Harolyn Blackwell - Opera Roles

Opera Roles

To date these are some of the roles Blackwell has performed on the stages of major Opera houses:

  • Adele, Die Fledermaus (Johann Strauss II)
  • Barbarina, The Marriage of Figaro (Mozart)
  • Blondchen, Die Entführung aus dem Serail (Mozart)
  • Clara, Porgy and Bess (Gershwin)
  • Constance, Dialogues of the Carmelites (Poulenc)
  • Despina, Così fan tutte (Mozart)
  • Gilda, Rigoletto (Verdi)
  • Giulietta, I Capuleti e i Montecchi (Bellini)
  • Lakmé, Lakmé (Delibes)
  • Lucia, Lucia di Lammermoor (Donizetti)
  • Marie, La fille du régiment (Donizetti)
  • Marzelline, Fidelio (Beethoven)
  • Nanetta, Falstaff (Verdi)
  • Norina, Don Pasquale (Donizetti)
  • Olympia, Les contes d'Hoffmann (Offenbach)
  • Oscar, Un ballo in maschera (Verdi)
  • Poussette, Manon (Massenet)
  • Sophie, Der Rosenkavalier (Richard Strauss)
  • Sophie, Werther (Massenet)
  • Susanna, The Marriage of Figaro (Mozart)
  • Valencienne, Die lustige Witwe (Franz Lehár)
  • Xenia, Boris Godunov (Mussorgsky)
  • Zdenka, Arabella (Richard Strauss)
  • Zerlina, Don Giovanni (Mozart)

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Famous quotes containing the words opera and/or roles:

    “Opera once was an important social instrument—especially in Italy. With Rossini and Verdi people were listening to opera together and having the same catharsis with the same story, the same moral dilemmas. They were holding hands in the darkness. That has gone. Now perhaps they are holding hands watching television.”
    —Luciano Berio (b. 1925)

    “There is a striking dichotomy between the behavior of many women in their lives at work and in their lives as mothers. Many of the same women who are battling stereotypes on the job, who are up against unspoken assumptions about the roles of men and women, seem to accept—and in their acceptance seem to reinforce—these roles at home with both their sons and their daughters.”
    —Ellen Lewis (20th century)