
Gundula Janowitz 贡杜拉·雅诺维兹
贡杜拉·雅诺维兹
G·Janowitz / G·雅诺维兹地区奥地利
类型个人
职业女高音
艺人资料
Gundula Janowitz(born August 2, 1937)[1]is a German-born Austrianlyric sopranosinger ofoperas,oratorios,lieder, andconcerts. She is one of the most renowned opera singers of the 20th century and was pre-eminent in the 1960s and 1970s.
Career
Janowitz was born in Berlin, but grew up inGraz, Austria, where she became anaturalisedAustrian.[2]She studied at theGraz Conservatoryin Austria,[3]and had already begun to sing at the highest level by the end of the 1950s (Haydn'sThe Creation, withHerbert von Karajanin 1960). In 1959, Karajan engaged her as Barbarina in Mozart'sThe Marriage of Figaroat theVienna State Opera, of which she became a permanent member in 1962.
During the 1960s and 1970s, Janowitz became one of the most popular singers in her field internationally and she developed a comprehensive discography of works ranging fromBachtoRichard Strauss. Those eminent conductors with whom she performed included Karajan, but alsoOtto Klemperer,Eugen Jochum,Leonard Bernstein,Rafael Kubelík,Karl Böhm,Georg Solti, andCarlos Kleiber.
One of the emphases of Janowitz's work was the development of song recitals, which she gave several times at theSalzburg Festivals. Following her vocal career, she was active as a vocal teacher. In 1990, she temporarily took over the position of Opera Director in Graz.
In 1978, Janowitz was awarded theJoseph Marx Music Prizeof the state ofStyria, Austria, named for the composerJoseph Marx.Most unusually, she was given the titleKammersängerintwice: first in 1969 in Vienna, and again in 1974 in Berlin.
Janowitz appeared on many of the great stages of the world, includingGlyndebourne Festival Opera, theBayreuther Festspiele, theSalzburg Easter Festivals, theMetropolitan Opera, theParis Opéra, theTeatro alla Scalaand theRoyal Opera House. In 1980, she sang the part of the Countess in a now legendary new production ofLe nozze di Figaro(with Georg Solti as conductor,Giorgio Strehleras director andEzio Frigerioas set designer). Her recording of Schubert'sLiederfor female voice has been twice awarded Germany'sDeutscher Schallplattenpreis.
Janowitz's farewell to the operatic stage was on May 18, 1990, at the Vienna State Opera in the title role ofAriadne auf Naxos(withHeinrich Hollreiseras conductor, andFilippo Sanjust[de]as director and designer). She kept singingLiederrecitals until 1997, when she completely retired from performing. As well as being an honorary member of the Vienna State Opera and of the Academy of Music in Graz, she was appointed an honorary member of theRoyal Academy of Musicin London in 2000.
Voice and repertory
Janowitz's voice is recognizable by its pure,"crystal clear”,"creamy"tone, and rapid vibrato.Like her predecessorMaria Stader, who had similartimbreto hers, and like her contemporary,Elizabeth Harwood, Janowitz mastered first and foremost the high and middle register and lyrical-emotional expression. Despite her comparatively weak sound projection, she occasionally performed in dramatic roles (Sieglinde, Leonore, Elsa) or comic roles (Marzelline, Rosalinde), but she was most highly regarded as Fiordiligi, Countess Rosina Almaviva, Pamina, Agathe, Arabella, Ariadne, the Angel Gabriel (The Creation), Countess Madeleine, and in sacred music.Of her interpretation ofFour Last Songsby Richard Strauss,David Bowiewrote: "AlthoughEleanor SteberandLisa della Casado fine interpretations of this monumental work, Janowitz’s performance [...] has been described, rightly, as transcendental. It aches with love for a life that is quietly fading. I know of no other piece of music, nor any performance, which moves me quite like this."With a few exceptions, she avoided foreign-language roles (although recordings exist of her singingDon Carlosand Verdi'sRequiemand all three Mozart/DaPonteoperas in Italian). An excerpt of her portrayal of theFigaroCountess in theduettino"Canzonetta sull'aria"with Swiss sopranoEdith Mathisfeatures prominently inThe Shawshank Redemption(1994).
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