Synonyms for brangane or Related words with brangane

kundry              fricka              marschallin              blondchen              ortrud              marzelline              pamina              konstanze              zauberoper              zerbinetta              barbarina              eysoldt              rosalinde              amneris              brema              sieglinde              varnay              kammerfrau              prinzessin              rodelinda              jenufa              wellgunde              nannetta              hollay              sarastro              santuzza              spieloper              cherubino              papagena              lohengrin              militrisa              gutrune              dorabella              euryanthe              ariodante              sessak              flickenschildt              papageno              thimig              rysanek              lecouvreur              schollwer              wangel              thielo              waltraute              soubrette              parepa              operette              kurwenal              seuerling             



Examples of "brangane"
Her repertory included; Gluck's Orfeo, Azucena, Amneris, Eboli, Mrs. Quickley, Ortrud, Fricka, Brangane, Die Amme, Herodias, Clytemnestra, The old Countess, Kostelnicka, Jocasta, The Gingerbread Witch, etc. She created the title role in Carl Orff's "Antigonae" at the Salzburg Festival in 1949.
During these years, she also performed: Dorabella ("Cosi fan tutte") for Hong Kong Festival, Adalgisa ("Norma") with Ghena Dimitrova, Eboli ("Don Carlos") and Amneris ("Aida") all for the Victorian State Opera (V.S.O.). In 1990 she moved to London making her UK debut as Isolier ("Le Comte Ory") for Welsh National Opera conducted by Carlo Rizzi. Other performances include: Donna Elvira ("Don Giovanni") with Sir Charles Mackerras for the opening of the Tyl Theatre in Prague in 1991, Leonora ("La Favorita") for WNO, including a Royal Gala Performance in the presence of the Princess of Wales at the Royal Opera House Covent Garden, Zaida ("Il Turco in Italia") in Lille, Brangane ("Tristan und Isolde") for Scottish Opera with Sir Richard Armstrong, Dido ("Dido and Aenaes") for Teatro Massimo in Palermo, Donna Elvira for Lyric Opera of Queensland, Brangane and Mistress Quickly ("Falstaff") with Simone Young at the Hamburg Staatsoper, Amneris at Berlin Staatsoper, Azucena ("Il trovatore") for the Bayerische Staatsoper with Zubin Mehta. Other OA performances include: Cassandre ("Les Troyens"), Sesto ("La clemenza di Tito"), Donna Elvira, Venus ("Tannhauser") Azucena, Amneris with Simone Young, Ortrud ("Lohengrin") with Sebatian Weigle, Ulrica ("Un ballo in maschera"), Eboli ("Don Carlos") Santuzza ("Cavalleria Rusticana")with Simone Young, Dalila ("Samson et Dalila"), Komponist ("Ariadne auf Naxos"), Herodias ("Salome")with Simone Young and Phillippe Augin. She also performed Brangane and Amneris for WAO, Dalila for the Perth Arts Festival and Brangane for the Brisbane Festival. She was scheduled to sing the role of Fricka in Wagner's Ring Cycle for the Adelaide Festival in 2004 however had to withdrawn due to ill health.
Shacklock was born in Sherwood, Nottinghamshire, and trained at the Royal Academy of Music. Her career took off after she was recruited in 1946 to the new Covent Garden Opera Company. Her first Covent Garden appearance was in Purcell's masque "The Fairy-Queen". She remained with the company for a decade, beginning with small roles such as Mercedes in "Carmen" and moving up to leading parts including Carmen, Octavian ("Der Rosenkavalier"), Marina ("Boris Godunov"), Magdalene ("Die Meistersinger"), and Mrs Sedley ("Peter Grimes"). In 1948 she was cast as Brangane in "Tristan and Isolde" alongside the celebrated Norwegian soprano, Kirsten Flagstad. In 1953 she shared the title role of Britten's "Gloriana" with Joan Cross.
Early in her career, Telva sang with the St. Louis Symphony Orchestra. She moved to New York in 1918 and sang in local churches and synagogues before being hired by the Metropolitan Opera. She debuted with the company in 1920 as the Singer in Puccini's "Manon Lescaut". She went on to sing many other roles as the company's leading mezzo-soprano until 1931. Among her regular roles were Brangane in Wagner's "Tristan und Isolde" and Mary in his "The Flying Dutchman", and Lola in Mascagni's "Cavalleria Rusticana". She also appeared a few times as Princess Eboli in Verdi's "Don Carlos" (1920–21) and Azucena in his "Il trovatore" (1923–24).
In the following years the role of the Angel was more often taken by the leading English contralto Louise Kirkby Lunn, also a celebrated Wagnerian singer (Ortrud, Kundry, Brangane and Fricka), Amneris and Dalilah, and in many ways a successor to Marie Brema, though without her range for a compelling Brünnhilde. In 1903, writing to Brema of her original performance, Elgar wrote 'I have, of course, in memory your fine and intellectual creation of the part; and though I never thought the 'tessitura' suited you well, as the magnificent artist you are, you "made" it go very finely.'
She was particularly successful in Wagnerian opera parts, especially as Fricka, Brangane, Ortrud and Erda, and in 1904 gave the first English-language performance of the role of Kundry ("Parsifal") in America, at Boston. Her American 1902 debut, however, had been as Amneris in "Aïda", a role in which she formed a long and famous partnership with the Czech dramatic soprano Emmy Destinn as Aïda. (This partnership is preserved on record, not only in a 1911-recorded 'Ebben qual nuovo fremito' from Verdi's work, but also in a 1911 'L'amo come il fulgor', from Ponchielli's "La Gioconda".) Both in England and America, she was also a famous Dalila in the opera by Saint-Saëns. She sang, too, in the Covent Garden premieres of Saint-Saëns"'Helene" and Massenet's "Hérodiade", Gluck's "Armide" and Tchaikowsky's "Eugene Onegin". Gluck's "Orfeo", which she first delivered in 1905, was considered one of her best parts, and her showpiece aria, 'Che faro?', was committed to disc.
During her many years at the Met, Harshaw was also active as a guest artist with opera houses throughout North America and Europe. She was committed to the San Francisco Opera between 1944–1947, portraying such parts as Amneris, Azucena, Brangäne, Fricka, Geneviève, Herodias, La Cieca, Mistress Quickly, Ortrud, Ulrica, and the Nurse in "Boris Godunov". In 1948 she sang at the Opéra National de Paris as Amneris, Brangäne, and Dalila in "Samson et Dalila", and in the National Opera in Havana, Cuba, as Brangane, with Kirsten Flagstad. In 1950 she made her first appearance with the Philadelphia Civic Grand Opera Company as Amneris, returning there in 1952 to sing Isolde. She was engaged at the Royal Opera, London from 1953–1956 and again in 1960, where she excelled as Brünnhilde in Rudolf Kempe’s Ring Cycles. In 1954 she sang Donna Anna at the Glyndebourne Festival. In 1961 she made her debut with the Philadelphia Lyric Opera Company as Ortrud. She portrayed the title heroine in Giacomo Puccini's "Turandot" at the 1964 New York World's Fair. She also sang with opera companies in Cincinnati, New Orleans, San Antonio, Pittsburgh, Houston, Mexico, and Venezuela. She made several Latin American tours and was a soloist with many of the major American orchestras. Other roles in her repertoire included the Leonore in "Fidelio", and the title role in "Alceste".
She joined The Australian Opera's (now Opera Australia) Schools Programme as a principal artist in 1979 touring N.S.W. schools performing in "Sid the Serpent". She then joined the OA chorus for a brief period in 1980. At that time her vocal coach was the American, Ernest St John Metz (known as Jack Metz). During a coaching at the Sydney Opera House, Richard Bonynge, the then Musical Director of OA, walked into the rehearsal room. On hearing her he made her a full-time principal artist of OA – a position she held until 1990 when she decided to move to London. During the ten years she was on contract at OA she continued to study with Jack Metz in Australia and Los Angeles whilst performing all the major mezzo roles throughout Australia for the company. She became an important asset to the company's growing ensemble of singers. Her principal role debut was Cherubino ("The Marriage of Figaro") in 1981 with Yvonne Kenny. Her early roles included: Dorabella ("Cosi fan tutte"), Maffio Orsini ("Lucrezia Borgia")with Dame Joan Sutherland and Richard Bonynge in the Sydney Opera House Concert Hall in 1982, Madrigal Singer ("Manon Lescaut"), Stephano ("Romeo et Juliette"), Lady Saphir ("Patience"), 2nd Lady ("The Magic Flute"), Antigone ("Antigone"), Javotte ("Manon"), The Muse/Nicklausse ("The Tales of Hoffmann") with Dame Joan Sutherland and Richard Bonynge, Secretary ("The Consul") as well as understudying a number of important roles like Octavian and Adalgisa. In 1986 her career began to escalate after her portrayal of the title role of Angelina in Rossini's "La Cenerentola". That same year she was chosen by Dame Joan Sutherland & Richard Bonynge to appear with them in concert in Perth. She is one of only a handful singers who has had that privilege. Repeating the role of Angelina ("La Cenerentola") in 1987 the Weekend Australia declared "A Star is Born" after the opening night. From then until the end of 1990 she sang a number of leading roles for the company including; Rosina ("The Barber of Seville"), Giulietta ("The Tales of Hoffmann"), Brangane ("Tristan und Isolde"), Charlotte ("Werther").