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Julia Gooding

Julia Gooding is a Uk soprano with a recognised international popularity, particularly in neuro-scientific Baroque and Classical opera. She researched with Johanna Peters on the Guildhall College of Music and Crisis in London. Since college, she has journeyed thoroughly throughout Britain and European countries, and made an appearance in Canada, the U.S., Mexico, and Japan. She actually is best known being a concert and oratorio vocalist. As such, she’s made an appearance in such places and celebrations as London (including Wigmore Hall as well as the South Loan company Festival), Aldeburgh, Belfast, the Country wide Arts Center in Ottawa, Frankfurt, the Innsbruck Festival, Paris, Istanbul, Prague, Warsaw, Amsterdam, NY, SAN FRANCISCO BAY AREA, Glasgow, La Monnaie in Brussels, and Metz. Gooding’s concert repertory contains Handel’s Jephtha, the Monteverdi Vespers, cantatas of Alessandro Scarlatti, Bach’s St. Matthew Interest, Purcell’s Ruler Arthur as well as the Tempest, Mozart’s “Coronation” Mass, Handel’s Judas Maccabaeus, Mozart’s Requiem, Purcell’s Odes for Queen Mary, Haydn’s “Nelson” Mass, Handel’s Theodora, Bononcini’s La gara delle quattro stagioni, Bach’s Magnificat, Vivaldi’s Dixit Dominus, cantatas of William Boyce, John Taverner’s Sappho, and Handel and Bach cantatas. She actually is known for a particular fascination with the music of Linley, and provides documented two discs of his functions. Gooding will not confine herself to Baroque and Classical repertory: she’s been acclaimed for applications of French middle ages music and documented a couple of Tunes for Shakespeare’s Organization around the Hyperion label, and sang in concert Brahms’ German Requiem, Ralph Vaughan Williams’ Hugh the Drover, and Richard Strauss’ Four Last Tunes. She actually is also energetic in early opera overall performance. Roles consist of Romilda in Handel’s Xerxes, Cupid in Blow’s Venus and Adonis, Salome in Stradella’s San Giovanni Battista, the name part in Handel’s Atalanta, Poppea in Monteverdi’s L’incoronazione di Poppea, the elements of Minerve, Giunone, and Amore in Monteverdi’s Il ritorno d’Ulisse in patria, Dido in Purcell’s Dido and Aeneas, Agilea in Handel’s Teseo. Performers and businesses with which Gooding spent some time working are the Opéra-Comique of Paris, Opernhaus Halle, Jean-Claude Malgoire, Trevor Pinnock, Gustav Leonhardt, the RIAS-Kammerchor, Charles Mackerras as well as the British Chamber Orchestra, Florilegium, the Waynflete Performers, London Baroque, holland Bach Culture, the Parley of Devices, the Gabrieli Consort, Nicholas McGegan as well as the Philharmonia Baroque, the Orchestra of age Enlightenment, as well as the Academy of Old Music. She’s documented for Erato, Virgin Classics, L’oiseau-Lyre, Harmonia Mundi, Deutsche Grammophon, and Hyperion.

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