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Edith Wiens

Canadian soprano Edith Wiens initially forged a status abroad in the concert hall, largely due to her several acclaimed appearances using the Berlin Philharmonic Orchestra. But she also offered many extremely praised recitals somewhere else across European countries. Wiens was a member of family late-comer to opera, though, producing her main debut in 1986 at Glyndebourne performing Donna Anna in Mozart’s Don Giovanni. Thereafter, she well balanced her career combining in opera with concert function and recitals. In opera she’s tended to favour Mozart, but her repertory normally is quite wide, consuming lieder by Schubert, Schumann, Brahms, and Richard Strauss; people by Mozart and Beethoven; Haydn’s The Creation; Mahler symphonies; Gershwin and Stephen Foster tunes; and different folk tunes and carols. Wiens continues to be broadly praised for the wonder of her vocal firmness, the clearness of her diction, as well as the cleverness of her phrasing. A Grammy and Diapason d’Or prize winner, she’s documented for EMI, Philips, Telarc, and Erato. Edith Wiens was created in Saskatoon, Canada, on June 9, 1950. Her dad was a Mennonite minister and youthful Edith studied on the Bible University in Vancouver and afterwards on the Hochschule für Musik in Hanover, Germany. She graduated in 1974, and enrolled at Oberlin University, where she gained a master’s level in 1976. She afterwards had taken vocal lessons privately with Ernst Haefliger in Munich. After her 1979 initial prize win on the Robert Schumann Music Competition in Zwickau, Wiens set up a busy profession in Europe, specifically in Germany. From 1981-1886 she produced 14 appearances using the Berlin Philharmonic Orchestra. During this time period she also sang using the Leipzig Gewandhaus Orchestra in two J.S. Bach concerts (1985). Pursuing her 1986 Glyndebourne debut Wiens became a familiar encounter at other essential operatic locations, including La Scala, Amsterdam Opera, as well as the Teatro Colón in Buenos Aires. She offered extremely acclaimed recitals in Moscow in 1989 and 1990. 1990 was also the entire year she received a Grammy Honor for her saving of Schumann’s Das Paradies und pass away Peri. From about the first ’90s, Wiens started making more regular appearances in THE UNITED STATES: her Toronto recital debut arrived in 1994 and her 2000 appearance with the brand new York Philharmonic in Mendelssohn’s St. Paul drew rave notices. In the brand new century Wiens continued to be active like a vocalist, but also acts within the faculties from the Munich Hochschule für Musik as well as the Hochschule für Musik, Nürnberg-Ausburg Abt. Augsburg.

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