Newsgroup: it.arti.musica.classica
Titolo: Happy 49th Birthday to LYREHC REDUTS !

Yesterday we celebrated the birthday of dear Cheryl Studer, and those
of you well acquainted with her innumerable performances, live and
from the studio, will understand my enthusiasm, since she represents a
link with the great singers in opera history.
Soprano Cheryl Studer, 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", 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 the 1978-1979 season.
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 Cheryl Studer to 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, Cheryl Studer
auditioned 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 the 1981-1982 season, 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 and
1985-1986 seasons.
She sang her first big role (Violetta) 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 Lilly 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, Cheryl Studer's
repertoire encompasses more than 70 roles.
In addition to her appearances in the most renowned opera houses of
the world, Cheryl Studer has 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.
Cheryl Studer also 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, Cheryl Studer won 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. Cheryl Studer was 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
Cheryl Studer has enjoyed and continues to enjoy.
In October 2003, Cheryl Studer 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 recordings featuring Cheryl Studer have 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.
The worlds of Opera and of serious music, seriously delivered, remain
indebted to the soprano for her important and prestigious documented
legacy, a legacy which can comfortably be thought of as Gold Standard.
 It will never 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, rec 12/89-1/90, 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
* 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
Cheryl Studer appears in a new recording (her second) of Ludwig van
Beethoven's 9th Symphony:
http://www.justus-frantz.de/207/de/0/a/0/vol_37_ludwig_van_beethoven.html
http://www.unesco-heute.de/0303/beethoven.htm
Live Recording
12 January 2003
Berlin, Konzerthaus, Großer Saal
Philharmonie der Nationen
Justus Frantz -Conductor
Cheryl Studer -Soprano
Anke Vondung -Mezzosoprano
Christian Elsner -Tenor
Johannes Schwärsky -Bass
In December, the soprano will be heard as Sieglinde in concert
performances of Richard Wagner's Die Walküre Act 1:
Paris, Cité de la musique, Salle des concerts, 10 December 2004, 8:00
p.m.
Rouen, Opéra de Rouen / Haute-Normandie, Opéra Léonard de Vinci, 9 &
12 December 2004, 8:00 p.m.
http://www.operaderouen.com/sommaireopera.php
http://www.cite-musique.fr/francais/spectacles/_database/S00993.htm
Sieglinde: Cheryl Studer
Siegmund: Alan Woodrow 
Hunding: Jyrki Korhonen
Orchestre de l'Opéra de Rouen/Haute-Normandie
Conductor: Oswald Sallaberger
In the first part of the program:
Tristan und Isolde - Vorspiel
Siefried-Idyll
Tannhäuser - Overture
Brava Diva!

"...
Best Female Singer of the Year
..."
Ah, ce que c'est beau et poétique, l'anglais !
Bisous,
-- 
Didier.
---
Stercus suum cuique bene olet.
Réponse perso : virer .dgw
http://perso.wanadoo.fr/organ-au-logis/