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Violeta Urmana

Violeta Urmana offers taken a unique way to stardom for the world’s operatic phases: she 1st studied piano, and after taking on tone of voice in her early twenties, she sang like a somewhat reluctant mezzo-soprano. But, from about age 40, she started the changeover to soprano, creating a lush tone of voice, instantly stunning in its shiny tones and pure power. It isn’t surprising that like a late-comer to vocal research, she produced her main debuts relatively past due: at Bayreuth and La Scala in the 1993-1994 time of year, in the Vienna Condition Opera in 1996, as well as the Met in 2001. Soon after producing her change to soprano, Urmana pondered another, a lot more earth-shaking modification in her profession, when in 2004, urged by important friends, she regarded as running for chief executive of her indigenous Lithuania, where she actually is enormously well-known and highly well known. Like a mezzo, Urmana was popular on her behalf portrayal of Kundry in Wagner’s Parsifal and Eboli in Verdi’s Don Carlo. Her soprano tasks consist of Iphigénie (Gluck’s Iphigénie en Aulide), Isolde, Norma, Female Macbeth (Verdi’s Macbeth), Tosca, and many more. Being a concert vocalist and recitalist, Urmana provides sung a assorted selection of repertory from J.S. Bach to Schoenberg and Berg. She’s appeared on several recordings for most main brands, including DG, Decca, EMI, and Sony. Violeta Urmana (Urmanaviciute) was created in Kazlu Ruda, Lithuania, in 1961. From age group seven she researched piano and later on graduated through the Lithuanian Academy of Music in Vilnius like a talented, though, by her evaluation, not dedicated pianist. After four many years of regional research in tone of voice (like a soprano), she relocated to Munich (1991) for research with Josef Loibl. By 1993 she was getting notice like a mezzo, but discovered her tone of voice was convenient with higher mezzo tasks, like Kundry. Carrying out a vocally taxing efficiency of Azucena (Verdi’s Il Trovatore) in 2000 at La Scala, she made a decision to turn into a soprano. Urmana’s main debuts like a soprano arrived when she sang Sieglinde (Wagner’s Pass away Walkure) in the 2001 Bayreuth Event and Iphigénie (Gluck’s Iphigénie en Aulide) at La Scala in Dec 2002. Thereafter, she obtained triumph after triumph with her fresh tone of voice, including with her 2008 Isolde in Japan using the Opera Bastille, and 2010 appearance in the Met performing Odabella from Verdi’s Attila. Among Urmana’s even more acclaimed recordings may be the 2010 Decca problem of Giordano’s Andrea Chénier, where she sang Maddalena.

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