Audiences go wild.
Deborah Voigt skyrocketed to prominence in the first season of this decade and within a few short years grew into the pre-eminent dramatic soprano of her generation. She is as likely to be found singing Verdi in Italy as she is to be heard in Strauss in Vienna, and in all cases audiences hail the warmth of her distinctive timbre, the intelligence of her musicianship, and the intensity of her dramatic portrayals. Among the many exciting engagements for Deborah Voigt in the 1999-2000 season are her performances of the final scene of Salome and Barber's Andromache's Farewell for both her San Francisco Symphony debut under the baton of Michael Tilson Thomas and her return engagement with the New York Philharmonic and Maestro Kurt Masur. Other performances this season include excerpts from Elektra with the Munich Philharmonic under the baton of Maestro Levine and Strauss Four Last Songs with the Pacific Symphony. Miss Voigt began the 1998-99 season in new productions of two of her most famous roles, the Kaiserin in Die Frau ohne Schatten with the Deutsche Oper Berlin under the direction of Christian Thielemann, and Ariadne auf Naxos with Lyric Opera of Chicago.