The Belgian soprano Sophie Karthäuser continues to be called a born Mozartian, but she attained that status through training and experience, not birth. With some exceptions, Mozart and Haydn are in the chronological tail end of her repertoire, and she’s been ideally located as historical-instrument ensembles and conductors possess relocated into Classical-era repertory and beyond. Karthäconsumer was created in 1974 in Malmedy, in Walloon, Belgium. She wished to emulate her old sister, a clarinetist inside a local orchestra, and, since she was still a little child, she was presented with lessons on the simpler recorder before shifting to clarinet. Karthäconsumer also sang in an area chapel choir and steadily began to move toward vocal music, starting lessons at 16 with Belgian educators and making a committed action because of the twin stimuli of earning Belgium’s Förderpreis and a scholarship or grant to Britain’s Guildhall College of Music. At Guildhall Karthäconsumer examined with soprano Noelle Barker, whose orientation was toward modern music, and had taken some personal lessons using the renowned Elisabeth Schwarzkopf in great later years. But Karthäconsumer gravitated toward the Baroque and Classical eras. Her operatic debut emerged as Pamina in Mozart’s Die Zauberflöte on the Alte Oper in Frankfurt, and after graduating from Guildhall she discovered herself popular from such conductors as William Christie (for whom she sang the function of Susanna in Le nozze di Figaro), René Jacobs (many jobs including Polissena in Handel’s Radamisto), Emmanuelle Haïm (Charpentier’s Medée on the Théâtre des Champs Elyséha sido in Paris), and many more. A fixture of Baroque opera levels in the 2000s and 2010s, Karthäconsumer joined Jacobs for the multi-venue touring functionality of Haydn’s Die Schöpfung through the 2015-2016 period. After earning the audience award on the Wigmore Hall Tune Competition in 2003, Karthäconsumer also experienced growing success being a recitalist, executing with a number of accompanists including Eugene Asti. Karthäuser’s recitals and tune recordings tended toward afterwards eras than those of her orchestral concert performances; she released an record of Poulenc music and, in 2016, Kennst du das Property?, a series, with Asti, of music by Hugo Wolf. Her recordings of Baroque music, frequently quite adventurous, have already been honored with awards: an record of arias by André Grétry gained a Diapason découverte, and among Michel Richard de Lalande’s weighty Leçons de Ténèbres with Sébastien Daucé and his Outfit Correspondances gained the esteemed Diapason d’Or.