Arien für Sopran PDF

This season, Inga-Britt can be heard as Senta in Der fliegender Holländer in Heidesheim’s opera festival, at the Hof theatre as Madame Lidoine in Arien für Sopran PDF’s Dialogues des Carmelites and as First Lady in the Theater Dortmund. She is also playing the First Lady in Barry Kosky’s celebrated production of The Magic Flute at the Deutsche Oper am Rhein. Her first big Wagner role was as Eva in Die Meistersinger von Nürnberg in England in 2014, and in January 2016 she made her début as Freia in Das Rheingold here, too.


Författare: Vincenzo Bellini.
Besetzung: Gesang (hoch) und Klavier

2009 she moved to the Staatstheater Mainz, where she was engaged for two seasons. From 2011 to 2014 she was a member of the ensemble at the Oldenburgisches Staatstheater. Inga-Britt Andersson has often appeared in modern works and has created several roles, for composers including von Enjott Schneider, Volker David Kirchner, Jörg Herchet and Ulrich Kreppein. She counts baroque music amongst the highlights of her wide-ranging repertoire, having sung operas by, for example, Jommelli, Telemann, Monteverdi and Händel. She regularly sings concert and oratorio between her opera engagements, and is, for example, renowned for her Mahler’s 8th, in Brahms’ Ein deutsches Requiem and Orff’s Carmina Burana. In 2018 Inga-Britt Andersson will make her début as the soprano soloist in Britten’s War Requiem with the Philharmonie Essen. Inga-Britt Andersson studied Voice with Prof.

Claudia Rüggeberg at the Folkwang University in Essen, and lives in Duisburg. Fantasy in C minor for Piano, Chorus, and Orchestra op. Cantate à voix seule avec un violon ou une flûte No. Hälsning till ett nytt år op. Singt mein Schatz wie ein Fink op. Ich werde nicht an deinem Herzen satt op. Wo hast Du all die Schönheit hergenommen op.

Eine Melodie singt mein Herz op. Denn unsre Liebe hat zu heiß geflammt op. Der Tod und das Mädchen op. Setze mir nicht, du Grobian op. Du bist wie eine Blume op. Nur wer die Sehnsucht kennt op. Heiß mich nicht reden, heiß mich schweigen op.

So laßt mich scheinen, bis ich werde op. Gurlitt’s Marie, however, is more dramatically structured, so that Inga-Britt Andersson’s beautiful soprano carried powerfully and the auditorium was filled to the last corner. Gurlitt’s vocal experiments, sounding both exposed and yet internal, and thus becoming the real heart of the production. Inga-Britt Andersson is convincing in the role of Marie, written by Gurlitt for his then wife Maria Hartow with her extremely high soprano tessitura.