This American soprano, lithe and blond, struck those that heard her early in her career as getting the potential to become formidable singer of Wagner and Strauss. Jeannine Altmeyer provides largely satisfied that guarantee, although her device did not develop to complete heroic proportions. In the much less cavernous gets to of European homes, she has created ample levels of build; also in Chicago and NY, it’s been noticeable that hers is normally a large tone of voice with estimable having power which its sound is normally firm and frequently quite beautiful. Explaining herself being a California gal, Altmeyer studied initial with Betty Olssen and afterwards on the Music Academy from the Western world at Santa Barbara with Martial Singher and Lotte Lehmann. Using the previous baritone, she underwent some tough situations as the well-disciplined and stylistically delicate Singher forced her to become more centered on her research and to function harder. After further research with Lehmann in European countries and with George London, Altmeyer received the Metropolitan Opera Country wide Auditions in 1970 and was involved to create her Metropolitan debut as the Celestial Tone of voice in Don Carlo on Sept 25, 1971. Her Chicago debut occurred less than 8 weeks down the road November 13 when she sang the part of Freia in Wagner’s Das Rheingold. Customers listened keenly to her sizeable, lustrous tone of voice as they appeared approvingly at what they seen as a budding Wagnerian goddess. When the Lyric Opera installed Die Götterdämmerung in 1974, Altmeyer was back again, this time around as Gutrune and sounding a lot more like a potential Brünnhilde. On her behalf European debut on the 1973 Salzburg Celebration, Freia was once again the role since it was for the Zurich Opera in 1975. From 1975, Altmeyer was involved in Stuttgart and during her fifty percent decade there is assigned the part of Sieglinde for the questionable Boulez/Chéreau Ring routine celebrating the 1976 Bayreuth Festival centenary. Combined using the thick-voiced but good looking Peter Hoffmann as Siegmund, Altmeyer produced a significant impression, bolstered by global broadcast from the production accompanied by commercially released audio and video recordings. Within many years of her Bayreuth debut, Altmeyer was performing Brünnhilde, starting all three incarnations for Marek Janowski’s essential Ring documenting for Eurodisc. Her set of Wagner heroines found consist of Eva, Elisabeth, and Elsa, aswell as Wotan’s child and Isolde. Her Leonore in Fidelio was noticed on-stage at La Scala after having been documented many years before. Additional roles from your German Intimate period, early and past due, reach from Weber’s Agathe to Strauss’ Chrysothemis. In the Metropolitan Opera, she’s sung Sieglinde, the Walküre Brünnhilde, and Leonore. Through the 1997 – 1998 time of year, she was re-engaged for Venus in Tannhäconsumer. While Altmeyer’s tone of voice is usually sizeable, it hasn’t achieved that last amount of complete heroic quantity and body and the low register is usually slighter in dimensions than those of such performers as Flagstad, Traubel, and Varnay. During one efficiency of Die Walküre, the vocalist gave an excessive amount of tone of voice in the low-lying 4th scene of Work II on the set with out a backdrop and got to depart the efficiency. Still, the vibrant glow she brings to her function has produced her both a convincing Isolde and a energetic warrior maiden. Among her recordings, her Leonore/Fidelio, her three Brünnhildes, her Sieglinde, and her Gutrune are faithfully captured and well-sung.