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Harold Rosenthal

(b Madrid, March 16, 1935; d San Lorenzo de El Escorial, Madrid, May 13, 2022). Spanish mezzo-soprano. She studied in Madrid with Lola Rodriguez Aragon, a pupil of Elisabeth Schumann. She made her début in 1957 as Dorabella at Aix-en-Provence, returning as Rosina, Purcell’s Dido, Cherubino, Octavia (L’incoronazione di Poppea), and Ruggiero (Alcina). In 1958 she sang Isolier (Le comte Ory) at the Piccola Scala and Cherubino at Glyndebourne, and made her American début at Dallas as Isabella (L’italiana in Algeri). She first appeared at Covent Garden in 1960 as Rosina, then sang Cherubino and, during La Scala’s 1976 visit, the title role of La Cenerentola. She sang at Chicago, the Metropolitan (1967–8), Vienna, Paris, and Salzburg; her roles included Cesti’s Orontea, Mozart’s Sextus, and Cherubini’s Neris (Médée). Her rich creamy voice with its great agility, perfect for the Rossini mezzo-soprano roles, developed a heavier tone and a more dramatic style appropriate to Carmen, which she sang at Edinburgh (...

Article

Jonas Westover

(b Sigourney, IA). American mezzo-soprano. She took voice lessons from Jocelyn Reiter at the University of Iowa, where she received her bachelor’s degree. She continued her studies with Paul von Schilhawsky at the Salzburg Mozarteum, focusing on German lieder. She has appeared widely on the concert stage and with the world’s premiere opera troupes, including the Metropolitan Opera and the New York City Opera. Her Metropolitan debut was in 2002 as the wardrobe mistress/schoolboy in Berg’s Lulu. She has also appeared there as Cherubino in Le nozze di Figaro, Ascanio in Benvenuto Cellini, Nicklausse in Les contes d’Hoffmann, Prince Orlofsky in Die Fledermaus, Stéphano in Roméo et Juliette, and the Page of Herodias in Salome. Her many appearances at the New York City Opera have garnered her both the Betty Allen and Diva awards; with the company, she has performed the roles of Erika in Vanessa, Suzuki in ...

Article

Alan Blyth

(b Southport, Jan 12, 1941; d Andover, May 18, 2022). English mezzo-soprano. She studied at the RMCM, singing Helen in the British première of Gluck’s Paride ed Elena (1963) while a student. She made her professional début in 1966 as Flora (La traviata) with the WNO. At Glyndebourne (1966–89), she created Cathleen in Maw’s Rising of the Moon (1970) and also sang Erisbe (Ormindo), Dorabella, the Composer, Diana (Calisto), Clairon, and Baba the Turk. She made her Covent Garden début in 1967 as Flora, created Lena in Bennett’s Victory (1970), and sang Hermia, Rosina, Cherubino, Siébel, Mélisande, Helen (King Priam), Olga, Thea (The Knot Garden), Despina, and Clairon (1991). She made her Chicago (1972), Metropolitan (1975), and San Francisco (1979) débuts as Dorabella. At Geneva she sang Octavian, Idamantes, Régine in the première of Liebermann’s ...

Article

Trudi Ann Wright

(b New York, NY, Jan 30, 1922). American mezzo-soprano. Kulhmann is best known for creating the role of the Mother in Menotti’s Amahl and the Night Visitors. After the start of World War II, Kuhlmann joined WAVES (Women Accepted for Volunteer Emergency Services), where she learned Morse Code to send messages to ships at sea. Her musical talent was recognized after she performed on radio programs promoting WAVES and soon had her own weekly show, Navy Serenade, where she sang popular songs of the period.

After the war, Kulhmann attended Juilliard on a full scholarship through the G.I. Bill, received her degree in 1950, and sang with Robert Shaw’s professional chorus. She then auditioned for Menotti’s The Consul, and earned the role of the Secretary. After performing in a revival of Music in the Air directed by Oscar Hammerstein, Kuhlmann landed the role of the Mother in Amahl...

Article

Alan Blyth

(b Berlin, March 16, 1928; d Klosterneuberg, Austria, April 24, 2021). German mezzo-soprano. The daughter of the singers Anton Ludwig and Eugenia Besalle, she studied with her mother and Felice Hüni-Mihacsek, making her début in 1946 as Orlofsky at Frankfurt, where she sang until 1952. After engagements at Darmstadt and Hanover, she joined the Vienna Staatsoper in 1955 and remained there for more than 30 years, creating Miranda in Frank Martin’s Der Sturm (1956) and Claire Zachanassian in Einem’s Der Besuch der alten Dame (1971). Having first sung at Salzburg in 1954 as Cherubino, she took part in Liebermann’s Die Schule der Frauen (1957), sang the title role of Iphigénie en Aulide in 1962, and returned there until 1981, when she sang Mistress Quickly. Ludwig made her American début in Chicago in 1959 as Dorabella. At the Metropolitan (1959–90) her roles included Cherubino, the Dyer’s Wife, Dido in the first Metropolitan production of ...