A member of the soloist ensemble at Theater Hagen for six seasons, from 2013 until 2019.

Role debuts at Theater Hagen (a selection): 
Dido in Dido and Aeneas, Micaela in Carmen, First Lady in Die Zauberflöte, Contessa in Le Nozze di Figaro, Desdemona in Otello, Sylva Varescu in Die Csárdásfürstin, Lisa in Land des Lächelns, Marguerite in Faust, Tatjana in Eugen Onegin, Cio-Cio-San in Madama Butterfly, Senta in Der fliegende Holländer, Feldmarschallin in Der Rosenkavalier, Floria Tosca in Tosca, Foreign Princess in Rusalka, Die Dame in Cardillac

Engagements at other theaters:

Staatstheater Mainz – Amelia in Simon Boccanegra by Giuseppe Verdi

Theater Chemnitz – Feldmarschallin in Der Rosenkavalier by Richard Strauss

Theater Koblenz – Feldmarschallin in Der Rosenkavalier by Richard Strauss

Stadttheater Klagenfurt – Rosaura in Casanova by Albert Lortzing

Südtiroler Operettenspiele – Sylva Varescu in Die Csárdásfürstin by Emmerich Kálmán

Györ Philharmonic Orchestra (Hungary) – Soprano soloist in the World Premiere of Szent László Himnusz by Theodor Burkali

Recitals and Concerts – Various in Germany, Austria, Italy, Argentina (Buenos Aires and Ushuaia „Festival de Ushuaia“)


Guillermo Garcia Calvo, Christoph König, Daniel Montané, Enrico Delamboye, Rodrigo Tomillo, Mihhail Gerts, David Marlow, Joseph Trafton, Florian Ludwig, Ádám Medveczky



Magdalena Fuchsberger, Beverly und Rebecca Blankenship, Annette Wolf, Johannes Erath, Jochen Biganzoli, Roman Hovenbitzer, Markus Dietze, Roland Hüve, Holger Potocki, Gregor Horres, Norbert Hilchenbach


Languages: German, Italian, English, French


Education: Master’s degree with honors in Song Literature/Opera and Opera Performance at the Salzburger Mozarteum.  Bachelor’s Degree in piano performance at the Salzburger Mozarteum.

Masterclasses: Kurt Widmer, Margreet Honig, KS Hilde Zadek, KS Christa Ludwig, Wolfgang Holzmair, Wolfram Rieger, Michael Sturm, Willy Decker

Competitions/Prizes: Winner of the Hanna Ludwig Prize, Salzburg, recipient of the Richard Wagner Scholarship from the Bayreuth Festspiele, Richard Wagner Association, Berlin, Semi-finalist in the Junge Wagner Stimmen in Karlsruhe in 2009, Semi-finalist at the Francesc Vinas Competition  in Barcelona in 2011, Semi-finalist in the Hilde Zadek Competition in Vienna in 2011.



"In Veronika Haller the theater has at its disposal an artist from its own ensemble, who can vocally and dramatically give the title role its due. With a dramatic upper range and controlled high notes she illustrates the fight of a Diva, who succumbs to the naïve hope, that she can defy the cruelness of reality through her art.”

“The team of soloists is equally convincing: Veronika Haller as Tosca, with a dramatic, radiant soprano, as clear as a bell…”

Der Rosenkavalier

„Veronika Haller had the chance to jump in as Feldmarschallin in Rosenkavalier in Chemnitz and made the most of this opportunity. The soprano’s tone is as warm as the summer sun and full of fine nuances. Her voice resonated naturally and, thanks to good technique in all registers, sounded balanced, rich and fresh. Precise vocal onset, amazing self-control and spontaneity, exemplary feeling for the orchestra, as well as the music, all characterize this young singer, deserving of tremendous attention. "

Simon Boccanegra

"Veronika Haller’s voice has grown steadily over the years. After her interpretations of such women as Marguerite in Faust, Senta or Floria Tosca in the past few seasons, Amelia is no problem for her. She succeeds in the internal, emotionally-charged passages when recognizing her father and her love duet with Gabriele was also brilliant and effortless. Her bomb-proof-controlled, jugendlich-dramatic soprano voice lends itself increasingly to larger theaters."

„Even the casting can be described as high-caliber, especially since a large number of the roles were able to be performed by ensemble members. Veronika Haller was thrilling as Maria/Amelia, with her gleaming soprano voice and dramatic vocal colors. With youthful, radiant high notes, she presented herself in her entrance aria „Come in quest’ora bruna“ in the first act, while she awaited the return of her lover, Gabriele. „

Dido and Aeneas

"... so struck by Veronika Haller, once again, in the amazing versatility of her sophisticated, secure-pitched, wonderful lyric soprano voice."

Der fliegende Holländer

“Soprano Veronika Haller in her first Wagner role as Senta intensely depicts a woman gripped by psychotic hallucinations, and yet girlishly naïve and inexperienced."

Der Rosenkavalier

"The vocal level of the new production is high, down-right astonishingly high: Veronika Haller seems to have found the role of her life with the Marschallin. The lyrical, serene tone-idioms of the role are well-suited to her voice. Her portrayal depicts a young, nevertheless branded and mature woman, with beautifully sung moments."

“Veronika Haller impresses as the Marschallin especially with gorgeously blooming high notes.“

Madama Butterfly

"Theater Hagen can be proud that they are able to fill this title role with a high-quality member of the ensemble. Soprano Veronika Haller leaves nothing more to be desired in the famous second-act aria, "Un bel di vedremo". Her voice alternates between highly dramatic and youthful litheness. The same applies to her acting.

You observe her first as a shy, naive Geisha that transforms into a confident American who can proudly rail against Prince Yamadori. But her strength crumbles when she realizes that Pinkerton has married another woman. She retains her pride through it all which leads to her purpose-filled death. Her portrayal stirred the audience so much, there was a long moment of silence at the end before a huge applause broke out.“

„Richard Furman, as Pinkerton, is simply stunning – a tall, young man who throws himself into an adventure with all sorts of issues sings with a radiant, effortless tenor voice that easily projects off the stage. And his voice blends quite magnificently with the voice of Veronika Haller. The two are a perfect romantic duo; as the end of the first act impressively testifies. Haller, as Butterfly, is not a restrained, shy girl, but a whole-hearted, loving wife. She shows this with her strong, full soprano voice. And when, at the end, she stabs herself while wearing a black Obi, it’s the final consequence of her bottomless affection for „her“ man. Thunderous applause!“


“Overall is Hagen’s “Otello” thoroughly well-staffed, right down to the small roles, and the singers blended very well with each other. Veronika Haller is a highly-talented Desdemona with a chaste timbre. Everyone was completely enraptured by her "Ave Maria".”



Sentas Ballade [sections] – Der fliegende Holländer – Richard Wagner

Vissi d’arte – Tosca – Giacomo Puccini

Träume [section] – Wesendonck Lieder – Richard Wagner









Live-recording by courtesy of Orchester Hagen.



  • L.v. Beethoven, Fidelio: Leonore
  • A. Berg, Wozzeck: Marie
  • G. Bizet, Carmen: Micaëla*
  • A.  Dvorák, Rusalka: Foreign Princess*
  • Ch. Gounoud, Faust: Marguerite*
  • P. Hindemith, Cardillac: Die Dame**
  • L. Janáček, The cunning little Vixen: Chocholka/Mrs Pàskova*
  • J.  Massenet, Don Quichotte: Garcias*
  • W.A. Mozart, Zauberflöte: 1st Lady*
  • W.A. Mozart, Le nozze di Figaro: Contessa*
  • W.A. Mozart, Don Giovanni: Donna Elvira*
  • A. Lortzing, Casanova: Rosaura*
  • G. Puccini, Tosca: Floria Tosca*
  • G. Puccini, Madama Butterfly: Cio Cio San*
  • G. Puccini, La Bohème: Mimi
  • G. Puccini, Suor Angelica: Angelica
  • H. Purcell, Dido and Aeneas: Dido*
  • B. Smetana, The bartered Bride: Marie
  • J. Talbot, Everest: Jan Arnold*
  • P.I. Tschaikowsky, Eugen Onegin: Tatjana*
  • R. Strauss, Der Rosenkavalier: The Feldmarshallin*
  • R. Strauss, Ariadne auf Naxos, Ariadne
  • G. Verdi, Otello: Desdemona*
  • G. Verdi, Falstaff: Alice Ford*
  • G. Verdi, Don Carlos: Elisabetta
  • G. Verdi, Simon Boccanegra: Amelia*
  • R. Wagner, Der fliegende Holländer: Senta*
  • R. Wagner, Meistersinger: Eva
  • R. Wagner, Tannhäuser: Elisabeth
  • R. Wagner, Lohengrin: Elsa
  • R. Wagner, Rheingold: Woglinde, Freia
  • R. Wagner, Walküre: Ortlinde, Helmwige, Sieglinde
  • R. Wagner, Götterdämmerung: 3.Norn, Gutrune
  • C.M.v. Weber, Freischütz: Agathe


  • P.  Abraham, Ball im Savoy, Madleine*
  • P. Burkhart, Feuerwerk: Tante Lisa*
  • E. Kálmán, Die Csárdásfürstin: Sylva*
  • F. Lehár, Gräfin Mariza: Mariza
  • F. Lehár, The merry Widow: Hanna Glawari
  • F.  Lehár, Land des Lächelns: Lisa*
  • P.  Lincke, Frau Luna: Marie*
  •  J. Offenbach, Pariser Leben: Die Baronin von Godremark*

* debut made
** debut in 2019/2020


  • A. Berg: Sieben frühe Lieder
  • J. Brahms: Zigeunerlieder Op. 103
  • De Falla: Siete Canciones populares Espan͂olas
  • J. Guridi: Seis Canciones Castellanas
  • G.F. Händel: Neun deutsche Arien
  • F. Korngold: Unvergänglichkeit Op. 27
  • M. Mussorgskij: Die Kinderstube
  • L. Nono: la fabbrica illuminata (Monolog) – Soprano
  • W. Rihm: 3 Hölderlin Gedichte
  • A. Schönberg: 4 Lieder Op. 2
  • R. Schumann: Frauenliebe und -leben
  • R. Schumann: Liederkreis Op. 39
  • R. Strauss: Mädchenlieder
  • R. Strauss: Lieder Op. 10
  • R. Strauss: Vier letzte Lieder
  • V. Ullmann: Fünf Liebeslieder von Ricarda Huch, Op. 18
  • Ch.M. Wagner: Remix IV (Deutsche Volkslieder) UA Sopransolo
  • R. Wagner: Wesendonck Lieder
  • T. Burkali: Szent László Himnusz (UA) – Soprano
  • J. Brahms: Ein deutsches Requiem – Soprano
  • R. Danielpour: Toward a Season of Peace – Soprano
  • G. F. Händel: Israel in Egypt – 1. Soprano
  • F. Mendelssohn Bartholdy: Elias – Soprano
  • F. Mendelssohn Bartholdy: Paulus – Soprano
  • F. Mendelssohn Bartholdy: Lauda Sion – Soprano
  • F. Mendelssohn Bartholdy: Psalm 55 Hymne ‚Hör mein Bitten‘
  • W.A. Mozart: Requiem KV 626 – Soprano
  • W.A. Mozart: Lauretanische Litanei KV 194 – Soprano
  • G.B. Pergolesi: Stabat Mater – Soprano
  • G. Verdi: Messa da Requiem – Soprano


I grew up in St. Leonhard in Passeier, in the midst of the Italian Alps of South Tirol. In our large, loving and very musical family, each of the six children – four girls and two boys – learned at least one instrument. My primary instrument at that time was the piano. Beginning at the age of eight and continuing until my piano degree studies, I took lessons at the Merano Music School, “Albert Schweitzer.” At fourteen it was my dream to become a professional pianist. Several times I was awarded prizes in the Austrian Federal Competition “Prima la Musica” in the categories for Solo Piano and Piano Chamber Music. Beyond that, I was also an enthusiastic Children’s Chorus member and later a Church Choir singer. I even had the opportunity a few times to sing the soprano solos in smaller masses with orchestra, which were joyous moments for me!

For my introduction to opera, I must thank my eldest sister, Edith Haller. She was the first in our family to choose to pursue a music degree, studying Solo Voice and Performance at the Salzburg Mozarteum. She was also the one who later encouraged me to “at least try” to audition for entrance into a degree program for Voice, since according to her I had “the voice and the makings of a singer.” My next-eldest sister, Ulrike Haller, studied Piano Pedagogy and Voice in Vienna at the Music Conservatory, while my third-eldest sister, Alexandra Haller, also completed her studies in Violin there. Consequently, the path was already well blazed, and I decided to study music as well.

After earning my high school diploma, I began at last to study Solo Voice and Performance and Piano Pedagogy at the Salzburg Mozarteum. During the first two years of study it became clear to me that my heart beat more and more for vocal endeavors. Opera began to increasingly fascinate me as I discovered the possibilities for my voice. Ultimately, I completed my piano studies successfully with a Bachelor Degree and then committed myself fully to studying singing. As part of the Erasmus Program I spent a year, full of rich learning, at the Music Conservatory “Hanns Eisler” in Berlin. In summer 2007 I was awarded the “Richard Wagner Stipend” from the Richard Wagner Society of Berlin, which afforded me the opportunity to experience Wagner operas for the first time in the legendary Bayreuth Festspielhaus. This experience was even more special, because my sister, Edith, was engaged at that time as a soloist in Bayreuth.

Returning to the Mozarteum, I later completed my Opera and Voice Performance degree with honors, earning the Hanna Ludwig prize as I graduated. My first professional engagement followed quickly in the role of Rosaura in Albert Lortzing’s rather unknown opera, “Casanova,” at Stadttheater Klagenfurt. I was overjoyed at my success and felt I was off to an auspicious start. While pursuing a position as an ensemble member, I gave recitals with Eric Chumachenco and Dorota Dobosz, sang in concerts of contemporary music in Austria and Hungary, and performed in orchestra concerts and oratorios in Italy and Argentina. An additional engagement led me back home, where in 2012 I sang the role of Sylva Varescu in “Die Csárdásfürstin” by Emmerich Kalaman at the South Tirol Operetta Festival.

In the fall of 2013 I had my first Fest contract in my hands, for a position as a soloist in the ensemble of Stadttheater Hagen! Under the attention and well-thought advice of General Music Director, Florian Ludwig, and Intendant, Norbert Hilchenbach, I began to build my repertoire of leading roles. I am exceedingly thankful for these artistic experiences, and the change to hone my theater craft along-side my wonderful colleagues! In meantime I have built a considerable repertoire, including many dream roles, beginning with Micaela and including Desdemona, Tatyana, Marguerite in Faust, and Contessa, and then taking on roles such as Marschallin, Butterfly, Senta and Tosca.

Formative influences in singing, in masterclasses and artistic inspiration include Margreet Honig, Melanie Männl, Lilian Sukis, Gudrun Volkert, Kurt Widmer, Hilde Zadek, Wolfgang Holzmair, Wolfram Rieger (Song Interpretation), Willy Decker, Eike Gramms, Nino Sandow, Franziska Severin (Scenic Interpretation) and Wolfgang Niessner (Opera Interpretation).

Since 2013 I have studied with voice teacher Ronald La Fond, with whom I have prepared myself for many new, challenging roles. As before, I still work on many roles with my sister, Edith, from whom I receive extremely useful practical advice.
I love the feeling of musical collaboration, of many parts becoming melded as one though music. I love the power of music to touch people and to reach the hearts of mankind.

These are the reasons I wanted to become, and now am, a musician.


General management

Winfried Hofinger
Ehem. Inge Tennigkeit

Friedrich-Lau-Str. 20
40474 Düsseldorf

☏ 0049 211 516006 0

Winfried Hofinger:
☏ 0049 211 516006 01
Petra Bludau:
☏ 0049 211 516006 02