Alessandra Marc - Opera Roles

Opera Roles

  • Aïda, Aïda (Verdi)
  • Anita, Jonny spielt auf (Ernst Krenek)
  • Bianca, Eine florentinische Tragödie (Alexander von Zemlinsky)
  • Brünnhilde, Die Walküre (Wagner)
  • Ariadne, Ariadne auf Naxos (Richard Strauss)
  • Chrysothemis, Elektra (Richard Strauss)
  • Elektra, Elektra (Richard Strauss)
  • Elisabeth, Don Carlo (Verdi)
  • Giannetta L'elisir d'amore (Donizetti)
  • Ismene (Elettra), Idomeneo (Mozart) (reset by Richard Strauss)
  • Iphigenia, Iphigénie en Tauride (Gluck) (reset by Wagner)
  • Lady Cifford, Henry Cifford (Isaac Albéniz)
  • Lisabetta, La cena delle beffe (Giordano)
  • Maria, Friedenstag (Richard Strauss)
  • Mariana, Das Liebesverbot (Wagner)
  • Salome, Salome (Richard Strauss)
  • Sieglinde, Die Walküre (Wagner)
  • Silvana La Fiamma (Ottorino Respighi)
  • Tosca, Tosca (Puccini)
  • Turandot, Turandot (Puccini)

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Famous quotes containing the words opera and/or roles:

    “If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
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    “Productive collaborations between family and school, therefore, will demand that parents and teachers recognize the critical importance of each other’s participation in the life of the child. This mutuality of knowledge, understanding, and empathy comes not only with a recognition of the child as the central purpose for the collaboration but also with a recognition of the need to maintain roles and relationships with children that are comprehensive, dynamic, and differentiated.”
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