DvoÅ™ák: Zigeunermelodien, Op. 55, B. 104
Strauss: Acht Lieder aus Letzte Blätter, Op. 10 [Selections]
Barber: Hermit Songs, Op. 29
Ives: The Things Our Fathers Loved; The Side Show; Songs My Mother Taught Me; Memories; Berceuse; Slugging a Vampire; The Circus Band
Roberta Alexander, soprano
Among the most compelling singing actresses of our time, the admired black American soprano, Roberta Alexander, enjoys international renown for her riveting, incisive characterizations, miraculous vocal and dramatic range. She was reared in a musical family. She studied at the University of Michigan in Ann Arbor from 1969 to 1971, receiving M. Music in 1971, and with Herman Woltman at the Royal Conservatory of Music at The Hague.
Roberta Alexander appeared as Pamina at the Houston Grand Opera in 1980, as Daphne in Santa Fe in 1981, and as Elettra in Idomeneo in Zí¼rich in 1982. Following a tour of Europe, she made a successful debut at the Metropolitan Opera in New York as Zerlina in November 1983. Among the operatic heroines she has unforgettably portrayed are the title role of Janacek's Jenufa (a Glyndebourne production), Mimí¬ in Puccini's La Bohème, and especially the great Mozart heroines: Fiordiligi in Cosí¬ fan tutte, Donna Elvira in Don Giovanni and Vitellia in Mozart's La Clemenza di Tito, the latter a major success with both the public and the press at the Glyndebourne Festival. In addition she has performed principal roles at New York's Metropolitan Opera, the Royal Opera House/Covent Garden, and the major Houses of Berlin, Hamburg, Vienna, Zurich and Venice. In January 1999, Roberta Alexander sang concert performances of Jenufa, Act 2 with Sir Simon Rattle and the Philadelphia Orchestra, in Philadelphia and at New York's Carnegie Hall. Other recent North American highlights includes a Washington, D.C. recital on the distinguished Vocal Arts Society series and Britten's War Requiem with the Utah Symphony under its Music Director Keith Lockhart, both receiving rapturous critical acclaim.
Equally esteemed as an orchestral soloist, Roberta Alexander recently enjoyed particular success performing Ravel's Shéhérazade with André Previn and the NDR Sinfonieorchester, telecast throughout Europe. She has also performed with the Vienna, London and Royal Philharmonics; Royal Concertgebouw, Philadelphia, Cleveland and Bavarian Radio Orchestras; Cincinnati, Atlanta and Dallas Symphonies; and collaborated with such distinguished conductors as Vladimir Ashkenazy, Andrew Litton, Bernard Haitink, Sir Colin Davis, Nikolaus Harnoncourt, James Levine, Zubin Mehta, Carlo Maria Giulini, Leonard Slatkin, Jesus Lopez-Cobos, Edo De Waart and David Zinman. She recently reunited with Seiji Ozawa and the Boston Symphony Orchestra for Mendelssohn's Midsummer Night's Dream and Tchaikovsky's Romeo & Juliet and the rapturously-received world premiere of Kirchner's Of things exactly as they are. In addition she sang Copland's In the Beginning with Michael Tilson Thomas conducting the San Francisco Symphony.
An uncommonly communicative recitalist, Roberta Alexander has offered acclaimed programs at New York's Carnegie Recital Hall, the Philadelphia Chamber Music Society, the Vienna Musikverein, London's Wigmore Hall and the Amsterdam Concertgebouw. An especially ardent and persuasive interpreter of American masterworks, her latest recordings include Songs My Mother Taught Me and With You (the latter an anthology of Broadway songs).
Roberta Alexander's voluminous discography on the Etcetera, Philips, Sony, Teldec and BMG reflects her astonishing mastery of varied vocal styles: songs by Barber, Mozart, Bernstein, Ives, Copland, Strauss, Castelnuovo-Tedesco, Puccini and Villa-Lobos; Handel's Giulio Cesare, Apollo e Daphne, Samson and Theodora; Mozart's Don Giovanni and Idomeneo; and such rarities as Goldschmidt's Der Gewaltige Hahnrei and Beatrice Cenci, Heppener's Four Songs of Ezra Pound and an Edison-winning recording of Andriessen's Songs with Orchestra.
Has no next concerts
DvoÅ™ák: Zigeunermelodien, Op. 55, B. 104
“She sang with intense personal involvement, a tone both sweet and plaintive, and a deep sensitivity to the power and meaning of the words.”
“The singing of Roberta Alexander, in the soprano part, went beyond them to touch the very soul of the music.”