Synonyms for wellgunde or Related words with wellgunde
Examples of "wellgunde"
Therese (Thoma) Vogl (12 November 1845 – 29 September 1921) was a German operatic soprano, the first
in Wagner's "Das Rheingold", and the first Sieglinde in his "Die Walküre".
The Rhine maidens
, Woglinde, and Floßhilde (Flosshilde) belong to a group of characters living in a part of nature free from human influence. Erda and the Norns are also considered a part of this 'hidden' world.
She made her American debut in November 1968, when she appeared at the Metropolitan Opera in the role of
in "Das Rheingold". She went on to sing various roles there over nine seasons, including the parts of Donna Anna ("Don Giovanni") and the Queen of the Night ("The Magic Flute"), as well as Liù in Puccini's "Turandot".
Although the roles of the Rhinemaidens are relatively small, they have been sung by notable singers better known for performing major roles in Wagnerian and other repertoire. The first person to sing the part of Woglinde in full was Lilli Lehmann at Bayreuth in 1876. In 1951, when the Bayreuth Festival re-opened after the Second World War, the same part was taken by Elisabeth Schwarzkopf. Other Bayreuth Rhinemaidens include Helga Dernesch who sang
there between 1965 and 1967. Lotte Lehmann played
at the Hamburg State Opera between 1912 and 1914 and the Vienna State Opera in 1916. Recorded Rhinemaidens have included Sena Jurinac for Furtwängler and RAI, Lucia Popp and Gwyneth Jones for Georg Solti, and Helen Donath and Edda Moser for Karajan.
As part of the Metropolitan Opera's Lindemann program, she made her debut as Javotte in Massenet's "Manon", and also played Tebaldo in Verdi's "Don Carlos" and Siebel in Gounod's "Faust". As a company member, starting in 2007, she has played Cherubino in Mozart's "Nozze di Figaro", Stéphano in Gounod's "Roméo et Juliette", the Madrigal Singer in Puccini's "Manon Lescaut", Second Lady in Mozart's "The Magic Flute" (English version), Kitchen Boy in Dvořák's "Rusalka", and
in Wagner's "Das Rheingold" and "Götterdämmerung".
After graduating from the Jette Parker Young Artists Programme in 2011, she appeared in Scottish Opera's 2011-12 season as Hänsel in "Hansel and Gretel". She also returned to the Royal Opera House as Meg Page in "Falstaff", and
in Keith Warner's productions of "Das Rheingold" and "Götterdämmerung". She has since also appeared as Blanche in Prokofiev's "The Gambler" for Dutch National Opera and Sonyetka in Shostakovich's "Lady Macbeth of the Mtsensk District" for Vlaamse Opera.
In 1977 Schnaut made her debut at the Bayreuth Festival, singing Waltraute and the Second Norne in the "Jahrhundertring" staged by Patrice Chéreau. She appears in these roles in the film "Der Ring des Nibelungen". She performed at the festival in 1980
in "Götterdämmerung", in 1985 Venus in "Tannhäuser" and the Third Norne, in 1986 Sieglinde in "Die Walküre", in 1987 Ortrud in "Lohengrin", and in 2000 Brünnhilde in "Der Ring des Nibelungen".
Stephanie Woodling (born in Allentown, Pennsylvania), is a lyric mezzo-soprano, currently engaged by Deutsche Oper am Rhein, where she has performed the roles of Dorabella, Hänsel, Giulietta, Siébel, Annio (La Clemenza di Tito),
(Das Rheingold), Kristina (Věc Makropulos),Die zweite Dame (Die Zauberflöte), Tessa (The Gondoliers), and Antonia (Tiefland). She debuted with the company in 2004 as Die zweite Magd in their new production of "Elektra".
Schmidt performed at the Bayreuth Festival from 1975, as
in "Das Rheingold" and "Götterdämmerung", later also as Grimgerde in "Die Walküre" and in smaller parts in "Parsifal". She appeared at the Salzburg Festival from 1974 to 1995, in parts such as the "Zweite Dame" in Mozart's "Die Zauberflöte", the composer in "Ariadne auf Naxos" by Richard Strauss (1979–82), Clairon in his "Capriccio" (1985–87), Cherubino in Mozart's "Le nozze di Figaro" (1980), Idamante in his "Idomeneo" (1983–84), Meg Page in Verdi's "Falstaff" (1991) and Marcellina in "Le nozze di Figaro" (1995).
Hellmann studied voice in her city of birth, Berlin, with Erika Garski. She made her operatic debut in 1958 at the Bayreuth Festival in the parts of
in Wagner's "Der Ring des Nibelungen", 4. Edelknabe in "Lohengrin" and 1. Knappe in "Parsifal". She sang there annually until 1961, including the part of Waltraute in "Götterdämmerung" in 1960. She was a member of the State Theatre of Münster from 1958 to 1960, the Stuttgart Opera, from 1966 the opera house of Nürnberg, and she returned to Stuttgart in 1975, singing there until 1983.
After a concert tour of New Zealand, Raisbeck sailed for London with her husband James Laurie, whom she had married in 1943. A letter of recommendation from Eugene Goossens, newly appointed Director of the Conservatory, obtained her an audition at the recently formed Covent Garden Opera Company (now the Royal Opera) and she made her début as Maddalena in Verdi's "Rigoletto", later singing such roles as Flora in "La traviata", Second Lady in Mozart's "The Magic Flute", Mercedes in Bizet's "Carmen",
in Wagner's "Das Rheingold" and Rossweisse in "Die Walküre".
Boozer made her debut at the Metropolitan Opera on Christmas Day in 1979 as Hansel to Gail Robinson's Gretel in Engelbert Humperdinck's "Hansel and Gretel". She continued to perform at the Met for the next 11 years, portraying such roles as the Composer in Strauss' "Ariadne auf Naxos", Cornelia in Handel's "Giulio Cesare", both the Muse and Nicklausse in Offenbach's "The Tales of Hoffmann", Meg Page in Verdi's "Falstaff", Octavian in "Der Rosenkavalier", Olga in Tchaikovsky's "Eugene Onegin", the Page in "Salome", Suzuki in Puccini's "Madama Butterfly", and
in Wagner's "Das Rheingold". Her last performance at the Met was as Prince Orlofsky in "Die Fledermaus" on January 13, 1990.
After graduation, Kasarova joined the ensemble at Zurich Opera in 1989 and made her professional stage debut in Wagner’s Götterdämmerung as the 2nd Norn and
. She soon became a local favorite there with the audience appreciative of her unique vocal timbres, expressive intensity, and virtuoso ability. She also entered and won that year's ""Neue Stimmen" (New Voices)" competition at Gütersloh (2nd and 3rd behind her were Rene Pape and Bernard Lombardo). The competition was sponsored by Bertelsmann, which ownes BMG Classics label, leading to her exclusive recording contract.
Gramatzki performed regularly at the Bayreuth Festival from 1972 to 1980, singing parts in the music dramas by Richard Wagner. In his "Der Ring des Nibelungen", she appeared as two of the Rhinemaidens: as Floßhilde from 1972 to 1974, and as
from 1976 to 1980 in the production "Jahrhundertring" staged by Patrice Chéreau and conducted by Pierre Boulez, also as the valkyrie Grimgerde in all almost all these seasons. She performed the part of Magdalene in "Die Meistersinger von Nürnberg" in 1976, and appeared in "Parsifal" as a Flowermaiden and as the First Esquire.
Muse/Nicklausse in Jacques Offenbach's "The Tales of Hoffmann". In 2009 she made her debut at the Chicago Opera Theater as Kate Julian in Benjamin Britten's "Owen Wingrave", and made her debut at the Met as one of the Bridesmaids in Mozart's "The Marriage of Figaro". She has since returned to the Met as the Sandman in Engelbert Humperdinck's "Hänsel und Gretel",
in "Das Rheingold" and "Götterdämmerung", Kate Pinkerton in "Madama Butterfly", and Ludmila in "The Bartered Bride" in three performances presented by The Metropolitan Opera's Lindemann Young Artist Development Program in partnership with the Ellen and James S. Marcus Institute for Vocal Arts at the Juilliard School.
Vogl studied at the Munich Conservatoire and made her operatic debut at the Karlsruhe Hoftheater in 1865. Her operatic debut at Munich came the following year, in the role of Casilda in a performance of Daniel Auber's "La part du diable". She played the role of Sieglinde in Richard Wagner's "Die Walküre" at the Munich Court Opera on 26 June 1870, with husband Heinrich playing the role of Siegmund opposite her. She also undertook the role of
in Wagner's "Das Rheingold" at Munich on 22 September 1869 — a performance in which her husband played the role of Loge.
Jones was raised in Tonypandy the daughter of John Jones, a fruiterer. Jones studied at the Royal College of Music, where she won the operatic class prize in 1910 and the Henry Leslie prize for singers in 1912. In the college's 1911 production of Cherubini's opera "The Water Carrier", Jones starred alongside George Baker under the direction of Richard Temple and Sir Charles Stanford. She sang at the Proms in 1913 under Sir Henry Wood, and played
and the Woodbird in Wagner's "Ring" cycle at Covent Garden under Artur Nikisch in 1914. "The Manchester Guardian" called her, "a new soprano with a sweet voice of considerable power."
Flagstad traveled abroad and sang on American radio. On the German stage, she played Salome in Richard Strauss's opera of the same name, and Ariadne in his "Ariadne auf Naxos". She was married to the Austrian pianist Johann Crkal (1891–1939) and she performed in Italy and France as Karen Maria Crkal, first as a guest together with her sister as Brünnhilde at La Scala as Ortlinde in Wagner's "Die Walküre" (1949). She repeated the role in Rome (1952) and then in Bordeaux together with Beate Asserson (1954). She performed again at La Scala in 1953 as
As the musical prelude climaxes, Woglinde and
are seen at play in the depths of the Rhine. Flosshilde joins them after a gentle reminder of their responsibilities as guardians of the gold. They are observed by the Nibelung dwarf Alberich who calls out to them: "I'd like to draw near if you would be kind to me". The wary Flosshilde cries: "Guard the gold! Father warned us of such a foe". When Alberich begins his rough wooing the maidens relax: "Now I laugh at my fears, our enemy is in love", says Flosshilde, and a cruel teasing game ensues. First, Woglinde pretends to respond to the dwarf's advances but swims away as he tries to embrace her. Then
takes over, and Alberich's hopes rise until her sharp retort: "Ugh, you hairy hunchbacked clown!" Flosshilde pretends to chastise her sisters for their cruelty and feigns her own courtship, by which Alberich is quite taken in until she suddenly tears away to join the others in a mocking song. Tormented with lust, Alberich furiously chases the maidens over the rocks, slipping and sliding as they elude him, before he sinks down in impotent rage. At this point the mood changes: as a sudden brightness penetrates the depths, a magical golden light reveals, for the first time, the Rhinegold on its rock. The maidens sing their ecstatic greeting to the gold, which rouses Alberich's curiosity. In response to his question Woglinde and
reveal the gold's secret: measureless power would belong to the one who could forge a ring from it. Flosshilde scolds them for giving this secret away, but her concerns are dismissed—only someone who has forsworn love can obtain the gold, and Alberich is clearly so besotted as to present no danger. But their confidence is misplaced; in his humiliation Alberich decides that world mastery is more desirable than love. As the maidens continue to jeer his antics he scrambles up the rock and, uttering a curse on love, seizes the gold and disappears, leaving the Rhinemaidens to dive after him bewailing their loss.
The Rhinemaidens are the three water-nymphs ("Rheintöchter" or "Rhine daughters") who appear in Richard Wagner's opera cycle "Der Ring des Nibelungen". Their individual names are Woglinde,
and Flosshilde (Floßhilde), although they are generally treated as a single entity and they act together accordingly. Of the 34 characters in the "Ring" cycle, they are the only ones who did not originate in the Old Norse "Eddas". Wagner created his Rhinemaidens from other legends and myths, most notably the "Nibelungenlied" which contains stories involving water-sprites (nixies) or mermaids. The key concepts associated with the Rhinemaidens in the "Ring" operas—their flawed guardianship of the Rhine gold, and the condition (the renunciation of love) through which the gold could be stolen from them and then transformed into a means of obtaining world power—are wholly Wagner's own invention, and are the elements that initiate and propel the entire drama.
Copyright © 2017