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・ Joan Fitz-Gerald
・ Joan Fitzalan (disambiguation)
・ Joan Fitzgerald
・ Joan FitzGerald, Countess of Carrick
・ Joan Fitzgerald, Countess of Ormond
・ Joan Fleming
・ Joan Fontaine
・ Joan Fontcuberta
・ Joan Frances Gormley
・ Joan Campins
・ Joan Canning, 1st Viscountess Canning
・ Joan Capdevila
・ Joan Carden
・ Joan Carlile
・ Joan Carlos Pedroso
Joan Carlyle
・ Joan Carreras i Goicoechea
・ Joan Carretero i Grau
・ Joan Carrillo
・ Joan Carroll
・ Joan Carson
・ Joan Carter
・ Joan Carter Conway
・ Joan Castejón
・ Joan Catoni Conlon
・ Joan Caulfield
・ Joan Cañellas
・ Joan Cererols
・ Joan Chalmers
・ Joan Chambers


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Joan Carlyle : ウィキペディア英語版
Joan Carlyle

Joan Carlyle (born 6 April 1931) is an English opera singer.〔Blyth, Alan. ("Carlyle, Joan" ), The New Grove Dictionary of Opera, Oxford Music Online. Oxford University Press, accessed 12 January 2014 〕 She was born in Upton on the Wirral, Cheshire.〔 After studying singing with Madame Nicklass Kempner, she auditioned for the Royal Opera House, Covent Garden, London. She was put under contract by the musical director Rafael Kubelík and made her debut in 1955, appearing also under him in ''The Magic Flute'' in 1956.〔Lebrecht, p. 185〕
She became one of the principal English-speaking singers who emerged at Covent Garden in the 1950s becoming an established member of the Covent Garden Opera Company. The conductor Rudolf Kempe was a powerful influence and nurtured her career. It was with him that she had her first successes in the 1958–59 season as Sophie in Luchino Visconti's production of ''Der Rosenkavalier'' , and then as Micaela in ''Carmen''.
Under a series of distinguished conductors, Carlyle sang throughout Europe and beyond, making her US debut in March 1963 in the Brahms's ''A German Requiem'' with Erich Leinsdorf.
Now retired, she lives in Wales and teaches singing privately. She has taught master classes and workshops at such institutions as the Royal College of Music in London.
== Covent Garden years==
Carlyle emerged in the 1950s along with other singers who also became established members of the Covent Garden company such as sopranos Amy Shuard, Joan Sutherland, Elsie Morison, Marie Collier, and Josephine Veasey; tenors Jon Vickers and Peter Pears; and basses Michael Langdon and Geraint Evans, but it was with Jon Vickers that she was often paired.
In 1959 she sang the role of Glauce in Cherubini's ''Medea'' with Maria Callas in the title role. Many major roles followed at Covent Garden, including her Nedda in ''Pagliacci'' which brought her international acclaim in Franco Zeffirelli's controversial production during the 1959/1960 season. The critic Alan Blyth considered this one of her best roles.〔
She sang Tytania in Benjamin Britten's ''A Midsummer Night's Dream'', conducted by Georg Solti in his first new production after becoming the company's musical director in 1960. Philip Hope-Wallace, ''The Guardian'' 's music critic, noted that the magic which emanated from the stage came in part from "the silvery top of Joan Carlyle's voice".〔Hope-Wallace, "Britten's ''Midsummer Night's Dream''", February 1961, p. 101〕
1962 saw her Pamina in ''The Magic Flute'' conducted by Otto Klemperer;〔Lebrecht, p. 215〕 her first Countess in ''Le nozze di Figaro'' was under Solti, with Tito Gobbi as the Count. In another opera conducted by Solti in 1967, Carlyle sang the title role in Richard Strauss' ''Arabella''. She was the first British singer to perform this role, which she sang opposite Dietrich Fischer-Dieskau.
Other roles, which she performed throughout many seasons included Oscar in ''Un ballo in maschera'', a performance which Montague Haltrecht, in his biography of the first ROH general administrator David Webster, describes as "the young Joan Carlyle makes a pageboy with a delicious vocal glitter";〔Haltrecht, p. 229〕 Ascanius in ''Les Troyens''; and Mimi in Peter Brook's staging of ''La bohème'' which resulted in a BBC Television production of the opera. At Glyndebourne in 1965 she played the Countess in ''Le nozze di Figaro''.〔
Michael Tippett's ''The Midsummer Marriage'' was presented in the house in 1972 with Carlyle as Jenifer. She recorded the part in the first complete recording of this work.
In Italian opera her successes include Desdemona in Verdi's ''Otello'' with James McCracken in the 1965–66 season, and subsequently with Vickers in 1972, where her performance was noted by Hope-Wallace as "experienced, dignified, and often very touching, though at first too pale, muffled and cautious."〔Hope-Wallace, Philip, "Otello at Covent Garden", ''The Guardian'', 2 June 1972, p. 8〕 Her last Covent Garden performance was in 1976 as Freia in ''Das Rheingold''.〔

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