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Kerstin Meyer

Swedish mezzo-soprano Kerstin Meyer enjoyed a complete and satisfying career through great intelligence and using a tone of voice of great, if nearly first-rate, quality. Her device, not large but relatively dark in coloration, was occasionally betrayed by an unequal and pronounced vibrato. However her stage existence was riveting more than enough to create that issue basically disappear, specifically in leading assignments of dramatic stature. Meyer was also a persuasive recitalist. Meyer’s research were extensive, initial in Stockholm with Andreyeva von Skoldonz and Arne Sunnegaardh, and afterwards in Salzburg, Rome, Siena, and Vienna. Upon her 1952 debut as Azucena at Stockholm’s Royal Opera, she became a member of the permanent firm. When Wieland Wagner’s 1959 Hamburg creation of Carmen made a mix in the globe press, it had been as very much for Meyer’s intellectually harmful protagonist for Wagner’s enhancements. Her attractive, slim appearance and histrionic presents led to many leading assignments in globe premieres. In three successive years from 1966, she sang Mrs. Claiborne in Gunther Schuller’s The Visitation, Alice in Alexander Goehr’s Arden Must Die, and Gertrude in Humphrey Searle’s Hamlet, all in the significantly progressive Hamburg firm. Meyer’s Dido at Covent Backyard in 1960 have been much less effective: histrionically, it had been compelling, but vocally it had been lacking poised, traditional performing. Still, her profession brought a lot more premieres and developing understanding among leading conductors. In 1961, Meyer acquired made herself pleasant on the Glyndebourne Celebration as Carolina in Henze’s Elegy for Youthful Lovers. She eventually appeared in assignments which range from Octavia in Monteverdi’s L’Incoronazione di Poppea to Clairon in Strauss’ Capriccio. In 1966, Meyer was Agave in the globe premiere of Henze’s The Bassarids at Salzburg. She was selected for Elisabeth in the 1970 premiere of Nicholas Maw’s The Increasing from the Moon at Glyndebourne, and in 1973, she sang for Glyndebourne a unforgettable Old Woman name function in the initial English creation of Einem’s Der Besuch der alten Dame. In the first ’60s, Meyer made an appearance in the Metropolitan Opera, which provided her much less dramatically suitable fare. Her Orfeo, like her London Dido, was discovered seeking in vocal polish. From 1962 to 1965, she was a normal in the Bayreuth Event. Meyer’s 1962 SAN FRANCISCO BAY AREA Octavian (to Schwarzkopf’s Marschallin) was both well sung and ardently acted.

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