Synonyms for blondchen or Related words with blondchen
Examples of "blondchen"
She was quickly approached by a number of theatres and subsequently sang "
", "Madame Herz" (in "Der Schauspieldirektor"), "Zerbinetta" and "Zaïde" at the Opéra National de Lyon and the Opéra Bastille, as well as "Adele" in "Die Fledermaus" in Geneva.
After World War II, she auditioned for the Central City Opera in Colorado. During her audition, the judges asked if she knew the arias of
in Mozart's "Die Entführung aus dem Serail". Marilyn answered, "Why, yes, I know the whole role." After she finished both arias, the judges asked if she knew the arias of Constanze. She answered, "Why yes, I know that whole role, too," and sang all three arias from that role. She was offered a contract to sing
that summer in Colorado with Eleanor Steber, Felix Knight, and Jerome Hines.
Barker studied with Dame Joan Hammond at the Victorian College of the Arts and began her career as a member of the opera chorus at the Victoria State Opera at the age of 19. She made her first solo appearance at that house as
in Mozart's "Die Entführung aus dem Serail" at the age of 23.
In 1988 she became a member of the Deutsche Oper Berlin where she made her debut in 1987 as Gilda in Verdi's "Rigoletto". With her bell like voice, she was successful not only in female roles such as Gilda, Susanna, Nannetta, Sophie or Pamina but also the pert
, as capricious Zerbinetta and Musetta or the androgynous Oscar.
Alarie won the "Metropolitan Opera Auditions of the Air" and made her Metropolitan Opera debut on December 8, 1945, as Oscar in "Un ballo in maschera" under Bruno Walter. She spent three seasons at the Met singing Olympia "Les contes d'Hoffmann",
"Die Entführung aus dem Serail", etc.
She attended a performance where Barbara Bonney had sung Sophie in Richard Strauss' "Der Rosenkavalier" under Carlos Kleiber. Dessay was cast in the same role with another conductor.
in "Die Entführung" and Zerbinetta in "Ariadne auf Naxos" became her best known and most often played roles.
Burrowes joined the English National Opera in 1971, and quickly began to appear on the international scene, notably at the Salzburg Festival, the Paris Opéra, and the Aix-en-Provence Festival. She made her Metropolitan Opera debut in 1979 as
Avemo has been heard in roles such as Olympia in "The Tales of Hoffmann", Oscar in "Un ballo in maschera", Ofelia in "Hamlet",
in "Die Entführung aus dem Serail " and Servilia in "La clemenza di Tito". She also portrayed Kristin in Philippe Boesmans' musical setting of Strindberg's play "Julie", and Wendla Bergmann in 's setting of Frank Wedekind's play "Spring Awakening", both premiered at La Monnaie in Brussels.
In 1952, she moved to Bucharest to study at the "Școala Specială de Muzică" school for the musically gifted. Cotrubaș made her stage debut with the Bucharest Opera as Yniold in Debussy's "Pelléas et Mélisande" in 1964. She subsequently expanded her repertory to include roles such as Oscar in "Un ballo in maschera", Gilda in "Rigoletto", and
in "The Abduction from the Seraglio" and began appearing in productions throughout Europe.
She is best known for soubrette roles such as
, Susanna, Zerlina, Despina, and Papagena in Mozart's operas. Other notables roles included the First Lady, Marzelline, Annchen, Zerline, Echo, etc. She took part in the creation of Giselher Klebe's "Alkmene" and Hans Werner Henze's "Der junge Lord". She made guest appearances at the Vienna State Opera, the Salzburg Festival, La Scala in Milan, the Paris Opera, and the Glyndebourne Festival Opera.
In 1962 Kailer made her debut at the Philadelphia Lyric Opera Company as Oscar in "Un ballo in maschera" with Richard Tucker as Riccardo and Robert Merrill as Renato. She sang the same role for her debut at the Lyric Opera of Chicago in 1963 with Régine Crespin as Amelia and Grace Bumbry as Ulrica. That same year she made her European debut at the Zurich Opera as
in Mozart's "Die Entführung aus dem Serail". She remained committed to that house for the next several seasons, portraying such roles as Gilda in "Rigoletto", Nanetta in "Falstaff", Oscar in "Un ballo in maschera", and Pamina in "The Magic Flute" among others.
Her repertoire included more than 35 principal roles, ranging from Viennese operetta to contemporary Romanian opera and included Yaroslavna in Borodin's Prince Igor, Norina in "Don Pasquale", Violetta in "La traviata", Donna Elvira in "Don Giovanni",
in "The Abduction from the Seraglio", and Susanna in "The Marriage of Figaro". She also made many recordings for Romanian National Radio and the Electrecord record company. Ianculescu retired from the stage in 1970 and from 1969 to 1977 was a professor at the Bucharest Conservatory of Dramatic Art where she trained many Romanian singers, including Elena Gaja. She died in Bucharest shortly before her 66th birthday.
Preferable contracts emanated from the New York City Opera, and she made her first appearance with that company as the Reine de Chémakhâ in "Le coq d'or" (with Michael Devlin), in 1969. She was to appear at that theatre many times through 1977, singing such roles as Conceptión in "L'heure espagnol" (with Kenneth Riegel),
in "Die Entführung aus dem Serail" (opposite Patricia Brooks, then Beverly Sills), Violetta Valéry in "La traviata", the title heroine in "La belle Hélène", and Minnie in "La fanciulla del West", among others.
She made her European debut in 1983 with the Netherlands Opera in the title role of Handel's "Rodelinda". On European opera stages she performed beside other roles as Zerbinetta in Paris, Montpellier, Nice, Monte Carlo, as Susanna and Pamina in Madrid, as Blonchen in Munich, as Adina,
, Susanna, Zerbinetta in Hamburg, as Despina in Barcelona, as Oscar in Vienna, as Rodelinde in Amsterdam, and as Fiakermilli in "Arabella" at the Glyndebourne Opera Festival which was released as DVD from a recording of the 1984 season.
After debuting at the Ludwigsburger Festspiele (1990) and Schwetzinger Festspiele (1991), Malin Hartelius, appeared for the first time at the Salzburg Festival in 1992 as Barbarina in Le Nozze di Figaro. Upon returning to the Salzburg Festival in 1996, she began her association with conductor Franz Welser-Möst in performances of Bach’s "Mass in B Minor" (BWV 232) and "St Matthew Passion" (BWV 244) with the Camerata Accademica and in 1997, she sang
from Mozart’s Die Entführung aus dem Serail, under the baton of Marc Minkowski.
In 1949, while still a student, Fenn sang in her first opera with the Hollywood Reading Club portraying
in "The Abduction from the Seraglio" and that same year appeared in productions with the Guild Opera Company of Southern California. She made her debut with the San Francisco Opera on October 10, 1952 as Musetta in Giacomo Puccini's "La Bohème" with Bidu Sayão as Mimì, Jan Peerce as Rodolfo, Frank Valentino as Marcello, and Gaetano Merola conducting. She sang several more performances with the SFO that year, portraying Elena in Boito's "Mefistofele" and Nedda in "Pagliacci".
In 1990 Hoch portrayed Ann Page in "The Merry Wives of Windsor" at the Washington National Opera. In 1991 she portrayed the Queen of the Night in "The Magic Flute" at the Glyndebourne Festival Opera. In 1992 she was a featured soloist with the American Symphony Orchestra at Carnegie Hall. Other highlights of her career include portraying Adele in "Die Fledermaus" at the Strasbourg Opera House,
in "Die Entführung aus dem Serail" at the Opéra National de Lyon, and the role of Zerbinetta in "Ariadne auf Naxos" in opera houses throughout Germany. As a chamber musician she frequently performed with the Bach Aria Group for many years.
In 1987, Dahl made her European debut at Aix-en-Provence, performing the role of
in Mozart's "Die Entführung aus dem Serail". Also in 1987, she made her American opera debut in "The Tales of Hoffman" at the San Francisco Opera, singing the role of Olympia opposite Plácido Domingo. In 1991, in the place of an indisposed singer, she sang the role of Adele in Johann Strauss Jr.'s "Die Fledermaus" at the Metropolitan Opera. She also performed as Florestine in the premiere of John Corigliano's "Ghost of Versailles" at the Metropolitan Opera in 1991, and again in 1995.
Gwendolyn Bradley's debut was as Nannetta in Verdis's opera "Falstaff" at the Lake George Opera in 1976. After a very successful concert in New York in 1979 she established herself at the Metropolitan Opera, starting in 1981 as Nightingale in "L'Enfant et les sortilèges" (Ravel) and continuing for the next nine seasons singing such roles as Fiakermilli in "Arabella",
in "Die Entführung aus dem Serail", Zerbinetta in "Ariadne auf Naxos", Olympia in "Les contes d'Hoffmann", the title role of Stravinsky's "Le Rossignol", Clara in "Porgy and Bess" and especially as Gilda in "Rigoletto". From her first appearance on March 20, 1977, to her last on January 27, 1990, Bradley sang in 108 performances at the Metropolitan Opera. She performed also in other American opera houses like the Memphis Opera, the Michigan Opera Theatre or the Central City Opera. Bradley was a frequent guest on the stage of the Los Angeles Opera as Oscar,
, Zerbinetta, Romilda, Zerlina, and in the 1997-98 season as Pamina in "Die Zauberflöte".
Since the early 1990s Barker has been a regular performer with all of the major opera companies in Australia. With the State Opera of South Australia she has sung
and Mimì. At the Victoria State Opera she has appeared as Antonia in "The Tales of Hoffmann", the First Lady in "The Magic Flute", and Mimì. She has portrayed Tatyana in "Eugene Onegin" at the Lyric Opera of Queensland and Cio-Cio San in "Madama Butterfly" with Auckland Opera. With Opera Australia she has performed Countess Almaviva in "The Marriage of Figaro", Cio-Cio San, Desdemona in "Otello", Emilia Marty in "The Makropulos Affair", Lauretta in "Gianni Schicchi", Marie/Mariette in "Die tote Stadt", the Marschallin in "Der Rosenkavalier", Marzelline in "Fidelio", Nedda in "Pagliacci", and the title roles in "Arabella", "Manon Lescaut", "Salome" and "Suor Angelica".
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