The career of Helga Dernesch has unfolded in four specific segments: mezzo soprano, lyric soprano, dramatic soprano, and, once more, mezzo. Through the middle two stages, the comely soprano was urged by Herbert von Karajan to attempt the heaviest Wagner soprano tasks, assignments actually beyond the method of a vocalist whose vocal pounds was well below that of a Nilsson or Varnay. Ultimately, she was pressured to agonize more than a go back to the mezzo range. After the changeover was produced, she could use her still attractive tone of voice and expand her profession into her mid-sixties. Pursuing studies in the Vienna Conservatory, Dernesch produced her debut at Berne in 1961 performing Marina in Boris Godunov. Engagements in Wiesbaden and Cologne resulted in a agreement at Bayreuth, where she made an appearance for the very first time in 1965. After her preliminary encounter at Bayreuth, she started a changeover to main soprano tasks, 1st Sieglinde (which offered as her Covent Backyard calling cards); later on Brünnhilde, Isolde, and Beethoven’s Leonore. Under Karajan’s ministrations, she became a normal artist in the Salzburg Easter Celebrations from 1969. During those looks, she ready and sang these heroic ladies, constantly with great friendliness and womanliness, if having a tone of voice several decibels lacking the ideal. During this time period, she also developed a much-praised research of Strauss’ Marschallin, performing the part with lovely shade and discovering the right way of measuring pathos. Dernesch’s go back to mezzo tasks was welcomed from the conductors with whom she got collaborated, and she was selected to sing Goneril within the premiere of Aribert Reimann’s Lear in 1978. Sounding vocally refreshed, she begun to assemble a repertory of Wagner and Strauss mezzo assignments and produced her Metropolitan Opera debut in 1985 being a gorgeous, firm-voiced Marina. Her Herodias for the LA Opera in 1998 was greeted with passion and her portrayal from the name function in Reimann’s Bernarda Albas Haus in Munich was acclaimed as another gripping theatrical accomplishment. Dernesch documented Leonore, the Siegfried, Götterdämmerung’s Brünnhilde, and Isolde with Karajan. Her engaging Goneril can be preserved on industrial disc.
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