June_Anderson
1990-åra
I 1992 skapt ho si fyrste Elena i La donna del lago ved La Scala. Dette var den fyrste produksjonen av operaen til operahuset på 150 år, sett opp for å markera tohundreårsjubileet for fødselen til Rossini. Same år opptredde ho i ein kontroversiell ny produksjon av Lucia di Lammermoor ved Metropolitan Opera, sett opp av Francesca Zambello. Edward Rothstein skreiv i The New York Times: [S]ome of the audience's outrage may have been due to the contrast between the staging and the many musical virtues that survived in the performance, which was the most complete version of the score ever presented at the Met. June Anderson -- who must have had black-and-blue arms by the evening's end, so often was she grabbed and tossed about -- sang Lucia with more and more refined empathy as the opera proceeded....She delivered a mad scene that combined virtuosic control with a lovely, haunting innocence. Året etter opptredde Anderson som Maria i Mazeppa av Tsjajkovskij, i ei konsertoppføring ved Carnegie Hall smaan med Opera Orchestra of New York. I 1993 opptredde ho også i La traviata av Verdi ved Lyric Opera of Chicago. Chicago Tribune-meldaren skreiv om opptredenen: The show belongs, of course, to Violetta Valery. Anderson quite simply has done nothing finer for Lyric Opera. She internalized every emotion of the role with her usual intensity and conviction, from desperate gaiety to startled joy at her first stirrings of love for Alfredo, right on through to her deathbed scene, which tugged mightily at the heartstrings of even the most jaded opera-goers Every dramatic gesture seemed careful thought out, yet nothing appeared mannered or merely gratuitous. . . .[H]er fiorature were uniformly true, she was able to project easily throughout the theater even when singing softly (how beautifully she floated the bel canto line of "Addio, del passato", giving us both verses of the aria), and she commanded the audience's sympathy like the canny singing actress she is. Anderson's Violetta lives up to the great Lyric tradition. Anderson innleidde 1995 med ein opptreden i Paris i lag med Roberto Alagna i ei anna kontroversiell oppsetjinga Lucia di Lammermoor, sett opp av Andrei Şerban med design av William Dudley. International Herald Tribune meldte av Şerban og Dudley blei møtt med eit kor av buing, men skreiv om Anderson: [T]here were nothing but cheers for the impressive cast. June Anderson is surely the Lucia of the moment, and although she lent herself heroically to the frenetic demands of the staging, she also sang the role with superb possession of her vocal means and understanding of the psychological subtext. Seinare i 1995 vende Anderson tilbake til Metropolitan Opera i La fille du régiment i lag med Pavarotti. The New York Times skreiv: Ms. Anderson's take on Marie is a legitimate one. Winsome charm is at a minimum; tomboy toughness takes over. The role is, of course, one of the coloratura soprano's richest gold mines. Ms. Anderson takes its long series of hurdles with courage, adventure and cool beauty of singing. Wearing a uniform as well as she does is no small help to the evening. Etter å ha opptredd som Desdemona i Otello av Rossini i mange år, debuterte Anderson i same rolla i Verdi sin Otello i Los Angeles i 1995, i lag med Plácido Domingo. Ho opptredde også som Lucrezia for fyrste gong i I due Foscari av Verdi ved Covent Garden. Mot slutten av året debuterte ho som Rosalinde i Die Fledermaus ved Metropolitan Opera.