VON OTTER Baroque Recital

Share

ANNE SOFIE VON OTTER
Music for a while
Baroque Melodies

Dowland · Ferrari · Frescobaldi
Johnson · Kapsberger · Monteverdi
Purcell · detto Romano
Storace · Strozzi
Jakob Lindberg, guitar & lute
Anders Ericson, theorbo
Jory Vinikour, harpsichord & organ
Int. Release 01 Feb. 2005
Download
0289 477 5114 4 DDD AH
ARCHIV Produktion
The range of von Otter's musical interests . . . is remarkable, and she brings to it all a combination of probing intelligence and lushly gleaming vocalism.
San Francisco Chronicle, 2004


Track List

Benedetto Ferrari
Anne Sofie von Otter, Jakob Lindberg, Anders Ericson, Jory Vinikour

Girolamo Frescobaldi (1583 - 1643)
Anne Sofie von Otter, Jakob Lindberg, Anders Ericson

Giulio Caccini detto Romano
Anne Sofie von Otter, Jakob Lindberg

Claudio Monteverdi (1567 - 1643)
Scherzi Musicali (1607)

Quel sguardo sdegnosetto

Anne Sofie von Otter, Jory Vinikour

Johann Kapsberger (1580 - 1651)
Jakob Lindberg

Claudio Monteverdi (1567 - 1643)
L'incoronazione di Poppea

Ed. Clifford Bartlett

Act 2

Anne Sofie von Otter, Jakob Lindberg, Jory Vinikour

Barbara Strozzi (1619 - 1664)
Cantate, Ariette e Duetti, Op.2

Anne Sofie von Otter, Jakob Lindberg, Anders Ericson

Bernardo Storace
Henry Purcell (1659 - 1695)
Jory Vinikour

Oedipus, Z.583

Rule a Wife and Have a Wife

Anne Sofie von Otter, Jory Vinikour

Anne Sofie von Otter, Jakob Lindberg, Jory Vinikour

Johann Kapsberger (1580 - 1651)
Jakob Lindberg

John Dowland (1562 - 1626)
First Booke of Songes, 1597

Anne Sofie von Otter, Jakob Lindberg

Robert Johnson
21.
0:00
3:41

Jakob Lindberg

Total Playing Time 1:07:47

She offers a fresh and diverting take on the music . . . Von Otter bites into her program . . . singing with a crazy, rough decadence that feels true to the period . . . Carefully planned, with instrumental solos providing transitions, this is an eminently satisfying journey.

Von Otter applies the smokier, jazzier edge of her voice to this seductive repertoire with the kind of panache and invention that leaves other singers slack-jawed in amazement.

For me, she can do no wrong . . . Delivered with her trademark purity of voice and meticulous attention to detail . . . von Otter again proves herself an artist as eloquent as versatile.

She fields astonishingly different voices . . . Her voice remains remarkably untouched by the years, and her artistry brings ever richer rewards.

Von Otter, superb throughout . . . is at her most flamboyant in the astonishing swoops and swoons of Ferrari's "Amanti io vi so dire".

The singer has to be able to summon a myriad different colours, as well as handle those trembling vocal ornaments; all of which von Otter does with conviction . . . And when she wants to be she can be tellingly simple.

Anne Sofie von Otter is one of today's true musical adventurers . . . she rejoices in everything from Dowland and Strozzi to Handel and Telemann. Completely at ease in Early Music from the start of her career, she proves in her new recital that this remains perhaps the most congenial of all the musical worlds encompassed by her vast discography . . . The four Dowland songs are sublime; that the same singer whose recent releases include sumptuous Schoenberg and Mahler could sustain page after page in this exquisitely austere, seemingly 'scraped-clean' timbre seems nothing short of miraculous.

Von Otter demonstrates once again what makes her artistry so special. Von Otter's ability to embrace multiple musical styles authentically has often been praised . . . The mezzo approaches each song on its own terms, giving it exactly what it requires emotionally and stylistically . . .

I recommend this for those who enjoy art song and who find many performances of songs from this time to be rather bland. Anne Sofie von Otter brings a good deal of flair to these pieces to make them entertaining listening and to bring out their essential humanity.

She is exceptionally versatile: it's hard to believe that the same voice sings a gentle lullaby from Monteverdi's "Poppea" and immediately after engages in a tirade against love betrayed, Strozzi's 'Udire, amanti'. The decision to despense with a bowed string bass instrument results in a delightfully transparent texture . . . The recorded sound creates an effective three-dimensional image, immediate but free of extraneous fingering noise from the plucked strings. While most of this recital is not new to the catalogue, such heartfelt performance communicated through seamless technique lifts this disc far above the ordinary.

Not one single tonal image is neglected. The excellent impressions of earlier recordings of Baroque music by von Otter are here confirmed as to her ability to find the right tone for every selection, whether plaintive (Dowland, in particular) or rousing, using the ornamentation to deepen her insights.

This is a wonderfully intimate recital: for much of it you hear Anne Sofie von Otter with just one other instrument -- a lute, a harpsichord, a theorbo or a chamber organ. And on such a scale, the sense of communication between artists and audience is greatly heightened, nowhere more so than in the extraordinarily intense and concentrated lute songs by Dowland. Yet another winner from this favourite mezzo . . ."'Music for a while" demonstrates that she remains committed to exploring the Baroque repertoire that established her reputation.

Von Otter¿s latest solo recording finds her in splendid vocal and histrionic estate . . . This is a great disc for baroque lovers.

Diese Frau wandert musikalisch zwischen dem Heute und Gestern unseres Zeitalters umher wie kaum eine andere . . . Das in der Vergangenheit gelegte Fundament auf dem Gebiet der Barockmusik, die eigene Musikalität und ihre vorbildliche Technik erlauben es von Otter, eine CD besonderer Qualität vorzulegen. Auch die Verwendung historischer Instrumente trägt ganz maßgeblich zum Gelingen dieses Tondokuments bei . . . Von Otters Stimme ist größtenteils auf ein Minimum reduziert, sehr intim und schlicht: So klingen Frescobaldis "Se l¿aura spira", Caccinis "Dovró dunque morire" oder Monteverdis "Adagiati, Poppea" rührend schön. Dass die Mezzosopranistin auch anders kann, zeigt sie wo immer es das dramatische Element in der Komposition erfordert. Hier gibt von Otter mehr Ton, spielt mit ihren stimmlichen Raffinessen und lässt vor allem Strozzis "Udite, amanti" zu einem kleinen Kabinettstück werden . . . Intime Schlichtheit, tänzerische Leichtigkeit, an- und abschwellende Tonansätze, verzierende Schleifen.

Zwar ist die Schwedin Anne Sofie von Otter immer wieder für eine Überraschung gut ¿ doch beeindruckt sie ebenso durch die Konstanz ihres musikalischen Repertoires. Mit kaum einem anderen Genre als der Barockmusik wird die Mezzosopranistin immer wieder gerne assoziiert, ja bisweilen identifiziert. Ihre Händel-Aufnahmen mit Marc Minkowski ¿ darunter "Ariodante", "Hercules" und "Giulio Cesare in Egitto" ¿ sorgten ebenso für Furore wie ihre Produktionen mit Reinhard Goebel und der Musica Antiqua Köln (Händels "Marien-Kantaten" und das Konzeptalbum "Lamenti") oder die Bach- und Monteverdi-Einspielungen mit John Eliot Gardiner.

In den besten Momenten klingt Barock bei ihr wie Blues. Anne Sofie von Otter singt Lieder von Amor, blühenden Rosen, lieblichen Nymphen -- höchst empfindsam und virtuos zugleich. Die schwedische Mezzosopranistin durchlebt jeden Song als kleines Seelendrama . . . ziemlich frech, lasziv und witzig.

Virtuose Stimmbandakrobatik

. . . Ferraris Chaconne "Amanti, io vi so dire" schäumt . . . wie eine Tarantella zum Vokal-Schampus auf . . . pures Hörvergnügen, instrumental klug und tontechnisch makellos zubereitet.

Anne Sofie von Otter hat wiederholt bewiesen, dass sie eine gute Stimme, Stilgefühl und die Intelligenz für die Interpretation barocker Musik hat.

Die Sängerin versteht sich hervorragend auf das Sing-Spielen, bringt die Lieder und Arien auf der Hörbühne mit Virtuosität und Witz zu großer Wirkung . . . die stimmigste Art der Interpretation solchen Repertoires.

Ach, wäre das Leben nur so einfach und logisch, wie es klingt, wenn Anne Sofie von Otter Lieder von Abba singt. Es ist die konsequente Weitung eines musikalischen Panoramas, das ihr ganz allein gehört. Die schwedische Mezzosopranistin, auf der Opernbühne zu Hause in Hosenrollen, im Liedgenre einsamer Leuchtturm im selbstentworfenen schwedischen Fach . . . Abba ist inzwischen also ernsthaft Kunst, schwedische dazu, und damit kennt sich von Otter quer durch die Epochen aus. In guter Erinnerung sind ihre Alben "Wings in the Night" von 1997 und "Watercolours" von 2004 . . . Schon die Eröffnung des Reigens zeigt die Entschiedenheit der Sängerin, kein Abba-Huldigungsalbum einzusingen: "The Day Before You Came" war der letzte Song, den die Band vor ihrer Trennung herausgebracht hatte. Er wurde kein Hit. Anne Sofie von Otter macht daraus einen Spaziergang mit hochgezogenen Schultern im Streicherflockenwirbel. Auch die beiden Beispiele aus dem außerhalb Schwedens erfolglosen Musical "Kristina Från Duvemåla" zeigen nicht die Hitmaschine Abba, sondern delikate Liedgestaltungskunst, nachgezeichnet mit schlanker Gesangsstimme und dezent agierendem Kammermusikensemble.


Stupéfiante von Otter, qui, en quelques mois, enchaîne -- et grave avec un égal bonheur -- Jacques Offenbach, Georges Bizet, Georg Friedrich Haendel, Cécile Chaminade, Edvard Grieg, Arnold Schönberg, Gustav Mahler, Franz Schubert, Claudio Monteverdi, Christoph Willibald Gluck, Claude Debussy et Richard Strauss ! Et quelle joie pour nous qu¿en cette période de morosité économique l¿industrie du disque fasse pour elle exception et lui autorise une telle présence et une telle diversité -- jusque dans des programmes plutôt pointus. Juste récompense sans doute, pour une artiste suprêmement polyvalente, exceptionnellement douée et professionnelle, et surtout : merveilleusement phonogénique. Ici encore la performance force L¿admiration . . . on est fasciné par les partis pris expressifs, parfaitement menés et assumés, en symbiose avec le texte : éclatement des registres, glissandos exagérés, tenues volontairement raidies sur les valeurs longues, excessifs allégements et graves appuyés, tous les moyens sont requis pour faire vivre un texte pittoresque, à la moralité ambiguë . . . un disque magnifique.

Adaptándose a las peculiaridades de cada momento histórico concreto y, sobre todo, a las diferencias estéticas, Von Otter nos abstrae de toda temporalidad, sumiéndonos en una dulce ensoñación. Además de la siempre gratificante presencia de esta voz de amplio registro, el álbum cuenta con tres solistas de recibo, especializados en distintos instrumentos de la época, que aportan ese toque de autenticidad al conjunto.

Anne Sofie von Otter es una de esas artistas que consigue brillar en todos los repertorios que interpreta. ... Su nueva grabación para Archiv Produktion es un excelente, y también exigente, recital ... una delicia de 67 minutos de la que ningún amante de la música barroca debería privarse.

Espléndida recreación, la de la mezzo sueca, de un repertorio por el que anda muy metida en los últimos años.

Sus resultados son espléndidos. Con la voz cremosa y dúctil que le conocemos, va desgranando estas pequeñas joyas, con perfecta dicción, adaptándose como un guante a la extensa panoplia de afectos expresados, gracias a su amplísima paleta de colores y acentos y a un sutil soporte instrumental que la lleva a recrear los más diversos estados de ánimo.
"A free heart beats within my breast"

A Baroque recital with Anne Sofie von Otter
The works in Anne Sofie von Otter's wide repertoire range from her native Scandinavia - songs by Grieg and Swedish composers - to Bach, Mozart, Gluck and Handel, to say nothing of Mahler, Korngold, Chaminade, Offenbach and Elvis Costello. Following on from the success of Lamenti, which she recorded in 1997 with Reinhard Goebel and his musicians, she now takes us back to the very beginnings of Baroque vocal music, combining Italian pieces with others by the English masters Dowland and Purcell.

Monteverdi is one of the figures to whom she has returned again and again. Her first recording for Deutsche Grammophon's Archiv label, 20 years ago, was as the Messenger in L'Orfeo under the direction of John Eliot Gardiner. Ten years later she sang Ottavia in L'incoronazione di Poppea, again under Gardiner. Listeners will not be surprised, therefore, to find Arnalta's deeply affecting lullaby "Adagiati, Poppea" from Poppea among the three Monteverdi pieces included here. "Monteverdi has this unique flair for harmonization that I love," says Anne Sofie von Otter. "It's sometimes tricky to sing, but he's one of the greatest composers in the whole history of music."

"Some months before the recording sessions, we performed this programme in concert, something that seems to me essential if we're to have the time to explore the texts and music and really inhabit them. Apart from Monteverdi and Purcell, a lot of this repertoire was new to me," explains the singer, whom we here encounter in music by Giulio Caccini (1551-1618): "Caccini really opened up a new world. At the end of the 16th century, many composers used to sing and accompany themselves. That's something I'd like to do myself: I'm going to learn the harpsichord, chitarrone and lute - in another life." He was a singer and composer at the Medici court at the very time that opera was being invented, and his name is indissolubly linked to the birth of a new style of singing, recitar cantando.

"Some of Caccini's songs are virtually endless - they occasionally run to as many as 20 verses. Only when you interpret them freely, approaching the text as an actor would, do they come to life. During the Baroque age, the words were almost more important than the music. You must never forget that when you sing this repertoire." As a singer-actress, von Otter is acutely aware of this dialectic, which has been constantly re-explored in music, up to and including Strauss's opera Capriccio, in which she sings the role of the actress Clairon: is it the music that takes precedence over the words or the other way round? Caccini answered this question in his own particular way with his parlar cantando or recitar cantando, where the word recitar means both declaiming the text and performing in the theatre. This brings us to the very origins of opera itself.

We find the same concern for the text in the works of Benedetto Ferrari (1603 or 1604-1681), whom contemporaries described as a "poet, musician and most excellent performer on the theorbo" and who wrote the words and possibly also the music for the final duet "Pur ti miro" in L'incoronazione di Poppea. For the present recording, Anne Sofie von Otter sings his Amanti, io vi so dire. "Listen to the chitarrone accompaniment in this song. It's a very simple chaconne, over which the melody changes endlessly. What counts is the text, the text, the text! It's fairly bitter, telling of the cruelty of women in love - but with a lot of humour.

With Frescobaldi or Ferrari you have to immerse yourself in a world that isn't easy to enter. You strive for an interpretative freedom that necessarily requires a sense of complicity between the musicians. These were experimental works in their day: an ostinato bass, a text and a vocal line that's treated like an improvisation revolving around that bass. If you sing too 'perfectly', the song doesn't work. We made this selection together; it was Jory Vinikour who suggested the Frescobaldi and the Ferrari, which I didn't know at all, and it was also he who undertook the task of transcribing the manuscripts for me." Von Otter knows her harpsichordist well as he is also the assistant of Marc Minkowski, another musician with whom she enjoys working.

But what about the English Baroque? "There's a world of difference between the songs of Caccini and Frescobaldi and the English airs of Dowland and Purcell. Jakob Lindberg has specialized in the lute and theorbo repertoire and accompanied many noted singers like Emma Kirkby. It was with him that I chose the pieces by Dowland. I remember hearing Dowland for the first time when I was 18. It was a choral arrangement of the song What if I never speed? I fell in love with it at once and sang it at my first auditions for a choir in Stockholm. I imagined I was a light soprano at that time, but singing this repertoire gave my voice a hard time and felt very uncomfortable. As a result, I was turned down by a chorus master who told me very politely to go away. That's how I started my musical career in Stockholm!

Much later, five years ago in fact, when I gave a recital with Jakob Lindberg at a festival of Baroque music in Sweden, we worked on 15 or so songs. We've included some of them in this recording - the ones that are musically the most interesting for me, most of them settings of magnificent poems. Because the sound of the lute is soft-grained, one has to adjust the voice and find an alternative balance.

Unlike Dowland, Purcell is a composer whose music I've lived with since the start of my career. He was and is a favourite of mine and I performed his songs both at competitions and at my earliest concerts."

The only female composer in the present recital is something of a special case. Barbara Strozzi (1619-1677) was an astonishing woman - her four children may all have been sired by different fathers and her motto in life was "A free heart beats within my breast". Here Anne Sofie von Otter performs a true gem of suppressed emotion, Udite, amanti: "It's a genuine discovery, which I owe to Jakob Lindberg. Together with Dowland's In darkness let me dwell, it is one of the two songs in the programme that I find 'sweeter than roses'."

Marc Dumont
9/2004

A note on the composers

Giulio Caccini (1551-1618) was born in Rome, but his name is forever linked with Florence where he was working at that historical moment when opera was born. A singer as well as composer, he left an important treatise on vocal interpretation in the preface to Le nuove musiche ("New Music"), his collection of 1602, which contains the song heard here. Claudio Monteverdi (1567-1643) took up the baton of opera first in his La favola d'Orfeo in Mantua in 1607, and after he settled in Venice in 1613 he produced further operas for the Venetian stage, including L'incoronazione di Poppea, the source of the lullaby "Adagiati, Poppea". At a time when elsewhere in Italy opera was a courtly entertainment, Venice opened the first opera house for the paying public, San Cassiano, with Francesco Manelli's setting of a libretto by his associate, the composer, singer and writer, Benedetto Ferrari (1603 or 1604-1681). But the learned academies, where operatic principles had first been explored, were an important feature of Venetian intellectual life as well, and it was in the context of these musical societies that Barbara Strozzi (1619-1677) produced her arias and cantatas.

Side by side with opera and song, keyboard music thrived in the hands of the organist and composer Girolamo Frescobaldi (1583-1643), based, like the German-born Giovanni Girolamo Kapsberger (c.1580-1651) in Rome (although a period in Florence produced some songs, including "Se l'aura spira"). The life of the mid-17th-century composer Bernardo Storace is, for the moment, shrouded in mystery, and all his surviving instrumental music is to be found in his published collection of 1664.

Both John Dowland (1563-1626) and Robert Johnson (c.1583-1633) were employed at the court of James I in London, Dowland only later in life, after having spent years travelling in Europe, though without altering his essentially backward-looking and melancholy style. Johnson, lutenist to the king, is known primarily for his settings of songs in Shakespeare's plays. At the end of the century, although opera had failed to take root in England, Henry Purcell (1659-1695) was able to take advantage of the re-opening of the London theatres after the Restoration. He contributed numerous songs to plays such as Oedipus (the source of "Music for a while") and composed music for mixed musical-dramatic spectacles such as King Arthur.
Kenneth Chalmers
9/2004

Biographie Anne Sofie von Otter

Luigi Boccherini (1743–1805)

Anne Sofie von Otter – A Biographical Timeline

Anne Sofie von Otter was born in Stockholm and studied at the Guildhall School of Music and Drama in London with Vera Rosza. She also attended classes in lied interpretation with Geoffrey Parsons in London and Erik Werba in Vienna. In 1980 she began her collaboration with the pianist Bengt Forsberg. Two years later she joined the ensemble of the Basle Opera, where she made her mark as an interpreter of Mozart (Cherubino, Dorabella, Sesto) and Richard Strauss (Composer). Now regarded as one of the finest singers of her generation, the internationally acclaimed mezzo-soprano works with the pre-eminent conductors of the day, has sung with great success at the major opera houses of the world and is a regular guest at leading festivals. Anne Sofie von Otter has also achieved great success as a lieder interpreter, mostly in collaboration with Bengt Forsberg.

1984

Debut with the Accademia di Santa Cecilia in Rome under Giuseppe Sinopoli; first ap­pears at the Aix-en-Provence Festival

 

1985

Her Covent Garden debut as Cherubino leads to appearances in that role in Mu­nich as well as to a series of Berlioz performances, all under the direction of Sir Colin Davis; other important Berlioz appearances during these years include L’Enfance du Christ and La Damnation de Faust with the Orchestra and Chorus of the Opéra de Lyon under John Eliot Gardiner; this year marks the beginning of her association with Deutsche Grammophon / Archiv Produktion

 

1987

CD releases on Archiv Produktion this year: Monteverdi’s L’Orfeo (role of the Messen­ger) and Bach’s Christmas Oratorio, both conducted by Gardiner with the English Ba­roque Soloists

 

1990

Named ”Recording Artist of the Year” with an International Record Critics Award

 

1991

At Covent Garden, first sings the title role in La Cenerentola; CD releases: three Mozart operas – Idomeneo (Idamante) and La clemenza di Tito (Sesto) with Gar­diner and the Eng­lish Baroque Soloists and Le nozze di Figaro in the Metropol­itan Opera production under Levine; Brahms lieder with Bengt Forsberg (Grand Prix International du disque, 1991)

 

1992

Debut at the Salzburg Easter Festival in Wolf’s Spanisches Liederbuch; at the Salzburg Festival in summer she appears with great success as Ramiro in Mo­zart’s La finta giardiniera

 

1993

Release of Grieg songs with Bengt Forsberg (Gramophone Award, Prix Caecilia, Brussels, 1993; Edison Award, Record Academy Prize, Tokyo, 1994)

 

1994

Tours Japan in October, appearing in Der Rosenkavalier with the Vienna State Opera company; CD releases this year: Speak Low (The Seven Deadly Sins & songs by Kurt Weill) with Gardiner and the NDR Symphony Orchestra and Bengt Forsberg; Handel’s Marian Cantatas with Trevor Pinnock and the English Concert (CD Compact Award, Barcelona, 1995); lieder by Berg, Korngold and Strauss with Forsberg

 

1995

Honoured as ”Singer of the Year” at the Cannes Classical Awards and at Ger­many’s Echo Awards; CD releases include Berg’s orchestral lieder with Abbado and the Wiener Philharmoniker. and lieder by Schumann with Forsberg (Grand Prix de la Nouvelle Académie du disque, Prix Caecilia, Brussels, 1995)

 

1996

First recital at the Salzburg Festival (Strauss lieder); named ”Artist of the Year” at the Gramophone Awards; extensive tour of Europe and North America during which she performs songs from her new Deutsche Grammophon recording of Swedish songs with Forsberg, Wings in the Night (Echo Award, 1997); other CD releases this year: La bonne chanson and other French chamber songs with Fors­berg and instrumental ensemble (Edison Award, Grand Prix du disque, 1997); orchestral lieder by Mahler and Zemlinsky, and Monteverdi’s L’incoronazione di Poppea (Ottavia), both under Gardiner

 

1997

Enthusiastic press acclaim for her interpretation of Handel’s Ariodante (under Marc Min-kowski) throughout Europe in January; tour to Japan in the autumn with the Opéra de Lyon and Kent Nagano marks her debut singing Carmen, per­formed again that same year at the Berliner Philharmoniker’s New Year’s Eve concert, conducted by Claudio Abbado, recorded for Deutsche Grammophon and telecast live throughout Europe; awarded a Diapason d’or in France as ”Artist of the Year”; CD releases this year: Ariodante (title role) with Minkowski and Les Musiciens du Louvre (Classic CD Award and Cannes Classical Award, 1999)

 

1998

Creates the role of Sorl in Ståden by Sven-David Sandström at the Royal Swedish Opera; CD releases include La Damnation de Faust (Marguerite) with the Phil­harmonia Or­chestra under Myung-Whun Chung and Lamenti (Baroque vocal works) with Reinhard Goebel and Musica Antiqua Köln

 

1999

Appears in Monteverdi’s L’incoronazione di Poppea in Aix-en-Provence; CD releases this year: Rendezvous with Korngold with Bengt Forsberg and Friends; Mahler’s Des Knaben Wunderhorn with Thomas Quasthoff, the Berliner Phil­harmoniker and Abbado (Grammy 2000); Stravinsky’s The Rake’s Progress (Baba the Turk) with the London Symphony Orchestra under Gardiner (Grammy 2000); and Home for Christmas – a compilation of Swedish Christmas carols and songs

 

2001

Participates in the Stockholm concert celebrating the 100th anniversary of the Nobel Prize in December before an audience of all living Nobel Prize winners; honoured again at the Echo Awards as ”Singer of the Year”; CD releases include For the Stars, with Elvis Cos­tello (Edison Award 2002) and Mots d’amour (Mé­lodies by Cécile Chaminade) with Forsberg (Gramophone Award ”Best Vocal Recording” 2002)

 

2002

Sings Carmen at the Glyndebourne Festival in a new production by David McVicar. New CD releases this year: Handel’s Hercules (Choc du Monde de la musique, Diapason d'or 2002) and a selection of arias and scenes from Offenbach entitled Ma vie parisienne, both featuring Marc Minkowski and Les Musiciens du Louvre

 

2003

Tours the Netherlands, Switzerland and France (Lamenti) in January; BBC Prom in the Albert Hall with Minkowski and Les Musiciens du Louvre; performances in November of Handel’s Serse at Paris’s Théâtre des Champs-Élysées under William Christie followed by a performance at London’s Barbican Centre. New CD releases this year: Mahler’s Third Symphony with the Wiener Philharmoniker under Pierre Boulez, orchestrated Schubert lieder with Claudio Abbado and the Chamber Orchestra of Europe, and Handel’s Giulio Cesare under Marc Minkowski

2004

Operatic commitments include Berlioz’s Béatrice et Bénédict at the Châtelet, Clairon in Strauss’s Capriccio at the Paris Opéra with Thielemann and Monte­verdi’s Ottavia in Poppea at the Théâtre des Champs-Élysées with René Jacobs in a production by David McVicar, with a performance at the London Barbican. Concerts this year include appear­ances with the Los Angeles Philhar­monic and Esa-Pekka Salonen, the New York Phil­harmonic and Sir Colin Davis, and the Orchestre Philharmonique de Radio France and Myung-Whun Chung; recitals with Bengt Forsberg throughout Europe and North Amer­ica and with fortepianist Andreas Staier in Germany and Austria. Releases this year include Watercolours, a Swedish song recital with Bengt Forsberg following up their tremendously successful Wings in the Night, Ravel’s Shéhérazade with Boulez and the Cleve­land Orchestra. In February 2004 she records a Baroque recital, Music for a While, featuring works by Caccini, Monteverdi, Frescobaldi, Ferrari, Strozzi, Dowland and Purcell (to be released internationally in 2005)

 

2005

Her schedule for this year already includes Debussy’s Mélisande and Mozart’s Sesto in La clemenza di Tito at the Metropolitan in New York; Bach’s St. Mat­thew Passion under Daniel Harding at the Musikverein in Vienna; concerts with Marc Minkowski and the Orchestra of the Age of Enlightenment in Belgium and The Netherlands. CD releases this year to include more Mahler with Boulez and the Wiener Philharmoniker

 

9/2004