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La Donna Mobile
Guest
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 Posted: Sat Nov 01, 2008 7:04 pm Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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jrw wrote:
| Quote: | Hi Richard,
'Their supporters tend to be an idiotic, misogynistic lot, straight
and homo alike. And these lady-caricatures oblige by fully
participating in the charade. In the end however, they do women, all
women, all of us, a huge disservice by turning back the clock.'
I can't imagine three more completely different women, its hard for me
to draw a comparison between a political fraud, 'aw shucks', hockey
mum and the other two. And the difference between Gheorghiu and
Netrebko is monumental, one is the very epitome of a diva, the other,
so it seems, is workmanlike. When singing their natural repertoire,
this applies more to Netrebko, they are fabulous singers.
It would be interesting if the women who frequent this group share
your opinion.
Best regards
John
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It wasn't Richard or REG writing. It was StuderTroll.
FWIW I think the Palin woman is a disgrace, pandering to patriarchal
male desire for an impotent token woman to fool the gullible. If she is
elected V-P and McCain dies in office, she will be in a position to
wreak havoc on the lives of many people less powerful than her.
I happen to enjoy performances, DVDs and CDs by both Angela Gheorghiu
and Anna Netrebko. I have found Anna to be a kind and sweet person to
fans; Angela is far from unpleasant. I can understand why people may not
like one or the other as performers. But in the end that's what they are
- performers. However, they are On Topic for 2-4 of the included
newsgroups. Palin isn't for any.
And I'm sure that, like me, the readers of rmc, rmcr, rmcp and rmcc
would look to other more reliable sources for information about the US
elections than an opera newsgroup.
People criticise Palin for her extreme anti-choice views. I would like
to point out that her views are logical, consistent and coherent. Far
too many anti-choice people make exceptions that would allow abortion in
the case of rape, incest or danger to the mother's life. The first two
of these make no philosophical sense - if one thinks a foetus is
sacrosanct, one cannot say that one sort of foetus is inferior to
another and 'punish' it for the sins of the father. There are only two
coherent positions to take on abortion - abortion on demand (with or
without a time limit) or absolutely no abortion whatsoever. Anything in
between is a mealy-mouthed compromise. And I accept that in real
politics - ie not just the personality contest that characterises the US
Presidential Election - mealy-mouthed compromises are often - usually -
the only or best way of effecting 'Change'. |
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Tom White
Guest
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| Posted: Sat Nov 01, 2008 7:39 pm Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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In rec.music.opera jrw <jrwilmott@gmail.com> wrote:
| Quote: | I can't imagine three more completely different women, its hard for me
to draw a comparison between a political fraud, 'aw shucks', hockey
mum and the other two.
|
Ouch. "She's an unsophisticated, insubstantial little housewife
who happily totes around a former fetus an intelligent modern
woman would have aborted" is the word picture painted of Palin.
The problem with the picture is that the lady had a chance to
join a corrupt political machine and not only turned it down but
busted the machine. Hasn't she demonstrated enough virtue to rank
above the political fraud quality of person? |
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LT
Guest
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| Posted: Sat Nov 01, 2008 11:04 pm Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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Re Netrebko and Gheorghiu -
They may not be the divine Cheryl
<-who is?>, but each are splendid stars in their own right, IMO.
LT,
whose baritone 'listening pleasures' were once 'ruined' for all others
by Robert Merrill and Ettore Bastianini, but since grown to appreciate
other fine baritones, too, -in several fachs. |
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John W Kennedy
Guest
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| Posted: Sun Nov 02, 2008 3:50 am Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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Tom White wrote:
| Quote: | The problem with the picture is that the lady had a chance to
join a corrupt political machine and not only turned it down but
busted the machine.
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....in order to create a corrupt political machine of her very own.
--
John W. Kennedy
"You can, if you wish, class all science-fiction together; but it is
about as perceptive as classing the works of Ballantyne, Conrad and W.
W. Jacobs together as the 'sea-story' and then criticizing _that_."
-- C. S. Lewis. "An Experiment in Criticism" |
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LT
Guest
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| Posted: Sun Nov 02, 2008 3:11 pm Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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On Nov 2, 8:52 am, Tom White <tomina...@bulldogcountry.com> wrote:
| Quote: | Tom White wrote:
The problem with the picture is that the lady had a chance to
join a corrupt political machine and not only turned it down but
busted the machine.
John W Kennedy <jwke...@attglobal.net> wrote:
...in order to create a corrupt political machine of her very own.
Is it random or like a superpower when Sarah tranforms from
profoundly dumb to criminal mastermind?
|
We have such a creature here, polluting rmo under several flimsy
guises, often on a single thread; only its defining traits of stupo-
profondissimmo and crusty criminality are maintained *simultaneously*,
ergo, there's no 'transformation' as such. |
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Tom White
Guest
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| Posted: Sun Nov 02, 2008 7:52 pm Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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Tom White wrote:
| Quote: | The problem with the picture is that the lady had a chance to
join a corrupt political machine and not only turned it down but
busted the machine.
|
John W Kennedy <jwkenne@attglobal.net> wrote:
| Quote: | ...in order to create a corrupt political machine of her very own.
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Is it random or like a superpower when Sarah tranforms from
profoundly dumb to criminal mastermind? |
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EvelynVogtGamble(Divamanq
Guest
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| Posted: Mon Nov 03, 2008 3:26 am Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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Tom White wrote:
| Quote: | In rec.music.opera jrw <jrwilmott@gmail.com> wrote:
I can't imagine three more completely different women, its hard for me
to draw a comparison between a political fraud, 'aw shucks', hockey
mum and the other two.
Ouch. "She's an unsophisticated, insubstantial little housewife
who happily totes around a former fetus an intelligent modern
woman would have aborted" is the word picture painted of Palin.
The problem with the picture is that the lady had a chance to
join a corrupt political machine and not only turned it down but
busted the machine. Hasn't she demonstrated enough virtue to rank
above the political fraud quality of person?
|
That depends ....has she repudiated the Republican Alaska Senator who,
if re-elected, will be serving Congress from a jail cell? |
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Tom White
Guest
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| Posted: Mon Nov 03, 2008 5:36 am Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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EvelynVogtGamble(Divamanque) <evgmsop@earthlink.net> wrote:
| Quote: | That depends ....has she repudiated the Republican Alaska Senator who,
if re-elected, will be serving Congress from a jail cell?
|
She called for Ted to resign after his conviction; maybe she
wants to appoint herself to fill the vacancy if the VP thing
doesn't work out.
Remember, Sarah was only four years old when Stevens became
a Senator. (You're now supposed to drop further inquiries.) |
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John W Kennedy
Guest
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| Posted: Mon Nov 03, 2008 8:12 am Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER Options |
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Tom White wrote:
| Quote: | Tom White wrote:
The problem with the picture is that the lady had a chance to
join a corrupt political machine and not only turned it down but
busted the machine.
John W Kennedy <jwkenne@attglobal.net> wrote:
...in order to create a corrupt political machine of her very own.
Is it random or like a superpower when Sarah tranforms from
profoundly dumb to criminal mastermind?
|
I didn't say she was a mastermind. Just a criminal.
--
John W. Kennedy
"But now is a new thing which is very old--
that the rich make themselves richer and not poorer,
which is the true Gospel, for the poor's sake."
-- Charles Williams. "Judgement at Chelmsford" |
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Cieca
Guest
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| Posted: Thu Nov 06, 2008 1:07 pm Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER |
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On Oct 24, 4:02 am, Cieca <ciec...@yahoo.com> wrote:
| Quote: | "In life, democracy.
In art, aristocracy."
-- Arturo Toscanini --
Today we celebrate the birthday of the diamantine CHERYLSTUDER, no
chirpy Handel-bird she (Thank God-of-your-choice), and one of the
immortals, one of the distinctly unique voices (a sound underscored
by
temperament, personality and artistic judgement of the FINEST
persuasion -- pay closer attention to her voice-acting, in case you
missed it), one of the rare legends (of any era) to grace the
operatic
and concert stages the world over. Those of you well acquainted with
her innumerable performances, live and from the recording studios,
will understand my enthusiasm, since she represents a link with the
great singers in opera history.
Soprano CherylStuder, born 24 October 1955 in Midland, Michigan,
began at a very young age studying the piano and the viola. At the
age
of twelve, after listening to the album "La Callas à Paris" (thirty
years after the Greek-American's demise, the Europe-based diva amuses
herself by listening to the concept-album "Gheorghiu and Netrebko do
Callas" --talk about trios!-- a mockery to artistic ingenuity, an
insult to our intelligence, and a testament to the absurdity and
perils of shameless imitation), she decided that she wanted to be an
opera singer and started voice lessons in her hometown with Mrs.
Gwendolyn Pike. She spent her senior high school years at the
Interlochen Arts Academy, before studying for one year at Oberlin
Conservatory, near Cleveland, Ohio. She then moved with her family to
Tennessee, where she continued her studies at the University of
Tennessee at Knoxville. Her promising talent caught Leonard
Bernstein's attention and he offered her full scholarships to study
for three consecutive summers at the Berkshire Music Center at
Tanglewood (1975 to 1977), where she studied with Phyllis Curtin. She
debuted at Tanglewood in 1976 in Bach's St. Matthew Passion (BWV 244)
with the Boston Symphony Orchestra under Seiji Ozawa, who invited her
for a series of concerts with the Boston Symphony Orchestra at
Symphony Hall during the1978-1979season. In the summer of 1979, she
went to the Schubert Institute in Baden bei Wien, Austria, where she
attended a course for foreign students on the art of the German Lied.
Among her teachers at that summer institute were Irmgard Seefried,
Brigitte Fassbaender and Hans Hotter. The great baritone persuaded
CherylStuderto stay in Europe for the year and study with him at
the
Hochschule für Musik und darstellende Kunst in Vienna. After a year
in
Vienna, and at Hans Hotter's urging, CherylStuderauditioned for
Wolfgang Sawallisch who hired her as a permanent member of the
Bavarian State Opera, where she spent two consecutive seasons. At the
end of the1981-1982season, she left the Munich ensemble to join the
Staatstheater Darmstadt for two seasons, before going to Berlin to be
part of the Deutsche Oper ensemble for the 1984-195 and1985-1986
seasons. She sang her first big role (Violetta, in German) as a guest
artist at the Staatstheater Braunschweig in the spring of 1983. In
the
summer of that same year, the Bayerische Staatsoper called her to
their Summer Festival to sing Irene (Rienzi) and Drola (Die Feen),
under Maestro Sawallisch. She made her North American opera debut in
the role of Micaela (Carmen) in 1984 for the Lyric Opera of Chicago.
She caught the world's attention for the first time at the 1985
Bayreuth Festival, when the sang Elisabeth (Tannhäuser) under
Giuseppe
Sinopoli. Since then, she has sung in the most prestigious houses in
the world: Gran Teatre del Liceu, Barcelona (debut in 1986 in Das
Rheingold as Freia), Opéra de Paris (debut the same year in Die
Zauberflöte as Pamina), San Francisco Opera (debut in Die
Meistersinger as Eva, also in 1986), Royal Opera House, Covent Garden
(debut in 1987 in Tannhäuser as Elisabeth), La Scala (operatic debut
in Don Giovanni as Donna Anna in 1987), New York Metropolitan Opera
(debut in 1988 in Carmen as Micaela), Vienna State Opera (debut in
Elektra as Chrysothemis in 1989). She debuted at the Salzburg Summer
Festival that same year and in the same role. Her repertoire reveals
a
soprano of exceptional versatility, perhaps not encountered since the
great Lilli Lehmann: from Mozart's Queen of the Night, Donna Anna and
Countess Almaviva, to Wagner's Sieglinde, Elisabeth and Elsa, from
Rossini's Mathilde and Semiramide to Donizetti's Lucia, from Verdi's
Odabella and Violetta to Gounod's Marguerite and the great heroines
of
Richard Strauss, CherylStuder'srepertoire encompasses more than 70
roles. In addition to her appearances in the most renowned opera
houses of the world, CherylStuderhas never forgotten her first
love:
the Lied. Although she has been singing Lieder since her early years,
she made her first big European tour in 1992; ever since, she has
been
giving Lieder recitals in many European cities, as well as in the USA
and the Far East. Although an acclaimed interpreter of the great
Germanic Lieder composers (in particular Schubert, Brahms, Mahler,
Strauss and Hugo Wolf), she also loves Debussy's Ariettes oubliées
and
Samuel Barber's songs. CherylStuderalso appears regularly as a
concert soloist with the world's most famous orchestras: the Vienna
Philharmonic, the Berlin Philharmonic, the Dresden Staatskapelle, the
London Symphony, the Philharmonia Orchestra, the Royal Concertgebouw,
the Boston Symphony, the Philadelphia Orchestra, to name but a few.
Her concert repertoire includes Beethoven's Missa solemnis, Mozart's
concert arias, Verdi's Requiem, Wagner's Wesendonk-Lieder and
Strauss's Vier letzte Lieder, as well as other orchestral Lieder. For
her third summer's work as a Vocal Fellow of the Berkshire Music
Center at Tanglewood, CherylStuderwon the 1977 High Fidelity/
Musical
America Prize. The following year, she competed in the Metropolitan
Opera Auditions Finals and won the Mrs. Frederick A. Stoughton Award.
In 1979, she won the Franz-Schubert-Institut-Preis for excellence in
Lied interpretation. She received the Grand Prix du Disque - Prix
Maria Callas, in 1989. CherylStuderwas particularly honoured to be
chosen by an international jury as the first recipient of the
International Classical Music Award in 1993 (London) in the category
Best Female Singer of the Year; in the same year, she also received
the Wilhelm Furtwängler Prize. One year later, she was chosen as
Musical America's Vocalist of the Year (1994). Such a list,
abbreviated as it is, is indicative of the great success CherylStuder
has enjoyed and continues to enjoy. In October 2003, CherylStuder
was
appointed professor at the Hochschule für Musik Würzburg. Her
schedule
is flexible enough to allow her to continue her singing career. Ms.Studer, who holds a teaching diploma from the State of Bavaria, has
always been interested in teaching and helping young singers develop.
She has given master classes at the Interlochen Arts Academy, and at
the Beijing Central Conservatory, where she was awarded an honorary
professorship in November of 2001. On 22 August 2004, the soprano
participated in the 2004-5 opening concert of the China Philharmonic
Orchestra at the Poly Theatre in Beijing, in commemoration of the
100th anniversary of the birth of Deng Xiaoping(1904-1997), the late
leader of the Communist Party of China. The repertoire for that
evening, led by the orchestra's Music Director, Long Yu, was
carefully
chosen by the former leader's family and included Franz Liszt's Les
Préludes, Richard Strauss' Ein Heldenleben and his autumnal Vier
letzte Lieder, sung by Ms.Studer. A great many DIGITAL recordings
featuring CherylStuderhave also received numerous prizes, awards
and
distinctions. Among others: Tannhäuser (Elisabeth - DG - G.
Sinopoli):
Gran Premio del disco Ritmo, Orphée d'Or, CD Compact, Diapason d'Or;
Attila (Odabella - EMI - R. Muti): Diapason d'Or, Prix de l'Académie
Charles Cros, L'Opera-Città di Mondovì, Musica Viva; Salome (Salome -
DG - G. Sinopoli): Stella d'Argento, Diapason d'Or, Grand Prix de la
Nouvelle Académie du disque, Edison Award, Orphée d'Or; Faust
(Marguerite - EMI - M. Plasson): Diapason d'Or, 10 de Répertoire,
Choc
du Monde de la Musique, FFFF de Télérama, Orphée d'Or de l'Académie
du
disque lyrique, Prix de l'Académie Charles Cros, Grand Prix de la
Nouvelle Académie du disque, Classic CD 5-Star Award; Lohengrin (Elsa
- DG -C. Abbado): FFFF de Télérama, 10 de Répertoirte, Timbre de
platine d'Opéra international, Outstanding from BBC Music Magazine;
Samuel Barber's Complete Songs (with Thomas Hampson - DG - John
Browning, piano): Caecilia Prijs, Diapason d'Or, 10 de Répertoire,
First Cannes Classical Awards, Vocal Recital, XIX/XX centuries
category, Hilary Finch's Record of the Year (BBC Music Magazine),
Gramophone Awards, Solo Vocal category; Susannah (Title role - Virgin
Classics - K. Nagano): Grammy Award; Hérodiade (Salomé - EMI - M.
Plasson): Choc du Monde de la Musique, Diapason d'Or.
Remember when you and I were advised to please ignore, demonize,
denigrate, and reject and whathaveyou (swiftly and wholesale)
them records by (or any live appearance containing) the soprano?
Well,
considering the recording industry's Grand Meltdown (not lacking the
"Grand Manner" you so prefer -- but do you really?) of new opera
recordings...take a Long-and-Hard look at the
following repertorium --- BECUZ IT WILL NOT HAPPEN AGAIN.
* Title role in Donizetti's Lucia di Lammermoor, rec 8/90, London SO,
Marin
* Hanna Glawari in Lehar's Lustige Witwe, rec 1/94, Vienna PO,
Gardiner
* Countess in Mozart's Nozze di Figaro, rec 1-2/94, Vienna PO, Abbado
* Countess in Mozart's Nozze di Figaro, rec 5/91, Vienna PO, Abbado
* Title role in Rossini's Semiramide, rec 7/92, London SO, Marin
* Florinda in Schubert's Fierrabras, rec 5/88, Chamber Orch of
Europe,
Abbado
* Title role in R. Strauss' Salome, rec 12/90, Deutsche Oper Berlin,
Sinopoli
* Gilda in Verdi's Rigoletto, rec 6/93, Metropolitan Opera, Levine
* Gilda in Verdi's Rigoletto Act III, rec 9/91, Metropolitan Opera,
Levine
* Desdemona in Verdi's Otello, rec 5/93, Opéra Bastille, Chung
* Violetta in Verdi's Traviata, rec 1/91, Metropolitan Opera, Levine
* Elisabeth in Wagner's Tannhäuser, rec '88, Philharmonia, Sinopoli
* Elisabeth in Wagner's Tannhäuser, rec '89, Bayreuth, Sinopoli
* Senta in Wagner's fliegende Holländer, rec 1/91, Deutsche Oper
Berlin, Sinopoli
* Gutrune in Wagner's Götterdämmerung, rec 5/89, Metropolitan Opera,
Levine
* Title role in Floyd's Susannah, rec 3/94, Opéra de Lyon, Nagano
* Marguerite in Gounod's Faust, rec 2/91, Toulouse, Plasson
* Salomé in Massenet's Hérodiade, rec 11-12/94, Toulouse, Plasson
* Donna Anna in Mozart's Don Giovanni, rec 9/90, Vienna PO, Muti
* Konstanze in Mozart's Entführung aus dem Serail, rec 4/91, Vienna
Symphony, Weil
* Queen of the Night in Mozart's Zauberflöte, rec 7/89, ASMF,
Marriner
* Giulietta in Offenbach's Contes d'Hoffmann, rec 87/88/89, Dresden
Staatskapelle, Tate
* Matilde in Rossini's Guglielmo Tell, rec 12/88, La Scala, Muti
* Madama Cortese in Rossini's Viaggio a Reims, rec 10/92, Berlin PO,
Abbado
* Title role in Spohr's Jessonda, rec '84, ORF Orchestra, Albrecht
* Chrysothemis in R. Strauss' Elektra, rec 1/90, Bavarian RSO,
Sawallisch
* Chrysothemis in R. Strauss' Elektra, rec 6/89, Vienna PO, Abbado
* Empress in R. Strauss' Frau ohne Schatten, rec 2-12/87, Bavarian
RSO, Sawallisch
* Empress in R. Strauss' Frau ohne Schatten, rec '92, Vienna PO,
Solti
* Title role in Verdi's Aida, rec 6/94, Covent Garden, Downes
* Odabella in Verdi's Attila, rec 6-7/89, La Scala, Muti
* Odabella in Verdi's Attila, rec 6/90, La Scala, Muti
* Elena in Verdi's Vespri Siciliani, rec12/89-1/90, La Scala, Muti
* Drolla in Wagner's Die Feen, rec 7/83, Bavarian RSO, Sawallisch
* Elsa in Wagner's Lohengrin, rec 6/90, Bayreuth, Schneider
* Elsa in Wagner's Lohengrin, rec '90, Vienna PO, Abbado
* Eva in Wagner's Meistersinger, rec 4/93, Bavarian State Opera,
Sawallisch
* Irene in Wagner's Rienzi, rec 7/83, Bavarian State Opera,
Sawallisch
* Ortlinde in Wagner's Walküre, rec 8/81, Dresden Staatskapelle,
Janowski
* Sieglinde in Wagner's Walküre, rec 2-3/88, Bavarian RSO, Haitink
* Zemlinsky's Der Geburtstagder Infantin, rec 83, Berlin RSO,
Albrecht
* Coloratura Arias by Bellini (Sonnambula/Norma), Verdi (Traviata/
Trovatore), Donizetti (Lucia/Lucrezia Borgia), Rossini (Barbiere/
Semiramide), rec 4/89, Munich RSO, Ferro
* Mozart Arias (Entführung/Zauberflöte/Idomeneo/Nozze/Giovanni/
Clemenza/Cosi), rec 9/89, ASMF, Marriner
* R. Strauss' Vier Letzte Lieder/Wagner's Wesendonck-Lieder/Isolde's
Liebestod, rec 1/93, Dresden Staatskapelle, Sinopoli
* Isolde's Liebestod, rec 1/88, Bavarian RSO, Tate
* Wagner Gala (Tannhäuser/Lohengrin/Meistersinger/Walküre), rec
12/93,
Berlin PO, Abbado
* First Europakonzert - in Prague (Mozart: "Non mi dir"/"Ch'io mi
scordi di te-Non temer amato bene"), rec 5/91, Berlin PO, Abbado
* Covent Garden Gala (Otello/Traviata/Fledermaus), rec 7/88, Covent
Garden, Barker
* Sacred Works (Bach/Schubert/Mendelssohn/Handel/Mozart/Gounod/Faure/
Poulenc/Bernstein/Bruch), rec 3/91, London SO, Marin
* Samuel Barber Songs, rec 9/92, Browning (R.I.P.), Emerson String
Quartet
* Beethoven's Missa Solemnis, rec 8/91, Vienna PO, Levine
* Beethoven in Berlin (Ah! Perfido/Choral Fantasy/Egmont), rec 12/91,
Berlin PO, Abbado
* Brahms' German Requiem, rec 10/92, Berlin PO, Abbado
* Schubert Lieder, rec 1/90, Gage
* Salzburg Recital (R. Strauss/Schubert/Debussy), rec 8/92, Gage
* Mahler's Klagende Lied, rec 11/90, Philharmonia, Sinopoli
* Mahler's Symphony No. 2, rec 11/92, Vienna PO, Abbado
* Mahler's Symphony No. 8, rec 11-12/90, Philharmonia, Sinopoli
* Mahler's Symphony No. 8, rec 1/94, Berlin PO, Abbado
* Verdi's Requiem, rec 6/87, La Scala, Muti
* Verdi's Requiem, rec 11/91, Vienna PO, Abbado
* Beethoven's Symphony No. 9, rec 4/89, Philadelphia Orchestra, Muti
* Beethoven's Symphony No. 9, rec 1/03, Philharmonie der Nationen,
Frantz
* Bruckner's Mass in F Min/Mozart's Vespers, rec 3/77, MIT Choral
Society, Oliver
* Donizetti's Requiem, rec 1/84, Bamberg SO, Gómez-Martínez
* von Schweinitz's Messe Op. 21, rec 7/84, RSO Berlin, Albrecht
* R. Strauss Choral Works, rec 9/84, RIAS Kammerchor, Gronostay,
Creed.
The world of Opera and of serious music seriously delivered remains
indebted to the soprano for her important and prestigious documented
legacy, a legacy which can now be safely regarded as Gold Standard.
Not since her heyday has anyone come close to making such an
indelible
and electrifying impression. No one.
Thank you. Thank you for a most varied, exemplary, and unforgettable
legacy, a legacy of exceptional quality and distinction (and without
crossover charlatanism). Thank you for uncompromising Artistry of
uncommon intelligence and instinct - the work of a consummate being.
Thank you for Dedication, Seriousness, and Integrity. Thank you for
remaining True to your self, to the artform (on life-support as it
is...and counting down), and to music. Good Music. Thank you for a
Universe of Sound and Texture and Expression and Communication all of
your own. Thank you for your generosity. Thank you for High
Individuality. And (to boot) individuality within the bondage of and
respect for the Tradition. And thank you too, Universal, EMI and
Sony,
for having had the foresight (to bypass the anatomical, also prefixed
with fore, since we are people of such impeccable taste, in life and
art) to recognize and capture genius in our midst while the going was
good (now that these dinosaurs' [delusional] populist causes have
caused them to trim....ouch....their future....for that squeaky clean
look and sound....and potent[ial] self-extinction). Ouch.
"LA ÚLTIMA………………..que ríe, ríe mejor."
A VERY HAPPY 53rd BIRTHDAY TO THE SPLENDIFEROUS CHERYLSTUDERAND MAY
SHE BE BLESSED WITH GOOD HEALTH AND HAVE MANY MORE IN THE YEARS TO
COME AND MAY SHE CONTINUE TO GRACE US WITH HER ULTRA FINE ARTISTRY
FOR
AS LONG. |
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LT
Guest
|
| Posted: Fri Nov 07, 2008 5:36 am Post subject: Re: Happy 53rd Birthday to the divine CHERYL STUDER |
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|
On Nov 6, 8:07 am, Cieca <ciec...@yahoo.com> wrote:
| Quote: | On Oct 24, 4:02 am, Cieca <ciec...@yahoo.com> wrote:> "In life, democracy.
In art, aristocracy."
-- Arturo Toscanini --
Today we celebrate the birthday of the diamantine CHERYLSTUDER, no
chirpy Handel-bird she (Thank God-of-your-choice), and one of the
immortals, one of the distinctly unique voices (a sound underscored
by
temperament, personality and artistic judgement of the FINEST
persuasion -- pay closer attention to her voice-acting, in case you
missed it), one of the rare legends (of any era) to grace the
operatic
and concert stages the world over. Those of you well acquainted with
her innumerable performances, live and from the recording studios,
will understand my enthusiasm, since she represents a link with the
great singers in opera history.
Soprano CherylStuder, born 24 October 1955 in Midland, Michigan,
began at a very young age studying the piano and the viola. At the
age
of twelve, after listening to the album "La Callas à Paris" (thirty
years after the Greek-American's demise, the Europe-based diva amuses
herself by listening to the concept-album "Gheorghiu and Netrebko do
Callas" --talk about trios!-- a mockery to artistic ingenuity, an
insult to our intelligence, and a testament to the absurdity and
perils of shameless imitation), she decided that she wanted to be an
opera singer and started voice lessons in her hometown with Mrs.
Gwendolyn Pike. She spent her senior high school years at the
Interlochen Arts Academy, before studying for one year at Oberlin
Conservatory, near Cleveland, Ohio. She then moved with her family to
Tennessee, where she continued her studies at the University of
Tennessee at Knoxville. Her promising talent caught Leonard
Bernstein's attention and he offered her full scholarships to study
for three consecutive summers at the Berkshire Music Center at
Tanglewood (1975 to 1977), where she studied with Phyllis Curtin. She
debuted at Tanglewood in 1976 in Bach's St. Matthew Passion (BWV 244)
with the Boston Symphony Orchestra under Seiji Ozawa, who invited her
for a series of concerts with the Boston Symphony Orchestra at
Symphony Hall during the1978-1979season. In the summer of 1979, she
went to the Schubert Institute in Baden bei Wien, Austria, where she
attended a course for foreign students on the art of the German Lied.
Among her teachers at that summer institute were Irmgard Seefried,
Brigitte Fassbaender and Hans Hotter. The great baritone persuaded
CherylStuderto stay in Europe for the year and study with him at
the
Hochschule für Musik und darstellende Kunst in Vienna. After a year
in
Vienna, and at Hans Hotter's urging, CherylStuderauditioned for
Wolfgang Sawallisch who hired her as a permanent member of the
Bavarian State Opera, where she spent two consecutive seasons. At the
end of the1981-1982season, she left the Munich ensemble to join the
Staatstheater Darmstadt for two seasons, before going to Berlin to be
part of the Deutsche Oper ensemble for the 1984-195 and1985-1986
seasons. She sang her first big role (Violetta, in German) as a guest
artist at the Staatstheater Braunschweig in the spring of 1983. In
the
summer of that same year, the Bayerische Staatsoper called her to
their Summer Festival to sing Irene (Rienzi) and Drola (Die Feen),
under Maestro Sawallisch. She made her North American opera debut in
the role of Micaela (Carmen) in 1984 for the Lyric Opera of Chicago.
She caught the world's attention for the first time at the 1985
Bayreuth Festival, when the sang Elisabeth (Tannhäuser) under
Giuseppe
Sinopoli. Since then, she has sung in the most prestigious houses in
the world: Gran Teatre del Liceu, Barcelona (debut in 1986 in Das
Rheingold as Freia), Opéra de Paris (debut the same year in Die
Zauberflöte as Pamina), San Francisco Opera (debut in Die
Meistersinger as Eva, also in 1986), Royal Opera House, Covent Garden
(debut in 1987 in Tannhäuser as Elisabeth), La Scala (operatic debut
in Don Giovanni as Donna Anna in 1987), New York Metropolitan Opera
(debut in 1988 in Carmen as Micaela), Vienna State Opera (debut in
Elektra as Chrysothemis in 1989). She debuted at the Salzburg Summer
Festival that same year and in the same role. Her repertoire reveals
a
soprano of exceptional versatility, perhaps not encountered since the
great Lilli Lehmann: from Mozart's Queen of the Night, Donna Anna and
Countess Almaviva, to Wagner's Sieglinde, Elisabeth and Elsa, from
Rossini's Mathilde and Semiramide to Donizetti's Lucia, from Verdi's
Odabella and Violetta to Gounod's Marguerite and the great heroines
of
Richard Strauss, CherylStuder'srepertoire encompasses more than 70
roles. In addition to her appearances in the most renowned opera
houses of the world, CherylStuderhas never forgotten her first
love:
the Lied. Although she has been singing Lieder since her early years,
she made her first big European tour in 1992; ever since, she has
been
giving Lieder recitals in many European cities, as well as in the USA
and the Far East. Although an acclaimed interpreter of the great
Germanic Lieder composers (in particular Schubert, Brahms, Mahler,
Strauss and Hugo Wolf), she also loves Debussy's Ariettes oubliées
and
Samuel Barber's songs. CherylStuderalso appears regularly as a
concert soloist with the world's most famous orchestras: the Vienna
Philharmonic, the Berlin Philharmonic, the Dresden Staatskapelle, the
London Symphony, the Philharmonia Orchestra, the Royal Concertgebouw,
the Boston Symphony, the Philadelphia Orchestra, to name but a few.
Her concert repertoire includes Beethoven's Missa solemnis, Mozart's
concert arias, Verdi's Requiem, Wagner's Wesendonk-Lieder and
Strauss's Vier letzte Lieder, as well as other orchestral Lieder. For
her third summer's work as a Vocal Fellow of the Berkshire Music
Center at Tanglewood, CherylStuderwon the 1977 High Fidelity/
Musical
America Prize. The following year, she competed in the Metropolitan
Opera Auditions Finals and won the Mrs. Frederick A. Stoughton Award.
In 1979, she won the Franz-Schubert-Institut-Preis for excellence in
Lied interpretation. She received the Grand Prix du Disque - Prix
Maria Callas, in 1989. CherylStuderwas particularly honoured to be
chosen by an international jury as the first recipient of the
International Classical Music Award in 1993 (London) in the category
Best Female Singer of the Year; in the same year, she also received
the Wilhelm Furtwängler Prize. One year later, she was chosen as
Musical America's Vocalist of the Year (1994). Such a list,
abbreviated as it is, is indicative of the great success CherylStuder
has enjoyed and continues to enjoy. In October 2003, CherylStuder
was
appointed professor at the Hochschule für Musik Würzburg. Her
schedule
is flexible enough to allow her to continue her singing career. Ms.Studer, who holds a teaching diploma from the State of Bavaria, has
always been interested in teaching and helping young singers develop.
She has given master classes at the Interlochen Arts Academy, and at
the Beijing Central Conservatory, where she was awarded an honorary
professorship in November of 2001. On 22 August 2004, the soprano
participated in the 2004-5 opening concert of the China Philharmonic
Orchestra at the Poly Theatre in Beijing, in commemoration of the
100th anniversary of the birth of Deng Xiaoping(1904-1997), the late
leader of the Communist Party of China. The repertoire for that
evening, led by the orchestra's Music Director, Long Yu, was
carefully
chosen by the former leader's family and included Franz Liszt's Les
Préludes, Richard Strauss' Ein Heldenleben and his autumnal Vier
letzte Lieder, sung by Ms.Studer. A great many DIGITAL recordings
featuring CherylStuderhave also received numerous prizes, awards
and
distinctions. Among others: Tannhäuser (Elisabeth - DG - G.
Sinopoli):
Gran Premio del disco Ritmo, Orphée d'Or, CD Compact, Diapason d'Or;
Attila (Odabella - EMI - R. Muti): Diapason d'Or, Prix de l'Académie
Charles Cros, L'Opera-Città di Mondovì, Musica Viva; Salome (Salome -
DG - G. Sinopoli): Stella d'Argento, Diapason d'Or, Grand Prix de la
Nouvelle Académie du disque, Edison Award, Orphée d'Or; Faust
(Marguerite - EMI - M. Plasson): Diapason d'Or, 10 de Répertoire,
Choc
du Monde de la Musique, FFFF de Télérama, Orphée d'Or de l'Académie
du
disque lyrique, Prix de l'Académie Charles Cros, Grand Prix de la
Nouvelle Académie du disque, Classic CD 5-Star Award; Lohengrin (Elsa
- DG -C. Abbado): FFFF de Télérama, 10 de Répertoirte, Timbre de
platine d'Opéra international, Outstanding from BBC Music Magazine;
Samuel Barber's Complete Songs (with Thomas Hampson - DG - John
Browning, piano): Caecilia Prijs, Diapason d'Or, 10 de Répertoire,
First Cannes Classical Awards, Vocal Recital, XIX/XX centuries
category, Hilary Finch's Record of the Year (BBC Music Magazine),
Gramophone Awards, Solo Vocal category; Susannah (Title role - Virgin
Classics - K. Nagano): Grammy Award; Hérodiade (Salomé - EMI - M.
Plasson): Choc du Monde de la Musique, Diapason d'Or.
Remember when you and I were advised to please ignore, demonize,
denigrate, and reject and whathaveyou (swiftly and wholesale)
them records by (or any live appearance containing) the soprano?
Well,
considering the recording industry's Grand Meltdown (not lacking the
"Grand Manner" you so prefer -- but do you really?) of new opera
recordings...take a Long-and-Hard look at the
following repertorium --- BECUZ IT WILL NOT HAPPEN AGAIN.
* Title role in Donizetti's Lucia di Lammermoor, rec 8/90, London SO,
Marin
* Hanna Glawari in Lehar's Lustige Witwe, rec 1/94, Vienna PO,
Gardiner
* Countess in Mozart's Nozze di Figaro, rec 1-2/94, Vienna PO, Abbado
* Countess in Mozart's Nozze di Figaro, rec 5/91, Vienna PO, Abbado
* Title role in Rossini's Semiramide, rec 7/92, London SO, Marin
* Florinda in Schubert's Fierrabras, rec 5/88, Chamber Orch of
Europe,
Abbado
* Title role in R. Strauss' Salome, rec 12/90, Deutsche Oper Berlin,
Sinopoli
* Gilda in Verdi's Rigoletto, rec 6/93, Metropolitan Opera, Levine
* Gilda in Verdi's Rigoletto Act III, rec 9/91, Metropolitan Opera,
Levine
* Desdemona in Verdi's Otello, rec 5/93, Opéra Bastille, Chung
* Violetta in Verdi's Traviata, rec 1/91, Metropolitan Opera, Levine
* Elisabeth in Wagner's Tannhäuser, rec '88, Philharmonia, Sinopoli
* Elisabeth in Wagner's Tannhäuser, rec '89, Bayreuth, Sinopoli
* Senta in Wagner's fliegende Holländer, rec 1/91, Deutsche Oper
Berlin, Sinopoli
* Gutrune in Wagner's Götterdämmerung, rec 5/89, Metropolitan Opera,
Levine
* Title role in Floyd's Susannah, rec 3/94, Opéra de Lyon, Nagano
* Marguerite in Gounod's Faust, rec 2/91, Toulouse, Plasson
* Salomé in Massenet's Hérodiade, rec 11-12/94, Toulouse, Plasson
* Donna Anna in Mozart's Don Giovanni, rec 9/90, Vienna PO, Muti
* Konstanze in Mozart's Entführung aus dem Serail, rec 4/91, Vienna
Symphony, Weil
* Queen of the Night in Mozart's Zauberflöte, rec 7/89, ASMF,
Marriner
* Giulietta in Offenbach's Contes d'Hoffmann, rec 87/88/89, Dresden
Staatskapelle, Tate
* Matilde in Rossini's Guglielmo Tell, rec 12/88, La Scala, Muti
* Madama Cortese in Rossini's Viaggio a Reims, rec 10/92, Berlin PO,
Abbado
* Title role in Spohr's Jessonda, rec '84, ORF Orchestra, Albrecht
* Chrysothemis in R. Strauss' Elektra, rec 1/90, Bavarian RSO,
Sawallisch
* Chrysothemis in R. Strauss' Elektra, rec 6/89, Vienna PO, Abbado
* Empress in R. Strauss' Frau ohne Schatten, rec 2-12/87, Bavarian
RSO, Sawallisch
* Empress in R. Strauss' Frau ohne Schatten, rec '92, Vienna PO,
Solti
* Title role in Verdi's Aida, rec 6/94, Covent Garden, Downes
* Odabella in Verdi's Attila, rec 6-7/89, La Scala, Muti
* Odabella in Verdi's Attila, rec 6/90, La Scala, Muti
* Elena in Verdi's Vespri Siciliani, rec12/89-1/90, La Scala, Muti
* Drolla in Wagner's Die Feen, rec 7/83, Bavarian RSO, Sawallisch
* Elsa in Wagner's Lohengrin, rec 6/90, Bayreuth, Schneider
* Elsa in Wagner's Lohengrin, rec '90, Vienna PO, Abbado
* Eva in Wagner's Meistersinger, rec 4/93, Bavarian State Opera,
Sawallisch
* Irene in Wagner's Rienzi, rec 7/83, Bavarian State Opera,
Sawallisch
* Ortlinde in Wagner's Walküre, rec 8/81, Dresden Staatskapelle,
Janowski
* Sieglinde in Wagner's Walküre, rec 2-3/88, Bavarian RSO, Haitink
* Zemlinsky's Der Geburtstagder Infantin, rec 83, Berlin RSO,
Albrecht
* Coloratura Arias by Bellini (Sonnambula/Norma), Verdi (Traviata/
Trovatore), Donizetti (Lucia/Lucrezia Borgia), Rossini (Barbiere/
Semiramide), rec 4/89, Munich RSO, Ferro
* Mozart Arias (Entführung/Zauberflöte/Idomeneo/Nozze/Giovanni/
Clemenza/Cosi), rec 9/89, ASMF, Marriner
* R. Strauss' Vier Letzte Lieder/Wagner's Wesendonck-Lieder/Isolde's
Liebestod, rec 1/93, Dresden Staatskapelle, Sinopoli
* Isolde's Liebestod, rec 1/88, Bavarian RSO, Tate
* Wagner Gala (Tannhäuser/Lohengrin/Meistersinger/Walküre), rec
12/93,
Berlin PO, Abbado
* First Europakonzert - in Prague (Mozart: "Non mi dir"/"Ch'io mi
scordi di te-Non temer amato bene"), rec 5/91, Berlin PO, Abbado
* Covent Garden Gala (Otello/Traviata/Fledermaus), rec 7/88, Covent
Garden, Barker
* Sacred Works (Bach/Schubert/Mendelssohn/Handel/Mozart/Gounod/Faure/
Poulenc/Bernstein/Bruch), rec 3/91, London SO, Marin
* Samuel Barber Songs, rec 9/92, Browning (R.I.P.), Emerson String
Quartet
* Beethoven's Missa Solemnis, rec 8/91, Vienna PO, Levine
* Beethoven in Berlin (Ah! Perfido/Choral Fantasy/Egmont), rec 12/91,
Berlin PO, Abbado
* Brahms' German Requiem, rec 10/92, Berlin PO, Abbado
* Schubert Lieder, rec 1/90, Gage
* Salzburg Recital (R. Strauss/Schubert/Debussy), rec 8/92, Gage
* Mahler's Klagende Lied, rec 11/90, Philharmonia, Sinopoli
* Mahler's Symphony No. 2, rec 11/92, Vienna PO, Abbado
* Mahler's Symphony No. 8, rec 11-12/90, Philharmonia, Sinopoli
* Mahler's Symphony No. 8, rec 1/94, Berlin PO, Abbado
* Verdi's Requiem, rec 6/87, La Scala, Muti
* Verdi's Requiem, rec 11/91, Vienna PO, Abbado
* Beethoven's Symphony No. 9, rec 4/89, Philadelphia Orchestra, Muti
* Beethoven's Symphony No. 9, rec 1/03, Philharmonie der Nationen,
Frantz
* Bruckner's Mass in F Min/Mozart's Vespers, rec 3/77, MIT Choral
Society, Oliver
* Donizetti's Requiem, rec 1/84, Bamberg SO, Gómez-Martínez
* von Schweinitz's Messe Op. 21, rec 7/84, RSO Berlin, Albrecht
* R. Strauss Choral Works, rec 9/84, RIAS Kammerchor, Gronostay,
Creed.
The world of Opera and of serious music seriously delivered remains
indebted to the soprano for her important and prestigious documented
legacy, a legacy which can now be safely regarded as Gold Standard.
Not since her heyday has anyone come close to making such an
indelible
and electrifying impression. No one.
Thank you. Thank you for a most varied, exemplary, and unforgettable
legacy, a legacy of exceptional quality and distinction (and without
crossover charlatanism). Thank you for uncompromising Artistry of
uncommon intelligence and instinct - the work of a consummate being.
Thank you for Dedication, Seriousness, and Integrity. Thank you for
remaining True to your self, to the artform (on life-support as it
is...and counting down), and to music. Good Music. Thank you for a
Universe of Sound and Texture and Expression and Communication all of
your own. Thank you for your generosity. Thank you for High
Individuality. And (to boot) individuality within the bondage of and
respect for the Tradition. And thank you too, Universal, EMI and
Sony,
for having had the foresight (to bypass the anatomical, also prefixed
with fore, since we are people of such impeccable taste, in life and
art) to recognize and capture genius in our midst while the going was
good (now that these dinosaurs' [delusional] populist causes have
caused them to trim....ouch....their future....for that squeaky clean
look and sound....and potent[ial] self-extinction). Ouch.
"LA ÚLTIMA………………..que ríe, ríe mejor."
A VERY HAPPY 53rd BIRTHDAY TO THE SPLENDIFEROUS CHERYLSTUDER AND MAY
SHE BE BLESSED WITH GOOD HEALTH AND HAVE MANY MORE IN THE YEARS TO
COME AND MAY SHE CONTINUE TO GRACE US WITH HER ULTRA FINE ARTISTRY
FOR
AS LONG.
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