Christine Schäfer

Christine Schäfer established probably one of the most stellar professions of any youthful German soprano in the 1990s and became known on her behalf sensational performing and her mastery of an array of repertory and designs. She signed up for the Berlin Conservatory in 1984 and analyzed with Ingrid Figur, whom she considers her main instructor and credits with providing her a company technical basis and a knack for obvious projection of German terms. She analyzed with American soprano Arleen Augér who, Schäfer stated, taught her how exactly to provide total focus to the task of understanding a musical compossition. Of composer Aribert Reimann, another of her educators, she says, “His music is usually fantastic, so that as a instructor he is a lot more therefore.” From him she discovered lieder interpretation. She also experienced grasp classes with Dietrich Fischer-Dieskau and Sena Jurinac. After earning several prestigious awards, she made an extremely acclaimed recital debut in the Berlin Celebration in 1988, performing Reimann’s routine Nachträume, and begun to establish a guaranteeing recital and concert profession. She’s sung in European countries using the Gächinger Kantorei, the Windsbacher Knabenchor, the Stuttgarter Hymnus Chorknaban, the RIAS Kammerchor, the Cologne Chamber Orchestra, the Amsterdam New Sinfonietta, and Musica Antiqua of Cologne. Her concert and recital profession included a debut using the Boston Symphony Orchestra in Mahler’s Symphony No. 4 in Boston and NY with Seiji Ozawa performing. Various other conductors with whom she’s proved helpful are Sir Charles Mackerras, Uwe Gronostay, Wolfgang Schafer, Leopold Hager, Nikolaus Harnoncourt, Sir Simon Rattle, Helmuth Rilling, and Dietrich Fischer-Dieskau. She actually is energetic on the celebration circuit, with performances on the Baroque Celebration in Würzburg, the Oregon Bach Celebration, the Bach Celebration of LA, the Salzburg Mozart Week, as well as the Ansbach Bach Week. Her operatic debut is at 1991 as Papagena in Mozart’s Magic Flute on the Théâtre du Monnaie in Brussels. Shortly she sang Pamina in the same creation when it had been provided in Salzburg, Zerlina (Don Giovanni) and Gilda in Verdi’s Rigoletto in Bern, and Berg’s Lulu in Innsbruck, with stage path by Brigitte Fassbaender. Her American operatic debut was using the SAN FRANCISCO BAY AREA Opera throughout their Strauss Celebration of 1993, when she made an appearance as Sophie in Der Rosenkavalier and as Zdenka in Arabella on the Houston Grand Opera, executed by Christoph Eschenbach. Her debut on the Metropolitan Opera in NY is at the 2000-2001 period. She moved in to the initial rank of German opera superstars when she made an appearance in Peter Mussbach’s questionable creation of Lulu on the Salzburg Celebration in 1995, her debut function in that Celebration. When she came back two years afterwards, it was inside a significantly different part, Konstanze in Mozart’s Die Entführung aus dem Serail. Additional roles she’s sung are the name part in Donizetti’s Lucia di Lamermoor (Welsh Country wide Opera); Elisa in Mozart’s Il Rè Pastore (Amsterdam); Tytania in Britten’s A Midsummer Night’s Desire (Tel Aviv); Infantin in Der Zwerg by Zemlinsky in the Paris Opéra-Bastille; Zerbinetta in Strauss’ Ariadne auf Naxos (Houston); and Reimann’s THE HOME of Bernarda Alba in Munich. She’s appeared on many discs in Graham Johnson’s Hyperion Schubert series as well as for the label also documented a single recital of Robert Schumann tunes, also with Johnson.