Edda Moser

Edda Moser became perhaps one of the most prominent and versatile sopranos in the last mentioned decades from the twentieth hundred years. She was effective in standard-repertory operatic jobs, including those of Mozart, Wagner, and Puccini, aswell as in contemporary music, performing functions by Luigi Nono, Wolfgang Fortner, and Bernd Alois Zimmerman. Her tone of voice has been referred to as powerful, in a position to make a deal both coloratura and lyrico-dramatic designs. Moser was created in Berlin on Oct 27, 1938, the girl of well-known musicologist (also novelist and author of minimal differentiation) Hans Joachim Moser. Little Edda exhibited vocal skill by her early teenagers and continued to study on the Berlin Conservatory under Hermann Weissenborn and Gerty König. Her profession began slowly, initial with a function in 1962 on the Deutsche Oper (Kate Pinkerton in Puccini’s Madama Butterfly), after that retreating the next season to sing in the Würzburg Opera chorus. She sang for smaller sized opera businesses in Germany in the mid-’60s, after that using the Frankfurt am Primary Opera, from 1968 to 1971. It had been also in 1968 that she produced her debut on the Metropolitan Opera, performing Wellgunde in Wagner’s Das Rheingold. During her stint in Frankfurt she also started making frequent performances in Vienna and Salzburg, aswell as in a variety of major German metropolitan areas. Her appearances on the Metropolitan Opera became even more regular in the 1970s and early ’80s: she sang eight different jobs there during this time period, and her portrayals, specifically, of Liu, from Puccini’s Turandot; the Queen of the night time (Mozart’s The Magic Flute); and Donna Anna (Mozart’s Don Giovanni) generally drew high compliment. The second option part became something of the personal item with NY viewers: she sang Donna Anna even more times in the Met — 48! — than some other singer ever sold. She made an appearance nine seasons in the Met between 1968-1984. While Moser offers largely been connected with opera during her lengthy profession, she has recognized herself in additional vocal repertory, with shows and recordings in far reaching fare, consuming such varied functions as Beethoven’s Missa Solemnis (documented for DG, Leonard Bernstein performing), Hans Werner Henze’s Cantata della Fiaba Estrema (documented for Orfeo, Leif Segerstam performing), and lieder by Hans Pfitzner. Because the 1980s Edda Moser offers curtailed operatic and recital activity, but a lot of her recordings have already been reissued on EMI, DG, and additional major labels.