Synonyms for marzelline or Related words with marzelline

ortrud              jaquino              sparafucile              kundry              zerbinetta              santuzza              nannetta              fidelio              pollione              frasquita              pamina              marschallin              barbarina              ariodante              mefistofele              papagena              florestan              cherubino              escamillo              telramund              zerlina              amneris              nedda              masetto              konstanze              gutrune              scarpia              sarastro              abigaille              kurwenal              cavaradossi              jenufa              zerline              fricka              tisbe              storchio              blondchen              idomeneo              rodelinda              norina              arlesiana              musetta              torvaldo              iphigenie              amonasro              idamante              bertarido              amfortas              wellgunde              osmin             

Examples of "marzelline"
The warden of the prison, Rocco, has a daughter, Marzelline, and an assistant, Jaquino, who is in love with Marzelline. The faithful wife of Florestan, Leonore, suspects that her husband is still alive; she gains employment working for Rocco, disguised as a boy, under the alias "Fidelio". As the boy Fidelio, she has earned the favor of her employer, Rocco, and also the affections of his daughter Marzelline, much to Jaquino's chagrin.
Jaquino and Marzelline are alone in Rocco's house. Jaquino asks Marzelline when she will agree to marry him, but she says that she will never marry him now that she has fallen in love with Fidelio, unaware that Fidelio is actually Leonore in disguise ("Jetzt, Schätzchen, jetzt sind wir allein"—"Now, darling, now we are alone"). Jaquino leaves, and Marzelline expresses her desire to become Fidelio's wife ("O wär ich schon mit dir vereint"—"If only I were already united with thee"). Rocco enters, looking for Fidelio, who then enters carrying a heavy load of newly-repaired chains. Rocco compliments Fidelio, and misinterprets her modest reply as hidden attraction to his daughter. Marzelline, Fidelio, Rocco, and Jaquino sing a quartet about the love Marzelline has for Fidelio ("Mir ist so wunderbar"—"A wondrous feeling fills me", also known as the Canon Quartet).
Jaquino once again begs Marzelline to marry him, but she continues to refuse. Fidelio, hoping to discover Florestan, asks Rocco to let the poor prisoners roam in the garden and enjoy the beautiful weather. Marzelline similarly begs him, and Rocco agrees to distract Pizarro while the prisoners are set free. The prisoners, ecstatic at their temporary freedom, sing joyfully ("O welche Lust"—"O what a joy"), but remembering that they might be caught by the prison's governor Pizarro, are soon quiet.
In 1967, she sang the role of Marzelline in a film version of Beethoven's "Fidelio" from the Savonlinna Opera Festival, and in 1978 she sang Tatjana in a film version of Tchaikovsky's "Eugene Onegin".
Her wide repertory also embraced Marzelline, Agathe, Amina, Lucia, Luisa, Gilda, Violetta, Mimi, Liù, Marguerite, Micaela, Antonia, etc., in all of which one can appreciate the pearly sheen of her voice and the brilliance of her coloratura technique.
Esham has sung many roles in opera houses in the United States and Europe. She debuted at the Metropolitan Opera as Marzelline in "Fidelio"; she returned there for the roles of Nedda in "Pagliacci" and of Mélisande in "Pelléas et Mélisande". Additional roles are: Mimì with the Lyric Opera of Chicago, Pamina in Washington, D.C., Micaëla and Juliette in Cincinnati, the heroines in "Les contes d'Hoffmann", "Manon", and Gilda in Pittsburgh, Manon, Cendrillon, Marguerite, Leila, Baby Doe, Ännchen, Gilda, and Floyd's Susannah at New York City Opera. As Micaëla, she sang opposite Plácido Domingo and Julia Migenes in the 1984 film "Carmen". She also sang Cherubino and Marzelline at La Scala. She sang Micaëla at the Vienna State Opera and the Opera de Caracas; Marzelline and Cendrillon at Paris' Théâtre du Châtelet, Musetta at Cologne Opera, Germany, and Mélisande in Geneva. She appeared as Susanna and Cherubino in "The Marriage of Figaro" at Glyndebourne.
Rocco tells Fidelio that as soon as the governor has left for Seville, Marzelline and Fidelio can be married. He tells them, however, that unless they have money, they will not be happy. ("Hat man nicht auch Gold beineben"—"If you don't have money on you"). Fidelio demands to know why Rocco will not allow for help in the dungeons, especially as he always seems to return short of breath. Rocco says that there is a dungeon down there where he can never take Fidelio, which houses a man who has been wasting away for two years. Marzelline begs her father to keep Leonore away from such a terrible sight. Rocco and Leonore sing of courage ("Gut, Söhnchen, gut"—"All right, sonny, all right"), and Marzelline joins in their acclamations.
A light lyric soprano, McLaughlin is noted for her performances as Susanna and Marcellina ("Le nozze di Figaro"), Zerlina ("Don Giovanni"), Despina ("Cosi fan tutte"), Norina ("Don Pasquale"), Marzelline ("Fidelio"), Nannetta ("Falstaff"), Micaëla ("Carmen") and Tytania ("A Midsummer Night's Dream").
She was then engaged at the Zurich Opera by Nikolaus Harnoncourt, where she has performed in roles such as Pamina, First Lady, Drusilla, Celia, Anna Geppone, First Flower Girl, The Duchess of Parma, Solveig, Marzelline, Micaëla, Vitellia, Rosalinde, Elisabeth und Gutrune. Recently, she sang in the Palau de les Arts in Valencia as Marzelline ("Fidelio") conducted by Zubin Mehta and performed brilliantly as the main part in the premiere of Anno Schreier’s "Die Stadt der Blinden" as well as Regina in Hindemith’s "Mathis der Maler" in Zurich. In Summer 2012, she sang in "The Magic Flute" at the Salzburg Festival and currently performed as Freia in "Rheingold" in Leipzig.
Excelling in coloratura and soubrette roles, she can be heard on recordings, in "Un ballo in maschera", opposite Birgit Nilsson, Giulietta Simionato, Carlo Bergonzi, and Cornell MacNeil, under Sir Georg Solti (1960–61), and as Lisa in "La sonnambula", with Dame Joan Sutherland (1962). In 1964, Stahlman recorded excerpts from "Fidelio" (as Marzelline), opposite Anja Silja.
By 1916 Ivogün was reckoned among the best female singers in Europe and had roles in operas such as "Fidelio" (Marzelline), "Così fan tutte", "Le nozze di Figaro" and many others. Moreover she became well known as Zerbinetta in Richard Strauss’ "Ariadne auf Naxos".
She sang at the Salzburg Festival every year from 1946 to 1964 (except 1955, 1961 and 1962) in operas (Susanna in "The Marriage of Figaro", Fiordiligi in "Così fan tutte", Zerlina in "Don Giovanni", Pamina in "The Magic Flute", Marzelline in "Fidelio", and the Composer in "Ariadne auf Naxos"), concerts and recitals.
Jeannette Sinclair made her debut in 1954 with Sadler's Wells as Cherubino in "Le nozze di Figaro". Her Glyndebourne debut followed in 1955 as Barbarina in the Gui/Ebert production of "Le nozze di Figaro". As a Principal soprano at Covent Garden 1954-66, her roles included: Micaela (cond. Gibson); Susanna (cond. Solti); Zerlina (Kempe); Marzelline ("Fidelio" cond. Klemperer, Leitner); Annchen ("Der Freischütz" cond. Kempe); Helena ("Midsummer Night's Dream", Britten); Bella ("Midsummer Marriage", Tippett); Sister Constance ("Dialogue of the Carmelites", Poulenc, cond. Kubelik).
Leigh made her Covent Garden debut as Countess Ceprano in Verdi's "Rigoletto". She first achieved critical notice as Barbarina in "The Marriage of Figaro", soon adding Susanna and Cherubino to her repertoire. She went on to sing Pamina in "The Magic Flute" and the title role in Massenet's "Manon", which she learnt in a week. She sang Sophie in Strauss's "Der Rosenkavalier", under Erich Kleiber, and the Marzelline in Beethoven's Fidelio under Rudolf Kempe.
From 1922-1924 Fleischer was a principal artist with the German Opera Company, a touring opera company which performed throughout North America. Roles she performed with that company included Adele in "Die Fledermaus", Hansel in "Hansel and Gretel", Marzelline in "Fidelio", and Susanna. In 1925 she performed concerts on tour in Italy. She also worked for another touring opera company in America, the William Wade Hinshaw Company, in 1925-1926 with whom she mainly performed Mozart roles in English.
She is best known for soubrette roles such as Blondchen, 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.
After meeting with Pizarro, Rocco reenters and tells Fidelio that Pizarro will allow the marriage, and Fidelio will also be permitted to join Rocco on his rounds in the dungeon ("Nun sprecht, wie ging's?"—"Speak, how did it go?"). Rocco and Fidelio prepare to go to Florestan's cell, with the knowledge that he must be killed and buried within the hour. Fidelio is shaken; Rocco tries to discourage Fidelio from coming, but Fidelio insists. As they prepare to leave, Jaquino and Marzelline rush in and tell Rocco to run, as Pizarro has learned that the prisoners were allowed to roam, and is furious ("Ach, Vater, Vater, eilt!"—"O, father, father, hurry!").
In 1966 Toscano made her debut at the Houston Grand Opera as the First Lady to Beverly Sills' Queen of the Night in "The Magic Flute". In 1967 she portrayed Ida in the United States premiere of Henze's "Der junge Lord" at the San Diego Opera. In 1972 she returned to Carnegie Hall to portray Jemmy in the Opera Orchestra of New York's concert performance of Gioachino Rossini's "William Tell" with Nicolai Gedda in the title role. In 1980 she portrayed Adina in "The Elixir of Love" at the Orrie de Nooyer Auditorium in Hackensack, New Jersey. In 1981 she portrayed Marzelline in Beethoven's "Fidelio" with the Maine Opera Association.
Watts was born in Norwich, and studied archaeology at Sheffield University and graduated with first class honours. Beginning in 2002, she studied music at the Royal College of Music with Lillian Watson. She graduated in 2005 with distinction and the Queen Elizabeth the Queen Mother Rose Bowl, awarded annually for outstanding achievement. From 2005 to 2007, she was a member of the Young Singers’ Programme at English National Opera. In the 10/11 season she was Pamina/"Die Zauberflöte" for Welsh National Opera and Marzelline/"Fidelio" for the Royal Opera House, Covent Garden.
This is a partial discography of Fidelio, a Singspiel in two acts by Ludwig van Beethoven. Beethoven had originally written a three-act version of the opera called "Leonore", first performed in 1805 and then re-staged with revisions in 1806. Despite the name change, the heroine is the title character in both cases. Leonore disguises herself as a boy, Fidelio, in order to find out what has happened to her husband, Florestan, who is being illegally held by Pizarro, a prison governor. The other major characters are the gaoler Rocco and his daughter Marzelline.