Nadine, Countess of Shrewsbury Podcasts
opera singer
- United Kingdom, United Kingdom of Great Britain and Ireland
- opera singer, aristocrat
Last update
2024-04-25
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Michèle Le Bris - Nadine Denize - Robert Dume - Claude Meloni - Jacques Mars Roger Norrington - Chorale et Orchestre Lyrique de l'ORTF - French Radio - 1976 - Broadcast
Médée: Shirley Verrett Dircé: Anne-Marie Rodde Néris: Nadine Denize Servantes: Lucia Scappatucci, Martine Mahé Jason: Werner Hollweg Créon: Jean-Philippe Lafont Conductor: Pinchas Steinberg Palais Garnier 10 March 1986 In-house recording
New Classical Tracks with Julie Amacher
Nadine Sierra — Made for Opera (DG) Jump to giveaway form New Classical Tracks - Nadine Sierra by “My grandmother was born and raised in Lisbon, Portugal. She had a beautiful voice and always loved music, especially classical and opera,” soprano Nadine Sierra said. “She wanted to become an opera singer, but my great-grandfather didn't allow her to pursue any kind of career. My whole life has been prepared and made for opera.” Sierra dedicates her latest recording, Made for Opera, to her grandmother. It explores the operatic heroines that include Lucia from Donizetti’s Lucia di Lammermoor, Juliette from Gounod’s Romeo and Juliet and Violetta from Verdi’s La Traviata, who all had little control over their own destiny. “We find that female roles played by women in opera are about women that cannot make decisions for themselves despite being these iconic figures. These are also women who are in a social prison. My grandmother grew up in that social prison. Today I have the power and the privilege to choose my destiny.” Tell us why you're careful about choosing a role at the right point in your career. “I didn't start to sing Violetta until recently. I felt that in my own life I had not experienced enough to play this character as believably as possible. I felt I needed to live a few more years in order to understand her.” Tell us about the story and sections you've chosen to highlight on this recording from La Traviata. “I decided to showcase Violetta in Act One and Three. In Act One she has her famous aria starting from ‘È Strano! È Strano’ and ending with ‘Sempre Libera.’ In the aria she meets Alfredo for the first time, and he tells her that he's in love with her. “I also highlight her last aria, where she's dying. Alfredo has a sister and the more time he spends with Violeta ruins his sister's reputation and her possibility of marrying into a good family. So, Violetta makes the sacrifice. She lies to Alfredo telling him she's not in love with him anymore and she can't be with him. She sacrifices herself for another woman's love, which I love about Violetta. She's a special and empathetic character.” How did working with a woman director give you a different perspective on Donizetti's character Lucia? “This particular female director and I have both experienced things in our personal lives that are similar. Whether it be in a relationship or even a situation with a family member, we were able to better communicate what we wanted with the audience about Lucia.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Nadine Sierra — Made for Opera (Amazon) Nadine Sierra — Made for Opera (DG Store) Nadine Sierra (official site)
New Classical Tracks with Julie Amacher
Nadine Sierra — Made for Opera (DG) New Classical Tracks - Nadine Sierra by “My grandmother was born and raised in Lisbon, Portugal. She had a beautiful voice and always loved music, especially classical and opera,” soprano Nadine Sierra said. “She wanted to become an opera singer, but my great-grandfather didn't allow her to pursue any kind of career. My whole life has been prepared and made for opera.” Sierra dedicates her latest recording, Made for Opera, to her grandmother. It explores the operatic heroines that include Lucia from Donizetti’s Lucia di Lammermoor, Juliette from Gounod’s Romeo and Juliet and Violetta from Verdi’s La Traviata, who all had little control over their own destiny. “We find that female roles played by women in opera are about women that cannot make decisions for themselves despite being these iconic figures. These are also women who are in a social prison. My grandmother grew up in that social prison. Today I have the power and the privilege to choose my destiny.” Tell us why you're careful about choosing a role at the right point in your career. “I didn't start to sing Violetta until recently. I felt that in my own life I had not experienced enough to play this character as believably as possible. I felt I needed to live a few more years in order to understand her.” Tell us about the story and sections you've chosen to highlight on this recording from La Traviata. “I decided to showcase Violetta in Act One and Three. In Act One she has her famous aria starting from ‘È Strano! È Strano’ and ending with ‘Sempre Libera.’ In the aria she meets Alfredo for the first time, and he tells her that he's in love with her. “I also highlight her last aria, where she's dying. Alfredo has a sister and the more time he spends with Violeta ruins his sister's reputation and her possibility of marrying into a good family. So, Violetta makes the sacrifice. She lies to Alfredo telling him she's not in love with him anymore and she can't be with him. She sacrifices herself for another woman's love, which I love about Violetta. She's a special and empathetic character.” How did working with a woman director give you a different perspective on Donizetti's character Lucia? “This particular female director and I have both experienced things in our personal lives that are similar. Whether it be in a relationship or even a situation with a family member, we were able to better communicate what we wanted with the audience about Lucia.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now Resources Nadine Sierra — Made for Opera (Amazon) Nadine Sierra — Made for Opera (DG Store) Nadine Sierra (official site)
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