June Anderson - Early Operatic Career

Early Operatic Career

Anderson sang in several productions in the Yale/New Haven area while still a high school student. In 1968, she sang in a production of Haydn's "L'infedeltà delusa" at Yale University. In 1970 she appeared as Gilda with the New Haven Opera Company in a production of Verdi's Rigoletto.

She made her professional opera debut as the Queen of the Night in Mozart's The Magic Flute at the New York City Opera in 1978. Several years later, she would voice the Queen of the Night in the Oscar-winning Amadeus, directed by Milos Forman. While at New York City Opera, she sang in a wide range of operas including The Golden Cockerel by Rimsky-Korsakov, Rigoletto and La Traviata by Verdi, Rossini's Il barbiere di Siviglia, Giulio Cesare by Handel, and Mozart's Don Giovanni (as Elvira). In 1981, she sang the three lead soprano roles in Les Contes d'Hoffmann by Jacques Offenbach, the first soprano to do so at New York City Opera since Beverly Sills in 1973.

Read more about this topic:  June Anderson

Famous quotes containing the words operatic career, early, operatic and/or career:

    You have promise, Mlle. Dubois, but you must choose between an operatic career and what is usually called “a normal life.” Though why it is so called is beyond me.
    Eric Taylor, Leroux, and Arthur Lubin. M. Villeneuve (Frank Puglia)

    Love is the hardest thing in the world to write about. So simple. You’ve got to catch it through details, like the early morning sunlight hitting the gray tin of the rain spout in front of her house. The ringing of a telephone that sounds like Beethoven’s “Pastoral.” A letter scribbled on her office stationery that you carry around in your pocket because it smells of all the lilacs in Ohio.
    Billy Wilder (b. 1906)

    You have promise, Mlle. Dubois, but you must choose between an operatic career and what is usually called “a normal life.” Though why it is so called is beyond me.
    Eric Taylor, Leroux, and Arthur Lubin. M. Villeneuve (Frank Puglia)

    Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.
    Lewis H. Lapham (b. 1935)