THE SONGBIRD: Born in Michigan in 1955, Cheryl Studer began voice lessons at age 12 attended high school at the Interlochen Arts Academy, graduating from there in 1974. Studer received a degree in vocal performance from the University of Tennessee in 1979. Competition awards during this time included the High Fidelity/Musical America Award in 1977, the Metropolitan Opera National Auditions in 1978, and the Franz-Schubert-Institut-Preis in 1979. While studying in Germany with Irmgard Seefried and Hans Hotter, Studer decided to stay in Europe for further study and to launch her career. In 1981, Studer became a member of the Bavarian State Opera in Munich, then worked as a company member in Darmstadt, Braunschweig, and Berlin. Her break-through came in 1985 as Elisabeth in "Tannhäuser" at the Bayreuth Festival. The positive international attention prompted offers for a series of high profile debuts: Micaela in Chicago (her U.S. debut in 1986) and at the Met (1988), Pamina and Agathe in Paris, Elisabeth again in London, Donna Anna at La Scala, and Chrysothemis in Vienna and Salzburg. Throughout the 1990s Studer appeared in prominent opera houses in a wide range of repertoire including Marschallin, Arabella, Ariadne, Odabella, Aida, Elsa, Sieglinde, Elettra, Violetta, Leonore, and Rosalinde and was featured in many high profile studio recordings of complete works and solo recital discs. Studer made her debut as Lucia in Philadelphia on October 23, 1989, with Edoardo Muller conducting; Jody Kidwell appears in this clip as Alisa.
THE MUSIC: Donizetti's "Lucia di Lammermoor" has become one of the quintessential operas for a coloratura soprano -- it's one of the most widely produced bel canto operas in the world and the title character is a benchmark role for this voice type. Donizetti composed it in 1835, which was a peak of his artistic and popular success -- Rossini had recently retired, Bellini had just died, and Verdi had not yet had his first premiere ("Oberto" in 1837). Based on Walter Scott's novel, the opera premiered in Naples. The plot in a nutshell: after being tricked into marrying a man she doesn't love, and lied to that her true love has betrayed her, Lucia loses her mind and murders the groom on her wedding night. The mad scene near the end of the opera is justifiably a famous bel canto tour de force, but Lucia's entrance aria and cabaletta is also a haunting showpiece, setting up the dark, gothic mood of the opera and Lucia's borderline bipolar personality, from brooding visions of ghosts ("Regnava nel silenzio") to ecstatic declarations of love ("Quando rapito in estasi").
Информация по комментариям в разработке