Ulrike Hofbauer, was born in Bavaria and studied singing at the Universities of Wurzburg and Salzburg, where she graduated as a teacher of vocal skills. Following this, she continued her studies at the Schola Cantorum Basiliensis in Basle. The teachers who influenced her most profoundly were Sabine Schutz, Evelyn Tubb and Anthony Rooley.
Ulrike now lives near Basle and has performed as a soloist with Singer Pur, Collegium Vocale Gent, L’Arpeggiata, La Chapelle Rhénane, L’Orfeo Barockorchester and Cantus Cölln amongst others and been directed by Howard Arman, Andrew Parrott, Philippe Herreweghe, Christina Pluhar, Andrea Marcon, Gustav Leonhardt, Manfred Cordes, Hans-Christoph Rademann, Rudolf Lutz and Jörg-Andreas Bötticher.
Her versatility as a singer is documented on a considerable number of CDs and DVDs.
In addition, Ulrike regularly has the opportunity to live out her love of acting on the opera stage and she performed, amongst others, in the theatres of Basle and Bern. Roles include Calisto in Cavalli’s Calisto, Galathea in Handel’s Acis and Galathea, Euridike in Monteverdi’s, Gluck’s and Telemann’s Orpheus and all the feminine roles in Purcell’s Dido and Aeneas. In 2013 she took up an invitation by Boston Early Music Festival to sing the title role in Handel’s Almira.
With her own baroque ensemble ‘savādi…’ she won the Early Music Competition in York in 2003 and also the Van Wassenaer Concours in The Hague in 2004. (www.savadi.net). She directs larger-scale projects with her newly founded ensemble &cetera (www.ensemble-etcetera.com).
In 2014 ensemble &cetera released their first CD, “Dialoghi a voce sola” in collaboration with Radio Bremen, on the Raumklang label. It has been nominated for the ‘German Record Critics’ prize. &cetera’s second CD was released by Sony in 2016 featuring motets by the Neapolitan composer Leonard Leo.
In 2014 Ulrike was appointed professor of baroque singing at the Institute for Early Music of the Mozarteum University in Salzburg. As of 2017, she regularly gives workshops at the Conservatoire and the Académie Supérieure de Musique in Strasbourg.
She enjoys exploring new and unusual repertoires from different epochs and styles. Ulrike is particularly interested in early and high baroque music, with a special focus on musical rhetoric, ornamentation and the “recitar cantando” style.