Top de canções de Lise Davidsen
Mais álbuns de Lise Davidsen
Vídeos de música populares de Lise Davidsen
Wagner: Wesendonck Lieder, WWV 91: No. 3, Im Treibhaus (Orch. Mottl)
Lise Davidsen, London Philharmonic Orchestra & Sir Mark Elder
Beethoven: Ah perfido!, Op. 65: Aria. Adagio (Ed. Herttrich) [Lyric Video]
Lise Davidsen, London Philharmonic Orchestra & Sir Mark Elder
Wagner: Wesendonck Lieder, WWV 91: No. 4, Schmerzen (Orch. Mottl)
Lise Davidsen, London Philharmonic Orchestra & Sir Mark Elder
Fidelio: Op.72: Act I Scene 3: Guten Tag, Marzelline!
Amanda Forsythe, Georg Zeppenfeld, Robin Tritschler, Lise Davidsen, The Orchestra of the Royal Opera House & Antonio Pappano
Tannhäuser, WWV 70 / Act II: Dich, teure Halle, grüß ich wieder (Live)
Lise Davidsen, Festspiel-Orchester Bayreuth & Valery Gergiev
Fidelio: Op.72: Act I Scene 6: Abscheulicher! Wo eilst du hin?
Lise Davidsen, The Orchestra of the Royal Opera House & Antonio Pappano
Fidelio, Op. 72, Act II Scene 5: O namenlose Freude
David Butt Philip, Lise Davidsen, The Orchestra of the Royal Opera House & Antonio Pappano
Wagner: Tannhäuser: Dich, teure Halle, grüß ich wieder
Andris Nelsons, Vienna Philharmonic & Lise Davidsen
Fidelio, Op. 72, Act II Scene 6: Leonore!
David Butt Philip, Lise Davidsen, Georg Zeppenfeld, Simon Neal, Robin Tritschler, Amanda Forsythe, Egils Silins, The Orchestra of the Royal Opera House & Antonio Pappano
Kálmán: Die Csárdásfürstin, Act I: Heia, heia, in den Bergen ist mein Heimatland
Andris Nelsons, Vienna Philharmonic & Lise Davidsen
Sobre Lise Davidsen
Biografia do artista
Blessed with an immense voice, capable of filling any auditorium but also warm and nuanced, with an evenness across its massive compass, the young soprano Lise Davidsen is one of the most thrilling talents to have hit the opera circuit in the past few decades. Born in 1987 in Norway, she launched her career with sudden and decisive impact by winning a grand slam of major vocal competitions—the Queen Sonja (Oslo), the Operalia (London), and the Belvedere (Amsterdam)—all in the same year, 2015. Immediately Glyndebourne, Bayreuth, and the New York Met pitched in with offers. Decca gave her an exclusive contract. And with a memorable Leonore in Fidelio, she confirmed her stardom—just as the pandemic struck, wiping engagements from her schedule. It was a setback but only temporary, allowing her breathing space to rethink what she wanted from her voice, having started out as a mezzo singing Bach and the Baroque before changing to the Wagnerian-scale dramatic soprano repertoire she sings today. Her recent stage roles include Wagner’s Sieglinde (Die Walküre, 1870) and Elisabeth (Tannhäuser, 1845), as well as the title roles in Strauss’ Ariadne auf Naxos (1912) and Janáček's Jenůfa (1904), and Liza in Tchaikovsky’s The Queen of Spades (1890). But she also focuses on song recitals, which were a feature of her high-profile Barbican residency through the first half of 2022, exploring new ways of presenting the material with video and subtitles. Words matter in a song, she says. And they should be accessible on stage, not buried in a program book.
Terra natal
Stokke, Norway
Género
Classical
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