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Anne Sofie von Otter, in her own words on Hollywood Soapbox

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Anne Sofie von Otter is one of the most celebrated singers working in the realm of classical music today. She has performed live for audiences around the world, and her mezzo-soprano voice can be heard on many acclaimed recordings, including the new album PBO & Caroline Shaw, which finds von Otter offering a song cycle of Shaw's compositions alongside the Philharmonia Baroque Orchestra & Chorale (PBO).

The operatic roles over her 30-plus years of musical dominance are almost too many to summarize. Some of her recent ones include Leocadia Begbick (Aufstieg und Fall der Stadt Mahagonny) at the Royal Opera House Covent Garden, Countess Geschwitz in Christoph Marthaler's production of Lulu at Staatsoper Hamburg, Madame de Croissy (Dialogues des Carmélites) at Royal Swedish Opera, Geneviève (Pelléas et Mélisande) for Opéra National de Paris and The Old Lady (Candide) at Komische Oper Berlin in Barrie Kosky's new production, according to her official biography.

Her discography is even more voluminous, with recent titles A Simple Song, So Many Things and Douce France attracting more and more listeners to her carefully measured and ever-strong vocal talents.

During the coronavirus pandemic, which continues to rage around the world, von Otter finds herself at home in Sweden awaiting news of when she can go back on the road and connect with her fans. Concert halls and opera houses have been closed in almost every country, and the delays in production look like they will extend well into 2021. Still, von Otter is looking for the silver lining.

"It was the right time of year to be in one place, in Sweden, because I really enjoy watching spring before my very eyes for the first time in many, many years," von Otter said in a recent phone interview. "But, of course, in other ways it's been terrible. I must say that for me at this point in my career, to be at home for three months was OK, and everyone around me has been safe and healthy - my family and friends. So I have not personally been badly affected by it in that way, but for the whole culture sector, of course, it's terrible. The theaters and the concert halls and the opera houses are suffering, and all the artists without work and with no income, it's terrible, of course, really, really horrible. And we can only hope that we can find a solution very soon."