Opera
Holzmair spent about six years with opera companies in Bern (Bern Theatre) and Gelsenkirchen (Musiktheater im Revier) before successes in Udo Zimmermann's The White Rose and Claude Debussy's Pelléas et Mélisande brought him to general attention His repertoire includes rarely performed works such as Henze's Boulevard Solitude, Nigel Osborne’s The Electrification of the Soviet Union, Hindemith's Neues vom Tage and Poulenc's Les mamelles de Tirésias.
More standard works include Richard Strauss's Capriccio (the Count), Ariadne auf Naxos (Harlequin and the Music Master), Der Rosenkavalier (Faninal); Mozart's The Magic Flute (Papageno and the Speaker) and Così fan tutte (Guglielmo and Don Alfonso); Wagner's Tannhäuser (Wolfram), and Meistersinger (Beckmesser). In the 2009/2010 season he sang Demetrius in the Canadian Opera Company's production of Benjamin Britten's A Midsummer Night's Dream, the Father in Humperdinck's Hänsel und Gretel on a tour in Japan, and the Sorceress in a concert performance of Purcell's Dido and Aeneas in Vienna
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Famous quotes containing the word opera:
“The real exertion in the case of an opera singer lies not so much in her singing as in her acting of a role, for nearly every modern opera makes great dramatic and physical demands.”
—Maria Jeritza (1887–1982)
“The Opera is obviously the first draft of a fine spectacle; it suggests the idea of one.”
—Jean De La Bruyère (1645–1696)
“A pretty air in an opera is prettier there than it could be anywhere else, I suppose, just as an honest man in politics shines more than he would elsewhere.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)