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Karan Armstrong (born December 14, 1941, Havre, Montana) is an American operatic soprano, who is celebrated as a singing-actress. ==Biography== Originally trained as a pianist, Armstrong graduated with a Bachelor of Music degree from Concordia College in 1963. She later studied with Lotte Lehmann in Santa Barbara, California. She made her operatic debut in 1965 with a secondary company in San Francisco, as Musetta in ''La bohème''. She made her first appearance with the San Francisco Spring Opera the following year, as Elvira in ''L'italiana in Algeri''.〔(Armstrong&psearchtype= San Francisco Opera Archives ), sfopera.com; accessed July 29, 2015.〕 In 1966, Armstrong won the Metropolitan Opera National Council Auditions, which led to her being engaged by the house for small roles. She made her debut at the Met on October 2, 1966, as one of the servants in ''Die Frau ohne Schatten'', under Karl Böhm, with Leonie Rysanek and Christa Ludwig. She continued to perform regularly at the Met through the spring of 1969, in roles like the Paggio in ''Rigoletto'' (opposite Cornell MacNeil), Annina in ''La traviata'' (with Virginia Zeani), and the Dew Fairy in ''Hänsel und Gretel'' (with Teresa Stratas as Gretel).〔(Profile ), metoperafamily.org; accessed July 29, 2015.〕 Preferable contracts emanated from the New York City Opera, and she made her first appearance with that company as the Reine de Chémakhâ in ''Le coq d'or'' (with Michael Devlin), in 1969. She was to appear at that theatre many times through 1977, singing such roles as Conceptión in ''L'heure espagnol'' (with Kenneth Riegel), Blondchen in ''Die Entführung aus dem Serail'' (opposite Patricia Brooks, then Beverly Sills), Violetta Valéry in ''La traviata'', the title heroine in ''La belle Hélène'', and Minnie in ''La fanciulla del West'', among others. In 1974, Armstrong first appeared in Europe, as Micaëla in ''Carmen'', at the Opéra du Rhin in Strasbourg. The following year, she created a great sensation with her performance of ''Salome'' at the same theatre. Further performances in Europe followed, including ''Tosca'' in Venice, and Elsa von Brabant in the 1979 Bayreuth Festival's ''Lohengrin'' (with Peter Hofmann), directed by her future husband, Götz Friedrich, which was later recorded and filmed. She also sang in Berlin (where she was to be a great favorite), Vienna, Paris, Covent Garden (''Lulu'', which Robert Craft once declared was "accurately sung and perfectly enacted"〔''An Improbable Life'', by Robert Craft, Vanderbilt University Press, 2002〕), Los Angeles, and the Bolshoi. Armstrong has sung in several operatic world premieres, including Gottfried von Einem's ''Jesu Hochzeit'' (as Death), Giuseppe Sinopoli's ''Lou Salomé'', Luciano Berio's ''Un re in ascolto'', York Höller's ''Maître et Marguerite'' and Siegfried Matthus's ''Desdemona und ihre Schwestern''. Other celebrated roles include those in ''Susannah'', ''Salome'', ''Les contes d'Hoffmann'' (as Giulietta, opposite Norman Treigle), ''La voix humaine'', ''Lohengrin'', ''Pelléas et Mélisande'', ''Lulu'', ''Wozzeck'', ''Der Rosenkavalier'', ''Die tote Stadt'', ''Parsifal'', ''Erwartung'', ''Die Walküre'' (as Sieglinde), ''Katya Kabanova'', ''The Makropulos Case'', ''Fidelio'', ''Mathis der Maler'' (as Ursula), ''Tannhäuser'' (as Venus, with René Kollo) and ''Dialogues des Carmélites'' (as Mother Marie of the Incarnation). In 1985, Armstrong was named a ''Kammersängerin'' in Stuttgart; in 1994, she received the title in Berlin. Recent roles have included the Widow Begbick in ''Aufstieg und Fall der Stadt Mahagonny'', at Erfurt; Mme Larine in ''Eugene Onegin'', at the Deutsche Oper Berlin (in the Friedrich production); the Old Lady in ''Candide'', at the Flanders Opera; and the Queen of Hearts in Unsunk Chin`s ''Alice in Wonderland'', in Geneva. Armstrong was married for many years to the stage director and impresario Götz Friedrich. Their marriage ended only with Friedrich's death, in 2000. The couple had one son together. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Karan Armstrong」の詳細全文を読む スポンサード リンク
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