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Jochen Kowalski

Jochen Kowalski is among the most important countertenors of his era, but his somewhat smaller timbre — sort of mezzo or alto factor inside the countertenor range — distinguishes his tone of voice in a manner that models him aside from the majority of his competitors. He will not attain his higher range through falsetto performing, but through the greater natural modal tone of voice. Besides his significant vocal abilities, Kowalski is recognized as among the finest stars for the operatic stage. His repertory can be broad, as well: though he provides traversed very much Baroque fare, from J.S. Bach cantatas, Handel operas and oratorios (Giulio in Giulio Cesare, Giustino, Daniel in Belshazzar, etc.), and Gluck’s Orfeo (his preferred function), he in addition has used on Mussorgsky (Fyodor in Boris Godunov), Johann Strauss II (Orlovsky in Die Fledermaus), and Britten (Oberon within a Midsummer Night’s Fantasy). But he provides ventured into modern opera, aswell, especially as Creon in the 1995 premiere of Rolf Liebermann’s Freispruch für Medea. Kowalski provides made many recordings pass on over many brands, including Capriccio, Philips, Teldec, Berlin Classics, and ArtHaus Musik. Jochen Kowalski was created in Wachow, (East) Germany, on January 30, 1954. From 1977, he educated being a tenor at Berlin’s Hanns Eisler Music Conservatory, but by his 1981 debut as an apprentice in Wagner’s Die Meistersinger on the Komische Oper in Berlin, he previously begun singing being a countertenor. Kowalski continuing singing on the Komische Oper also after his 1983 graduation. He debuted on the Hamburg Opera in 1984 as Daniel within a staged display of Handel’s oratorio Belshazzar. Even more essential debuts would soon follow, including in the Vienna Condition Opera (1986) as Giustino, holland Opera (1987), Paris Opera (1988), with Covent Backyard, but using the touring Komische Oper (1989). In the mean time, his recordings had been producing headway: his 1987 Capriccio Compact disc of Handel and Mozart arias drew many accolades, nonetheless it was most likely his portrayal of Gluck’s Orfeo, also on Capriccio (1989), that helped make him a global celebrity. Kowalski debuted with great achievement in the Met in 1994 as Orlovsky and came back there in the same part the following 12 months. In the second option 1990s he proved many critically acclaimed recital discs, like the 1997 Schubert Die Schöne Müllerin on Capriccio as well as the 1998 Berlin Classics collection Jochen Kowalski Sings Airs. In the brand new century Kowalski continued to be active at main operatic locations and concert halls.

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