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June Anderson


June Anderson became among the leading coloratura soprano singers within the 1980s, hailed as a successor to Joan Sutherland and Beverly Sills. (When she fulfilled Sutherland, the Australian diva described the very similar width of the jaws and quipped, “I’m informed the E flats are for the reason that jaw!”) Anderson started acquiring singing lessons when she was eleven. She got into the Metropolitan Opera Country wide Auditions at age seventeen and became the youngest person ever to be always a finalist for the reason that competition. She got a standard college or university education, majoring in French at Yale, where she graduated with honors. After that she visited New York, established that “. . . if in two years’ period I had not been famous I’d go to regulation college.” She says she went out of profit nine weeks and at that time got stubborn about any of it. “I determined I would be considered a vocalist if it wiped out me.” She researched performing privately with Robert Leonard. She produced her stage debut because the Queen of the night time in Mozart’s Magic Flute. (She’s been from the role since; it really is her tone of voice that sings the arias for your personality in Milos Forman’s film Amadeus.) In 1981, she was a Richard Tucker Profession Grant winner, after that was asked to sing Rossini’s Semiramide in the Rome Opera in 1982. Her apparently effortless vocal creation, excellent agility, and buzzing clear tone, and also a commanding and natural-looking stage existence made the looks a success, resulting in engagements in just about any major opera home of European countries and america. Anderson can be the very first non-Italian to earn the annual Bellini d’Oro vocal reward. She became known not merely on her behalf portrayals of regular coloratura parts — in operas such as for example Rigoletto, I Lombardi, La donna del lago, I Capuleti ed i Montecchi, and La Sonnambula. Her acclaimed tasks consist of Rosalinde in Johann Strauss’ Die Fledermaus; Desdemona in Otello; and Gilda in Rigoletto (her Metropolitan Opera debut part, singing opposing Pavarotti). She became known on her behalf willingness to attempt unusual tasks for recordings, such as for example Dafne in Il Nascimento dell’aurora by Albinoni (Erato, 1983); Madeleine in Le Postillon de Longjumeau by Adam (EMI, 1985); and Eudoxie in La Juive by Halévy (1986, 1989 Philips). She was selected by Leonard Bernstein to record the part of Cunegonde in his definitive model of Candide. June Anderson provides appeared on nationwide tv in Metropolitan Opera starting galas, with an Arts and Entertainment Leonard Bernstein birthday concert, within the Bernstein Tribute by John Williams as well as the Boston Pops, and in a Metropolitan Opera transmit of Semiramide. Within the docu-drama The Queen of Melody, she portrayed the renowned nineteenth-century vocalist Adelina Patti.

Quick Facts

Full Name June Anderson
Profession Singer
Education Yale University
Nationality American
Awards Grammy Award for Best Classical Album
Music Songs Ah! Mes Amis, Candide: Glitter and Be Gay, Chacun le sait, Pour une femme de mon nom, Pour me rapprocher de Marie, Il Rimprovero, Tous les trois réunis, Le jour naissait dans le bocage, Rossini: Dal tuo stellato soglio, So hore, mein Leukippos, Kleontes!, Alluberall bluht Dionysos, Seid ihr um mich, Ich komme - ich komme, Sehr ruhig, Jeden heiligen Morgen, Leb wohl, du Tag, Furchtbare Schmach dem Gotte!, Daphne - Gespielin …, Leukippos, du!, La Pastorella delle Alpi, La Serenata, La Partenza, La Pesca, La Promessa, La Gita in gondola, Was erblickei ich?, Rataplan, rataplan, Orff: Carmina Burana / 3. Cour d'amours - "Dulcissime", Verdi: Rigoletto / Act 1 - Scena ed Aria. "Gualtier Maldè" - "Caro nome", Beethoven: Symphony No.9 in D minor, Op.125 - "Choral" - 4. Presto - Allegro assai, Ei, so fliegt sie vorbel
Albums Carmina Burana, Mosè in Egitto, Verdi: I Lombardi, Rossini: Maometto II, Strauss, R.: Daphne, Rossini Scenes, Hamlet, Le Postillon de Lonjumeau, Rigoletto [Highlights], Halévy: La Juive, Rossini: La donna del lago
Movies Leonard Bernstein: Candide, Ode to Freedom: Beethoven: Symphony No. 9, Strauss: Daphne, Rossini: La Donna del Lago: Riccardo Muti, Semiramide: Rossini: Metropolitan Opera, Luisa Miller

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1 Her opera-season training regimen is to drink three litres of water a day, watch her salt intake, and abstain from wine.
2 Often compared with Australian soprano Joan Sutherland.
3 Has green eyes and natural auburn hair.
4 She said in an interview that her hobbies include clothes shopping, antiques collecting, and art.
5 Luciano Pavarotti insisted that she sing the role of Gilda in "Rigoletto," in its November, 1989, Metropolitan Opera performance, while he sang as the Duke of Mantua. June Anderson said in a 1989 New York Times interview, "You have small-voiced sopranos chirp 'Caro nome' and then they can't be heard. Besides, how many times can you say no to the Met? Their past offers have been either for unsuitable roles or ones in the second cast."
6 Opera singer (soprano).



Daphne 2005 Video Daphne
Norma 2001 TV Movie Norma
La donna del lago 1992 TV Movie Elena
Candide 1991 TV Movie Cunegonde
Rigoletto 1991 TV Movie Gilda
The Metropolitan Opera Presents 1990 TV Series Semiramide
Ricciardo e Zoraide 1990 TV Movie Zoraide
Luisa Miller 1988 TV Movie Luisa Miller
Amadeus 1984 Queen of the Night in 'The Magic Flute' (singing voice, uncredited)
Lucia di Lammermoor 1983/II TV Movie Lucia (soprano)



The Metropolitan Opera Presents 1991 TV Series performer - 1 episode
Amadeus 1984 performer: "Die Zauberflöte The Magic Flute, K620, Aria No. 14, Der Holle Rache Kocht" 1791 - uncredited



God Bless the Child 2015 thank you: and family



Oh My Father 2016 Documentary short June
Helmut by June 2007 TV Movie documentary Herself
The Kennedy Center Honors: A Celebration of the Performing Arts 2001 TV Special Herself
The Metropolitan Opera Presents 1991-1996 TV Series Herself / Surprise Guest at Prince Orlofsky's party
The Berlin Celebration Concert 1989 TV Movie documentary Herself (soprano)
Great Performances 1989 TV Series Herself
Evening at Pops 1970 TV Series documentary Herself (1991)

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1 [on switching from light coloratura roles:] It's the same direction, it's just getting into deeper water. I wanted to put it off as long as possible. I kept saying, and it's been quoted so many times, I didn't want to do "Normina. I wanted to do Norma. And Leonora. I didn't want to sound like a soubrette trying to do these things. I've done things like Il Corsaro and La Battaglia di Legnano very early in my career, so Verdi's always been a presence. I did mostly Rigolettos and Traviatas, and then I added Desdemona a few years ago. ... So I suppose Leonora would be next in line. [Opera News, 14 February 1998)]
2 I had had it. I went back to school, and that was that. 'No great loss,' I said to myself. 'I have half a brain. It's a total waste of a brain to be a singer.'" [But after graduating cum laude with a B.A. degree in French literature from Yale University in 1974, she determined to be a professional singer after all:] No one wanted to know my name. I was down to my last $50. That's when I decided I was going to be a singer if it killed me! [interview for Opera News, August 1986]
3 [on joining the New York City Opera, from 1977 to 1982:] "It was certainly not a happy experience, but it may have been a necessary one, because I now feel that if I survived that, I can survive anything."
4 Now that I've become fluent in the [Italian] language, a whole world has opened up to me. Subtleties of speech become yours, allowing your projection of the words to color the music. It's had a big effect on my interpretations.
5 People who should be singing in church choirs are singing major roles. In some ways, success is harder to deal with than not being successful. A Verdi soprano? Grab her! Opera has become like instant soup; just add boiling water and people think it's there. [1990]

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