TodOpera : Música y Mas Música! – Página 878

Richard Strauss. Arabella.1989.Berlin. Lucia Popp. Angela Maria Blasi.Patricia Johnson. Manfred Rohrl.Oskar Hillebrandt (Mandryka).Barbara Carter (Fiakermilli). Peter Seiffert. David Griffith. Ralf Lukas.Dir.: G. Sinopoli. Incluye fragmentos del Holandes Errante con Sabine Hass como Senta y Oskar Hillebrandt como el Holandes.

Bellini. I Puritani. 1966. S. Francisco. FragmentosJoan Sutherland. Alfredo Kraus. Raymond Wolansky. Nicola Ghiuselev. Dorothy Cole.Dir.: R. Bonynge

Verdi. Las Visperas Sicilianas. 1974. Met. Placido Domingo. Sherrill Milnes. Cristina Deutekom. Paul Plishka. Cynthia Munzer. DouglasAhlstedt. Paul Franke. Nico Castel. Robert Goodloe. Dir.: James Levine

Verdi. Aida.1989.Berlin. Sharon Sweet (Aida).  Peter Gougaloff (Radames). Bruna Baglioni (Amneris). Simon Estes (Amonasro) Dir.:Niksa Bareza  Incluye fragmentos de Cavalleria Rusticana (Peter Gougaloff), Tosca y Tiefland

Sharon Sweet

One of a handful of dramatic sopranos whose talents prove that large voices of quality still do exist, Sharon Sweet has enjoyed a highly successful career despite persistent issues regarding her physical size. Like Jessye NormanAlessandra Marc, and Deborah Voigt, Sweet has both an ample figure and a voice to measure up to the grandest roles in the Italian, German, and French repertories. While not the most psychologically penetrating of interpreters, Sweet has consistently sung with power, an appropriate notion of style, and no small measure of musicianship. During her career, she has appeared in leading roles in many of the major world venues, especially in Europe and the United States. While still in prime voice, she assumed a full-time university level teaching position, by no means abandoning her singing career, but being more selective regarding her engagements.

Initially preparing herself for a career as a concert pianist, Sweet suffered an injury that closed the door on that possibility. She turned to singing, studying first in Philadelphia with Margaret Harshaw (noted for providing her students with a strong fundamental technique) and, after a return to New York, with Marinka Gurewich. When she was ready to audition, she met with the first examples of prejudice against full-figured leading ladies: After 150 auditions, she had no offers. Europe, by contrast, proved more enlightened. Following a successful Aida presented in concert form at Munich, Sweet was engaged for Elisabeth in a production of Tannhäuser at Dortmund the following year. In 1987, Sweet made important debuts in Paris and Berlin and in 1988 assumed the title role in Norma for a concert production in Brussels.

Sweet’s American stage debut took place in 1989 when she sang Aida in San Francisco. She joined the Metropolitan Opera and had the honor of performing Lina in the company’s first-ever production of Verdi’s Stiffelio in 1992. Covent Garden heard her for the first time as Aida in 1995; when she returned as Turandot, her Princess was hailed for a lyric sweep and ease sharply contrasted with the shrill, unsteady Turandot of Gwyneth Jones that London had heard earlier. In addition to opera, Sweet has been heard regularly in oratorio. It was in Verdi‘s Manzoni Requiem that the soprano was first heard at Verona. Aside from that work, for which her voluminous instrument is so well-suited, Sweet’s concert repertory spans a century and a half, ranging from Beethoven’s Missa Solemnis and Symphony No. 9 to Britten’s War Requiem.

Sweet’s 1999 move to academia when she accepted a full-time teaching position at Westminster Choir College surprised many, particularly as it was accompanied by little comment on the singer’s part. In Brian Kellow’s column in the February 2000 issue of Opera News, however, the singer explained her increasing frustration with a system gone awry, one in which appearance too often takes precedence over vocal substance. She cited the example of her having saved a performance by taking over for an ailing colleague, only to be told by the conductor that he would not work with her again due to her physical size. Sweet explained that she has long endured a thyroid condition known as Hashimoto’s Syndrome. Sweet has made notable contributions to several recordings, in particular LohengrinDer FreischützDon Giovanni, and Il trovatore.

Massenet. Cendrillon. 1978.Frederica von Stade. Nicolai Gedda. Jane Berbié. Jules Bastin. Ruth Welting. Teresa Cahill. Dir.:Julius Rudel
Parte 1- – Parte 2

Gretry. Andromaque. Bruselas. 2009.Karine Deshayes (sopr). Maria R. Wesseling (mezzo). Sebastien Gueze (ten). Tassis Christoyannis (bar). Dir. : Herve Niquet.

Alexandre Duhamel. Recital.

Aporte de Luciana (Montevideo):

Gluck. Orfeo y Euridice. 1999. Munich. John Mark Ainsley. Deborah York. Sophie Koch. Heidi Brunner. Philippe Ens. Exert Sooster.Dir.: Ivor Bolton

Donizetti. Lucia di Lemmermoor.1983. BerlinLucia Aliberti. Alberto Cupido. Lorenzo Saccomani.Peter Gougaloff. Bengt Rundgren . Ruthild Enger. Dir.l: Gianfranco Masini.

Mozart. Mitridate.  1976.Salzburgo.Edita Gruberova. Agnes Baltsa. Ileana Cotrubas. Werner Hollweg. Arleen Auger. David Kübler. Dir.: Leopold Hager
Parte 1 – Parte 2- – – Parte 3 – – Parte 4

Chris Merritt. Recital. 1952.

Wagner. Tannhauser. 1971.  Viena.Rene Kollo. Helga Dernesch (Elisabeth). Christa Ludwig (Venus). Victor Braun (Wolfram). Hans Sotin (Landgraf). Manfred Jungwirth (Biterolf). Werner Hollweg (Walter). Norman Bailey (Reinmar) Dir.: G. Solti
Parte 1 – Parte 2 – – -Parte 3

Thomas Quasthoff. Recital. 2005

Haendel. Alessandro. 1985.  Sophie Boulin. Isabelle Poulenard. Jean Nirouet. Guy de Mey.Dir.: René Jacobs
Parte 1- – Parte 2 – – Parte 3

Richard Strauss. Salome. 1990. Berlin. Cynthia Makris (Salome). Gunther Kurth (Herodes). Theo Adam (Jochanaan). Gisela Schröter (Herodias). Dir. Marek Janowski

Hoffman ETA. Aurora. 1995. Holger Ohlmann.Evelyn Meier.Wolfgang Koch.Christian Rieger.Jochen Elbert.Regina J.Kleinhenz.Ursula Schulze.Ulrich Bosch.Claudia Kemmerer. Dir.: Hermann Dechant
Parte 1 – — – Parte 2 – – – Parte 3

Mozart. La Flauta Mágica y Don Giovanni. Fragmentos. 1988-9. Inga Nielsen (Pamina). Horst Laubenthal (Tamino). Kathleen Cassello (Reina de la Noche). Harald Stamm (Sarastro). Manfred Rohrl (Papageno). Jane Giering (Papagena).Dir.: Heinrich Hollreiser. Magdalnea Hajosjova (Doña Anna). Pilar Lorengar (Doña Elvira). Peter Seiffert (Otavio).

Von Suppe. Boccacio. 1964 (En Alemán)  Rita Maria Wegner. Gabriele Rienecker. Martin Elsholz. Phil Sona. Sieggi Kurzweil. Werner Wegenr. David Williams. Achim Plato. Dir.: Jakob Nessel.

Rossini. Semiramide.Zurich. 1992. Edita Gruberova. Cornelia Kallisch. Ernesto Palacio. Robert Holl. E. Muscat. J. Will..Dir.: Nello Santi.

Haendel. Mesias.1985.Berlin. Angela Denning. Cheryl Studer. Ruthild Engert. Peter Seifffert. William Pell. Harald Stamm.Dir.: Christopher Hogwood.

Haydn. Orlando Paladino. 2009. Tom Randle. Alexandrina Pendatchanska. VictorTorres.Sunhae Im.Sine Bundgaard. Pietro Spagnoli. Magnus Staveland. Orq. Barroca de Friburgo. Dir. Rene Jacobs.

Verdi. Trovatore.1972. Video.. Montserrat Caballe (Leonora). Ludovico Spiess (Manrico). Irina Arkhipova (Azucena). Peter Glossop (Conde de Luna). Nicola Zaccaria (Ferrando). Dir.: Reynaldo Giovaninetti

Mariella Devia. Recital. 2010. Roma.

Donizetti. Anna Bolena.Milan. 1957. Maria Callas. Gianni Raimondi. Giuletta Simionatto.Nicola Rossi Lemeni.Dir.: G. Gavazzeni.

Aporte de Luis de Santiago de Chile:

Vivaldi. Vespri solenni per la festa dell’Assunzione di Maria Vergine (arreglos de  Frederic Delamea y Rinaldo Alessandrini). 2003.Gemma Bertagnolli (sopr). Roberta Invernizzi (sopr). Anna Simboli (sopr). Sra Mingardo (contralto). Gianluca Ferrarini (ten). Carlo Riccioli (bar). Matteo Bellotto (bajo). Concierto Italiano. Dir.: Rinaldo Alessandrini.