and death.

In this interview, given during the Tsinandali Festival, Chen Reiss spoke about her approach to Mahler’s music, the importance of text in vocal art, the synthesis of words and music, her current creative projects, and why genuine music, like true poetry, never loses its relevance.

Victor Alexandrov: The name Chen in Hebrew means “charm” or “grace”. Do you feel that it somehow reflects your character and personality?

Chen Reiss: I hope so. People tell me that it really does, although I probably wouldn’t say that about myself. I love graceful and refined things, dressing elegantly, and singing with charm. But ultimately, it is for others to decide whether my mother chose the right name for me or not.

                         Chen Reiss. Photo by Gustave Bonnard

VA: When did you realise that you wanted to pursue singing professionally?

Chen Reiss: I have been singing since I was very young. At first I studied piano and ballet, and at the age of fourteen I became interested in singing. Two years later, I realised quite clearly that I wanted to become a professional opera and concert singer.

VA: What attracts you most to opera, and particularly to the art of embodying a character on stage?

Chen Reiss: My mother is a professional opera singer, so I grew up with opera and classical music. I was always fascinated by operatic stories, and especially by poetry, which I love enormously. Perhaps this is somewhat unusual, because in Israel children are not exposed very much to the poetry of Goethe, Schiller or Eichendorff. But I was fascinated precisely by that magic—the moment when great poetry meets the music of great composers. And it continues to move and inspire me deeply today, even when I am dealing with music I have known for many years.

Take, for example, “Liebst du um Schönheit” (“O, love me for beauty”)—a poem by Friedrich Rückert that was set to music by Gustav Mahler, Clara Schumann and other composers. Every time I sing it and speak those lines, I feel how relevant they still are. That, perhaps, is the extraordinary power of great poetry and music: they always remain contemporary, even two hundred years later.

VA: Can New York be said to have become a true school of life for you, both personally and professionally?

Chen Reiss: Absolutely. Moving to New York was one of the most important and wisest decisions of my life, one of its major turning points. Twenty-five years ago, life in Israel was very different. Today, the world has become one small village. Thanks to the internet, even someone living in the most remote place has access to information, YouTube, masterclasses and recordings. You can listen to great singers, watch how they teach and sing, and hear them talk about and reflect on music. But we did not have those opportunities back then.

Going to a place like New York, studying with teachers who had themselves sung professionally at leading opera houses around the world, learning languages, working with accompanists and vocal coaches who had collaborated with the greatest conductors and singers of their generation—all of this became an incredible artistic education for me.

                        Chen Reiss. Photo by Paul March Mitchell

VA: What brought you to Germany? What was the turning point that prompted you to make that decision?

Chen Reiss: After completing my studies in New York, I was fortunate enough to audition for Maestro Zubin Mehta. It was my second audition with him—the first had taken place in Israel when I was just nineteen, before I had received any professional vocal training. The Maestro advised me to go to Germany, join an opera house on a full-time contract, and gain repertoire experience there. I followed his advice. I went to a series of auditions and received a contract with the Bavarian State Opera in Munich. Of course, performing on such a stage is every young singer’s dream and a wonderful opportunity to begin a career. That was why I moved to Munich. It also gave me the opportunity to improve my German and work with experienced conductors.

Munich became my second school. By that time I was already a professional singer, but you learn so much on stage—from your colleagues, from all kinds of situations, and simply from becoming part of a large opera company. You learn how to exist in a professional environment and how to respond to pressure.

Sometimes you literally have to jump into the water. For example, my first role was Gilda in Verdi’s «Rigoletto» at the Bavarian State Opera. I had rehearsed the role, but it was only on the day of the performance that I found out I would actually be singing it. That is how, little by little, you learn to jump into cold water, hoping and trying to swim.

And if it doesn’t work out, after all, no one is immune to failure. The next morning you wake up with fresh thoughts, learn from the experience, and move forward. The most important thing is not to give up.

VA: How important are the connections between language, phonetics and music in the art of singing?

Chen Reiss: Actually, they are the most important thing. Composers are inspired by poetry when they write music, so these two elements must remain inseparable.

I always begin with the word. In opera, you need to understand the character and the way that character develops, to share their emotions and their relationships with the other characters.

In chamber vocal music, this is even more important. And that is precisely what makes it so fascinating and beautiful.

I always tell young singers: do not sing a song simply because you like the melody. Sing it in such a way that it speaks directly to you, to your soul. Try to imagine yourself in that situation.

Surely everyone has experienced moments in life when they were deeply attracted to another person, when they were in love, disappointed or suffering from heartbreak. Use those emotions, your own life experience, so that the poetry acquires a personal meaning for you. Only in this way can you truly bring the words to life.

  Chen Reiss with Zubin Mehta. Photo courtesy of the singer’s personal archive

VA: When you perform Gustav Mahler’s music, do you feel a particular spiritual connection with the composer?

Chen Reiss: Absolutely. I feel a very strong spiritual connection with Mahler. We were born on the same day—July 7—and I believe in astrology. He was Jewish, and I am Jewish as well; many aspects of his worldview are very close to me, as are his attitudes towards life and death.

I believe in an afterlife—that everything does not simply end with death. Our soul continues to exist somewhere else and can still inspire other people. Each of us will leave something behind, because we have a purpose in this earthly life. That is why Mahler’s music is particularly close to my heart.

I find his life incredibly fascinating. I would recommend the composer’s biography to any young artist—indeed, to anyone, regardless of whether they are a musician or not.

Once I visited Toblach, Mahler’s little house. It was an extraordinary experience. Above all, you are struck by the surrounding landscape. You immediately understand why Mahler chose this place to withdraw from the world. If you want to compose music of that level, you need silence. You need to find your centre, your essence, and I think Toblach was the perfect place for Mahler.

The world today—especially over the past five years—feels incredibly overwhelming to me. There is too much noise, too much information, and everything happens too quickly. I feel the need for a pause, and I spend some time alone and in silence. In that sense, I completely understand Mahler.

                        Chen Reiss. Photo by Paul March Mitchell

VA: What differences do you find between the piano and orchestral versions of his songs?

Chen Reiss: This is a very interesting question, because obviously, at the piano you are freer in a certain sense. At any given moment, you can allow yourself almost anything. You can rehearse a piece in a particular way and then sing it differently in concert.

If you have a good pianist, they will always be right there with you—not simply following your voice, but also leading you. In chamber music, the level of spontaneity is incomparably higher.

When you sing with an orchestra and a conductor who responds to you, while the musicians respond to the conductor, you can also experience a great sense of freedom. Ideally, that is how it should work, but it is more difficult.

At the same time, the orchestral version opens up an extraordinary wealth of colours and possibilities. If we are talking about «Kindertotenlieder» or «Des Knaben Wunderhorn», it is very difficult for me to say which I prefer—the piano or orchestral version. They are completely different kinds of experience. You sing differently and can use different colours. Mahler was a first-class master of orchestration, and his orchestrations of the songs are incredibly inspiring. I think it is important to know both versions, because they help you understand Mahler’s intentions better.

VA: Your latest album is devoted to Mahler’s music, isn’t it?

Chen Reiss: Yes. It is a recording of a concert with the MDR Leipzig Radio Symphony Orchestra, conducted by Dennis Russell Davies.

In the first half, we performed songs from «Des Knaben Wunderhorn» and Five Songs on Poems by Rückert, while the second half consisted of the early cantata Das klagende Lied. The CD contains the songs from the first half of the concert.

I very much enjoy working with Dennis Russell Davies, and I have learned a great deal from him about phrasing and the Mahler sound. He is a true Mahler specialist and has spent his entire life with Mahler’s music. In addition, Russell Davies worked extensively with Leonard Bernstein. I always try to come to the first rehearsal thoroughly prepared, but somehow Dennis manages to add so much more to what I have prepared, and I am especially grateful to him for that. I learned many new things from him about Mahler, as well as about composers such as Korngold and Schreker.

                      Chen Reiss. Photo by Paul March Mitchell

VA: At the Tsinandali Festival, you performed Antonín Dvořák’s «Moravian Duets» with the German mezzo-soprano Okka von der Damerau. How do you perceive the Czech vocal tradition, and what particularly attracts you to its musical language and style?

Chen Reiss: I love Czech music. I have performed it in the original language. This time we decided to sing the German version, which, in my opinion, gives Dvořák’s music an additional charm. I have also sung Janáček in Czech, as well as Dvořák. I am genuinely drawn to the sound of Czech music.

Mahler and Korngold were also born in what is now the Czech Republic. But Europe was completely different at that time. The borders and cultural divisions that we know today did not exist. Composers knew each other’s music and influenced one another, so there was a natural exchange of cultures. Perhaps that cultural exchange helped give rise to so much great music.

I very much hope that I will have another opportunity to sing works by Janáček and Dvořák. I love their orchestral colours and the beauty of the language. Czech is not an easy language to sing, but the effort required to learn it is certainly worthwhile.

VA: Which operatic roles attract you most, and what exactly fascinates you about them?

Chen Reiss: I am deeply fascinated by Mozart. Although I have sung his music all my life and have performed his operas for many years, I discover something new in them every time. I laugh and cry, because I am at a different stage of life now. Mozart’s opera librettos are extraordinary, and as you grow older, the music touches you in different ways. It speaks to another part of the soul.

I love the way the composer understood women. Recently I sang the Countess in «The Marriage of Figaro»—definitely one of my favourite roles. Donna Anna is also among my favourites, and one day I would like to sing Fiordiligi.

Mozart created strong female characters in his operas who could nevertheless be vulnerable and tender. They are so warm, feminine and intelligent.

Another composer whose vocal writing I deeply appreciate is Richard Strauss. In a sense, there is a certain tradition connecting the two. Strauss really understood how to write for the soprano voice—in such a way that the music feels natural and comfortable.

Of course, his works are demanding, and you have to spend a great deal of time studying them, but the effort is worthwhile.

And I must also mention Giuseppe Verdi. For a long time I did not sing his operas, but recently I performed his Requiem. It is an extraordinary and magnificent work.

I am also very fond of Rossini. His vocal music is wonderful, especially the Stabat Mater. I have sung Dvořák’s Stabat Mater, but I have not yet had the opportunity to perform his Requiem. I hope to do so one day.

Szymanowski’s Stabat Mater is also a wonderful work. This Polish composer introduced many new harmonic colours into his music, and they sit very comfortably in the voice.

And, of course, I am very fond of Shostakovich’s music. Last year I had the opportunity to perform his vocal cycle «From Jewish Folk Poetry» with Evgeny Kissin. I enjoyed it enormously. Singing in Russian was not easy, but fortunately I live in London, where there are many wonderful Russian vocal teachers. It was a wonderful experience for me.

                     Chen Reiss. Photo by Paul March Mitchell

VA: What projects are you currently working on?

Chen Reiss: Next month my new CD, «Magdalena», will be released. It is devoted to music written for Magdalena Willmann—Beethoven’s first love.

She was born in Bonn and grew up in Vienna, returning to Bonn at the age of fifteen. Beethoven fell in love with Magdalena not only because of her character and beauty, but also because of her extraordinary soprano voice, which possessed a dramatic temperament and a wide range.

Perhaps her voice could not be called conventionally beautiful, but she knew how to use it in a way that enchanted Beethoven. He was not the only composer who wrote for her. Magdalena’s voice also inspired other composers in Bonn, including Anton Reicha, Ferdinand von Waldstein and Bernhard Romberg.

This CD is a tribute to and an expression of respect for Magdalena. It includes arias by all four of these composers.

I recorded the album with the Bonn Beethoven Orchestra, conducted by Dirk Kaftan—the very orchestra in which Beethoven himself played and with which Magdalena performed his music.

It is an extraordinary love story in itself. Beethoven proposed to Magdalena and wanted to marry her, but apparently she thought he was a little crazy and not wealthy enough—and chose someone else!

VA: I know that in Dresden you will be presenting the programme “Golden Glamour and Shadows – Jewish Motifs” with the Jewish Chamber Orchestra Munich. Could you tell us a little about this programme? What connects the works included in it?

Chen Reiss: Yes, this is part of the programme “Jewish Vienna”, which will be performed in Dresden in October.

At its centre is the CD I recorded about two years ago. It includes music by Erich Wolfgang Korngold, including his lesser-known Shakespeare songs, as well as works by Alexander von Zemlinsky, Josephine von Winter and Gustav Mahler.

The programme is devoted to the musical culture of Vienna at the turn of the nineteenth and twentieth centuries—that golden age when numerous Jewish composers and artists played a crucial role in the city’s cultural life.

VA: Do you have any particular rituals or habits that help you prepare psychologically and emotionally before going on stage?

Chen Reiss: Not particularly. I simply try to spend some time alone in silence. I drink plenty of water, go to the gym in the morning and practise yoga. Otherwise, I try to keep the day as normal and calm as possible. And if I manage to get a little sleep during the day, that helps me preserve my voice!

VA: What inspires you outside music, and how do you like to spend your free time?

Chen Reiss: I love being out in nature. I enjoy long walks and hiking, especially in the mountains. Yoga is also one of my priorities. I love reading a lot and listening to audiobooks. I love stories, especially good and engaging ones. In my spare time I watch interesting films, but more than anything in the world, I love spending time with my children.

Interview by Victor Alexandrov,
Culbyt (Israel)