Other operatic appearances include Geneviève ( Pelléas et Mélisande), La principessa ( Suor Angelica), Third Lady ( Die Zauberflöte) and Modestina ( Il viaggio a Reims) in Santa Barbara, Quickly ( Falstaff) for Festival Opus a Gattières, and Mother Goose ( The Rake’s Progress) and Maddelena ( Rigoletto). Emma has appeared in new productions directed by Jossi Wieler & Sergio Morabito, Peter Konwitschny, Hans Neuenfels, Christopher Mattaliano, Christoph Perton, Bernard Brocca and Catherine Turocy, and in stagings by Joachim Schlömer, Edward Berkley and Axel Mantey.Īs a Baroque specialist Emma has performed the title role in Cavalli’s Giasone for Aspen Music Festival conducted by Harry Bicket, Irene in Handel’s Atalanta at the International Handel-Festival, Göttingen, conducted by Nicholas McGegan, Eduige (Handel’s Rodelinda) for Portland Opera, USA, conducted by George Manahan, Bertarido (Handel’s Rodelinda) in Santa Barbara, Cleofe in Handel’s La Resurrezione at the Lufthansa Baroque Festival in London, with Trevor Pinnock and The English Concert, Les Leçons de Ténèbres by Marc Antoine Charpentier, plus the world premiere of Les Leçons de Ténèbres by Philippe Fénelon, with La Grand Ecurie et la Chambre du Roy and Au temps de Port Royal with Les Arts Florissants and William Christie. Most recently, Emma sang Irene in the development of Vasco Mendonça’s The Takeover for Festival d’Aix en Provence directed by Johanna Wehner. nackte Jungfrau in Schönberg’s Moses und Aronconducted by Lothar Zagrosek, and Poklízecka in Janáçek’s The Makropolous Case, conducted by Sylvain Cambreling.Įmma created the role of Galatée in the world premiere of Pastorale by Gérard Pesson for Staatstheater Stuttgart conducted by Kwamé Ryan, and the leading role of L’Ainée in the world premiere of Jacques Lenot’s J’étais dans ma maison et j’attendais que la pluie vienne at Opera de Genève, conducted by Daniel Kawka. In 2003/04 she sang Pastore II in Monteverdi’s Orfeo with Jean-Claude Malgoire, Eine Kranke and 4. She debuted at the Staatstheater Stuttgart as Nutrice ( L’incoronazione di Poppea) and then in 2001/02 sang Ericlea ( Il ritorno d’Ulisse in patria). She had successful surgery to remove a large pelvic mass in April 2011, with a full recovery and return to fitness, and is now returning to the stage. In 2008 Emma withdrew from opera performance due to a painful, complex pelvic condition. She was a full-time member of the Solo Ensemble at the Staatstheater Stuttgart from 2003 to 2006. Through the Marilyn Horne Foundation, which she founded in 1994, young singers receive important training in the art of recital, as well as opportunities to perform.Emma Curtis studied at the Guildhall School of Music and at the Music Academy of the West in Santa Barbara, California where she worked with her mentor Marilyn Horne. The winner of innumerable awards, including the National Medal of the Arts (1992) and the Kennedy Center Honors (1995), she has a second, equally important career as a teacher and guardian of the vocal recital. Equally celebrated and revered for her concert and recital singing, Marilyn Horne has graced virtually all of the great opera and concert stages of the world, including the Metropolitan Opera, La Scala and Carnegie Hall. Despite those successful 20th-century ventures, she quickly established herself worldwide as a brilliant bel canto interpreter, particularly in operas by Handel and Rossini, many of which she rescued from near obscurity. She returned home in 1960, and made her San Francisco Opera debut as Marie in Wozzeck a year later she made her Lyric Opera of Chicago debut as Lora in the world premiere of Vittorio Giannini's The Harvest. In 1956, under the guidance of Robert Craft and Igor Stravinsky, she appeared at the Venice Festival, and soon after joined Germany's Gelsenkirchen Municipal Opera. At 20, she made an enduring if invisible impression by dubbing Dorothy Dandridge's singing voice in the movie Carmen Jones. Combining power and flexibility, Horne set a new standard and expanded the repertoire for generations of mezzos to come.īorn in Bradford, Pennsylvania in 1934, Marilyn Horne sang almost as soon as she cut baby teeth. Marilyn Horne's voice seems to start at the center of the earth and end in the ether.
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