Egnatius Iononmascondo escribió:
Está clarísimo que se trata del "Señor" De la Rosa travestito, para defenderse por "persona" interpuesta. Vaya fantasmón.
Se equivoca Vd. El Señor Gustavo no es el Señor De la Rosa, ni travestito ni nada. Para que se entretenga por un ratito, le dejo con esto:
"En la vida, democracia.
En el arte, aristocracia."
--- Arturo Toscanini
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" (and at
the age of fifty-two, or thirty years after the demise of the Greek-American, the Germany-based diva amuses herself by listening to the concept-album "Gheorghiu and Netrebko do Callas", a mockery to artistic ingenuity, an insult to our intelligence, and a testament to the absurdity and perils of shameless imitation), 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, in German) 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 Lilli 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 DIGITAL 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.
Remember when you and I were advised to please ignore, demonize,
condemn, denigrate, and reject and whathaveyou (swiftly and
wholesale) them records by (or any live appearance containing) the soprano? Considering the recording industry's Grand Meltdown (not lacking the "Grand Manner" you so prefer -- but do you really? -- think of the wan nobodies, copycats and outright frauds you go out of your way to
support and praise in these desperate days) of new opera
recordings...take a Long-and-Hard (as some of you like it) look at
the following repertorium --- BECUZ IT WILL NOT 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
* Beethoven's Symphony No. 9, rec 1/03, Philharmonie der Nationen,
Frantz
* 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.
The world of Opera and of serious music seriously delivered remains
indebted to the soprano for her important and prestigious documented
legacy, a legacy which can now be safely regarded as Gold Standard.
Not since her heyday has anyone come close to making such an
indelible and electrifying impression. No one.
Thank you. Thank you for a most varied, exemplary, and unforgettable
legacy, a legacy of exceptional quality and distinction (and without
crossover charlatanism). Thank you for uncompromising Artistry of
uncommon intelligence and instinct - the work of a consummate being.
Thank you for Dedication, Seriousness, and Integrity. Thank you for
remaining True to your self, to the artform (on life-support as it
is...and counting down), and to music. Good Music. Thank you for a
Universe of Sound and Texture and Expression and Communication all of
your own. Thank you for your generosity. Thank you for High
Individuality. And (to boot) individuality within the bondage of and
respect for the Tradition. And thank you too, Universal, EMI and
Sony, for having had the foresight (to bypass the anatomical, also prefixed with fore, since we are people of such impeccable taste, in life and art) to recognize and capture genius in our midst while the going was
good (now that these dinosaurs' [delusional] populist causes have
caused them to trim....ouch....their future....for that squeaky clean
look and sound....and potent[ial] self-extinction).
"LA ÚLTIMA que ríe, ríe mejor."
Identificarse
Registrarse
Normas
FAQ
Usuarios
me acuerdo de su Condesa, en V iena con ABBADO,,,,,,,,,,,,,,,,, en el 
1991 , magnifica
por el tiempo trancurrido 
mail 
