Country / Pays : Management : France
Vocalists : Mezzos

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Biographie :

Avec son timbre particulier, de couleur sombre et l’étendue exceptionnelle de son registre vocal, elle est considérée comme l’un des rares contraltos authentiques de notre temps. Lauréate de plusieurs grands concours, y compris le Tchaïkovski, elle a reçu sa formation musicale uniquement à l’Académie Chopin de Varsovie.
Son répertoire va des œuvres baroques à Penderecki en passant par le bel canto rossinien, les sombres héroïnes verdiennes et straussiennes, les compositeurs russes et romantiques. Elle s’est produite dans les grands théâtres d'opéra : La Scala, le Met, Covent Garden, le Châtelet, Deutsche Oper, Liceo de Barcelone, Teatro Real… Depuis 1978 elle est soliste du Grand Théâtre de Varsovie - Opéra National.
Récitaliste passionnée, on a pu l’entendre notamment à Carnegie Hall et Lincoln Center, au Wigmore Hall de Londres, au Théâtre des Champs Elysées et à la Philharmonie de Varsovie.
Parmi ses enregistrements, une douzaine de CD ont reçu des prix prestigieux. À noter ses participations aux intégrales Deutsche Grammophon Archiv de Marc Minkowski : Armide de Gluck (La Haine) et Ariodante de Handel (Polinesso).
Ses projets immédiats : Marquesa de Berkenfield (La Fille du Régiment) à Covent Garden et Erda au Teatro del Liceo.

Biography :

With a distinctive voice of staggering range, agility and amplitude, Warsaw-born Ewa Podles is widely regarded as the world’s foremost contralto. Her engagements include the Seattle Opera (title role of Händel’s Giulio Cesare, Adalgisa in Bellini’s Norma and Erda in Wagner’s Ring cycle); San Diego Opera (Cesare; upcoming Marquise in Donizetti's La fille du Regiment); San Francisco Opera (Principessa in Puccini's Suor Angelica), Canadian Opera Company (Cesare, Jocasta in Oedipus Rex, Klytämnestra in Elektra and title role of Rossini’s Tancredi); Houston Grand Opera (Ulrica in Verdi’s Un Ballo in Maschera and the Marquise); Dallas Opera (Bertarido in Händel’s Rodelinda and Erda); Milwaukee’s Florentine Opera (Azucena in Verdi’s Il Trovatore), Michigan Opera Theatre (Ulrica) and Minnesota Opera (Malcolm in Rossini’s La donna del lago). In fall 2008 New York heard her triumphant return to the Metropolitan Opera as La Cieca in La Gioconda and Chamber Music Society of Lincoln Center debut in a program of Respighi's Il Tramonto and Haydn's Arianna a Nasso. This same season included recitals with Garrick Ohlsson in Baltimore and Québec; and the Countess in Pique Dame at the Opera de Monte Carlo. Her current season includes Prokofiev’s Alexander Nevsky with L’Orchestre du Capitole de Toulouse, Klytämnestra in Warsaw and Nice, and Massenet’s Cendrillon at Paris’ Opéra Comique and the Royal Opera, Covent Garden. Past appearances at New York’s Carnegie Hall include Gluck’s Orphée et Eurydice with the Oratorio Society of New York, Ulrica with the Collegiate Chorale, baroque and Rossini programs with the Moscow Chamber Orchestra, Das Lied von der Erde with the Philadelphia Orchestra; and Szymanowski’s Three Hymns with Sinfonia Varsovia. Of special note were sensationally received performances of Rossini’s cantata Giovanna d’Arco with the Moscow Chamber Orchestra (in Pittsburgh and at Lincoln Center’s Avery Fisher Hall) and Toronto Symphony; and Tancredi in concert with the Detroit Symphony under the auspices of the University Musical Society in Ann Arbor, Michigan, which previously presented her in recital as well as in an acclaimed, semistaged version of Orfeo. She has sung principal roles at the Deutsche Staatsoper Berlin and Deutsche Oper Berlin; Frankfurt Alte Oper; Gran Teatre del Liceu; Teatro Bellini; La Scala; La Fenice; Teatro San Carlo; Warsaw’s National Theatre; Théâtre Châtelet and Opéra Bastille. She is since 1978 a member of Warsaw's Teatr Wielki. In addition to her rigorous operatic calendar, Mme. Podles is one of the most acclaimed recital and concert performers in the world. She has been guest soloist with the Saint Paul Chamber Orchestra under Nicholas McGegan (baroque arias); the San Francisco Symphony (for both the Verdi Requiem and Prokofiev’s Alexander Nevsky, under Donald Runnicles and Libor Pešek, respectively); Detroit Symphony (Mahler’s Second Symphony and Das Lied von der Erde, both with Neeme Järvi); Seattle Symphony under Gerard Schwarz (Mahler #3); and Montreal Symphony (a Berlioz/Gluck program under Charles Dutoit and Kindertotenlieder under Antonin Wit). Other orchestral credits include the Maggio Musicale Fiorentino and National Arts Centre Orchestras; National Orchestra of Spain; Pittsburgh, American, Toronto, NHK Tokyo and New World Symphonies; Hong Kong and Dresden Philharmonics; under such conductors as David Atherton, Leon Botstein, Myung-Whun Chung, Armin Jordan, Lorin Maazel, Constantine Orbelian, Alberto Zedda and Pinchas Zukerman. A particularly acclaimed recitalist, she has been on the major art-song series of Cleveland, Atlanta, Vancouver, Philadelphia, St. Paul, Chicago, Paris, Amsterdam, London, Toronto, Moscow, Warsaw, Montreal, San Juan, Québec and New York (Alice Tully Hall and the 92nd Street Y). Festival invitations include New York’s Bard Festival, Aix-en-Provence, Flanders, Montpellier and Lanaudière. At Caramoor she has sung both Azucena and Tancredi. Her many collaborations with Marc Minkowski and Les Musiciens du Louvre includes two Deutsche Grammophon recordings: Händel’s Ariodante and Gluck’s Armide. Other recent issues include two acclaimed Delos recordings: Händel’s Arias and Russian Arias. She has made three recital discs with the pianist Garrick Ohlsson, including a new release recorded live at Wigmore Hall. Mme. Podles' vocal study was with Alina Bolechowska at Warsaw's Chopin Music Academy. Awards include top prizes at Moscow's prestigious Tchaikowsky Competition

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lundi 23 mai 2022