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Final curtain call of the Metropolitan Opera's 24 December 2011 performance of La fille du régiment (l to r) Lawrence Brownlee (Tonio), Nino Machaidze (Marie), and Ann Murray (Marquise)

Ann Murray (born 27 August 1949) is an Irish mezzo-soprano.[1]

Life and career

[edit]

Murray was born in Dublin. Having won a number of prizes at the Feis Ceoil, she studied singing at the College of Music (now the DIT Conservatory of Music and Drama, Dublin) with Nancy Calthorpe, as well as arts and music at University College Dublin. In 1968, she made her Irish opera debut performing the shepherd role in a concert performance of Tosca.[2] She pursued further studies with Frederic Cox at the Royal Manchester College of Music and made her stage debut as Alcestis in Christoph Willibald Gluck's Alceste in 1974. Murray made her debut in 1981 at the Salzburg and the Zurich Festivals.[3] She has since sung at all major opera houses and is particularly noted for her performances in works by George Frideric Handel, Wolfgang Amadeus Mozart and Richard Strauss.[citation needed]

Murray performs mainly at Covent Garden (where she performed as Siphare in Mozart's Mitridate, re di Ponto), the English National Opera and the Bavarian State Opera. Murray was the featured singer in volume three of the Hyperion Schubert Edition, Hyperion Records' complete Franz Schubert lieder project, in 1988, led by pianist Graham Johnson.[citation needed]

She maintains her links with Ireland and was a patron of the Young Associate Artists Programme of Dublin's Opera Theatre Company.[citation needed] In September 2010, she was appointed professor of singing at the Royal Academy of Music in London,[4] where she was previously (since 1999) an honorary fellow.[5]

Awards and honours

[edit]

She received an honorary doctorate in music from the National University of Ireland in 1997.[5] She was made Bavarian Kammersängerin in 1998.

In 2002, she was made an Honorary Dame Commander of the Order of the British Empire in the Diamond Jubilee Honours for her services to music.[6]

She was awarded the Bavarian Order of Merit in 2004.[5]

Personal life

[edit]

Murray was married to the late English tenor, Philip Langridge. The couple had one son, Jonathan, also a tenor.[7]

Recordings

[edit]
  • Mozart: Mass No. 18 in C Minor KV427 (with Amor Artis Chorale, English Chamber Orchestra, cond. Johannes Somary: LP, Vanguard, 1976)
  • Donizetti: Lucia di Lammermoor (with Ambrosian Opera Chorus, New Philharmonia Orchestra, cond. Jesús Lopez-Cobos: LP, Philips, 1977; re-issued CD, 1991)
  • Verdi: La Battaglia di Legnano (with Austrian Radio Chorus & Symphony Orchestra, cond. Lambert Gardelli: LP, Philips, 1979; re-issued CD, Philips, 1989)
  • Gay: The Beggar's Opera, arr. Bonynge/Gamley (with London Voices, National Philharmonic Orchestra, cond. Richard Bonynge: LP, Decca, 1981)
  • Charpentier: Te Deum H.146, Magnificat H.74, with Academy Chorus of St. Martin-in-the-Fields, conducted by Neville Marriner. CD Emi Classics 1991
  • Stravinsky: Songs (with Ensemble Intercontemporain, cond. Pierre Boulez: LP, Deutsche Grammophon, 1982; re-issued CD, 1992)
  • Haydn: Stabat mater (with Lausanne Vocal Ensemble & Chamber Orchestra, cond. Michel Corboz: LP, Erato, 1983)
  • Purcell: Dido and Aeneas (with Arnold Schoenberg Choir, Vienna Concentus Musicus, cond. Nikolaus Harnoncourt: LP, Telefunken, 1983)
  • Gounod: Romeo et Juliette (with Midi-Pyrenées Regional Choir, Toulouse Capitole Chorus & Orchestra, cond. Michel Plasson: LP, HMV, 1985)
  • Offenbach: Les Contes d'Hoffmann (with Chorus & Symphony Orchestra of the Brussels Opéra National du Théâtre Royal de la Monnaie, cond. Sylvain Cambreling: LP/CD, EMI, 1988)
  • Brahms/Schumann: Voices of the Night (The Songmakers' Almanac: CD, Hyperion, 1989)
  • Hyperion Schubert Edition vol.3 (with Graham Johnson, pf: CD, Hyperion, 1989)
  • Mozart: Cosi fan tutte (with Vienna State Opera Chorus, Vienna Philharmonic Orchestra, cond. James Levine: LP/CD, Deutsche Grammophon, 1989)
  • Berlioz: L'Enfance du Christ op.25 (with Choir of King's College Cambridge, Royal Philharmonic Orchestra, cond. Stephen Cleobury: MC/CD, EMI, 1990)
  • Mahler: Songs from 'Des Knaben Wunderhorn' (with London Philharmonic Orchestra, cond. Charles Mackerras: CD, Virgin Classics, 1991)
  • Purcell: The Fairy Queen (with The Sixteen Choir & Orchestra, cond. Harry Christophers: CD, Collins Classics, 1992)
  • Vivaldi: Gloria in D major RV589 (with Academy of St Martin in the Fields Chorus & Orchestra, cond. Neville Marriner: LP/CD, EMI, 1992)
  • Rossini: La Cenerentola (with Vienna State Opera Chorus, Vienna Philharmonic Orchestra, cond. Riccardo Chailly: CD, Pioneer, 1993)
  • The Last Rose of Summer: Best Loved Songs of Ireland (with Graham Johnson, pf: CD, Hyperion, 1993; re-issued 2005)
  • De Falla: El sombrero de tres picos (with Academy of St Martin in the Fields, cond. Sir Neville Marriner: CD, EMI, 1994)
  • Beethoven Folksong Arrangements vols 1 & 2 (with Marieke Blankestijn, vn, Elizabeth Layton, vn, Krysia Osostowicz, vn, Ursula Smith, vc, Malcolm Martineau, pf: CD, Deutsche Grammophon, 1997)
  • Irish Songs: Bid Adieu (with Graham Johnson, pf: CD, Forlane, 1998)
  • Songs by Bizet (with Graham Johnson, pf: CD, Hyperion, 1998)
  • Fauré Requiem/Duruflé Requiem (with Corydon Singers, English Chamber Orchestra etc.: CD, Hyperion, 1998)
  • Vivaldi: Juditha triumpharis RV644 (with The King's Consort Choir, The King's Consort, cond. Robert King: CD, Hyperion, 1998)
  • L. Boulanger: D'un matin du printemps etc. (with City of Birmingham Symphony Orchestra Chorus, BBC Philharmonic Orchestra, cond. Yan Pascal Tortelier: CD, Chandos, 1999)
  • Handel: Serse (with Bavarian State Opera Chorus & Orchestra, cond. Ivor Bolton: CD, Farao Classics, 2000)
  • Hummel: Mass in E flat etc. (with Collegium Musicum 90, cond. Richard Hickox: CD, Chandos Chaconne, 2004)
  • The Songs of Robert Schumann vol. 9 (with Felicity Lott, S, Graham Johnson, pf: CD, Hyperion, 2004)
  • Britten, Mahler, Schumann (with Malcolm Martineau, pf: CD, Avie/Crear Classics, 2005)

See also

[edit]

Bibliography

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ann Murray

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Ann Murray DBE (born 27 August 1949) is an Irish mezzo-soprano opera singer renowned for her performances of roles in works by Handel, Mozart, and . Born in , she began her musical training early, studying at the Royal Manchester College of Music under Frederick Cox after winning prizes at the Feis Ceoil and attending . Murray's career spanned over four decades, during which she appeared at leading opera houses worldwide, including the , ; the in New York; in ; and the . She was a principal artist with the and the , where she held a 25-year tenure and was named Kammersängerin in 1998. Her notable roles include Cherubino in Mozart's Le nozze di Figaro, Dorabella in Mozart's , Xerxes in Handel's Xerxes, and Hänsel in Humperdinck's Hänsel und Gretel. She also performed extensively in recitals and with prestigious orchestras such as the , , and Concertgebouw under conductors including and . Among her honors are an Honorary Doctor of Music from the in 1997, an Honorary Fellowship from the Royal Academy of Music in 1999, appointment as Dame Commander of the in 2002, and the Bavarian Order of Merit in 2004. Murray received a Lifetime Achievement Award at Dublin's National Concert Hall in 2024. She retired from performing in 2017 at age 67, citing a desire to avoid lesser roles, but remains active in teaching through masterclasses and online coaching. Murray was married to the tenor Philip Langridge until his death in 2010; they had one son, Jonathan.

Early life and education

Childhood and family background

Ann Murray was born on 27 August 1949 in , . She was raised in a supportive family environment by her mother, Molly Murray, a music teacher specializing in and , who played a pivotal role in nurturing her early interest in singing. Murray's father was a widower with two sons from a previous marriage when he wed Molly in her thirties; as a result, Murray has described herself as feeling like an only child despite the blended family dynamics. Her mother's background, marked by resilience after losing her own father before birth and caring for three brothers, instilled a strong sense of determination and generosity that influenced Murray's upbringing in Dublin's suburban areas, including Glenageary during her early years. Murray's initial exposure to music came through local Irish traditions and community activities in Dublin, where her mother encouraged her participation from a young age. At four years old, she was entered into events like the Feis Ceoil, fostering her budding talent amid the city's vibrant cultural scene. By age seven, she joined the Young Dublin Singers, a children's choir that included future performers like Alma Carroll and Maxi, providing her first group singing experiences and immersion in folk and popular Irish songs. These early community engagements, supported by her family's encouragement, helped develop her vocal abilities before any formal training.

Musical training and early influences

Ann Murray began her formal musical journey in Dublin, where she demonstrated early talent by winning multiple prizes at the Feis Ceoil, Ireland's premier competition established to promote Irish musical traditions and cultivation. These successes, including numerous awards during her youth, immersed her in the rich Irish musical heritage, fostering an appreciation for vocal performance rooted in national festivals that emphasized both classical and traditional elements. In 1967, Murray enrolled at to study and Arts, concurrently pursuing vocal training at the College of Music (now the DIT Conservatory of Music and ). Under the guidance of teacher Nancy Calthorpe, she began developing her vocal technique, focusing on the mezzo-soprano range through foundational exercises and suitable for her emerging . Seeking advanced instruction, Murray moved to in 1968 for further studies at the Royal Manchester College of Music (now the Royal Northern College of Music), where she trained with the esteemed vocal pedagogue Frederick Cox. Cox's rigorous approach refined her mezzo-soprano abilities, emphasizing breath control, tonal color, and interpretive skills essential for operatic and concert , solidifying her technical foundation during this formative period.

Professional career

Debuts and early engagements

Ann Murray made her professional debut in 1968 with the Irish National Opera, performing the minor role of the shepherd in a concert version of Puccini's Tosca. This initial engagement marked her entry into the operatic world, building on her vocal training in Dublin and Manchester. Her first stage appearance came in 1974 at the English National Opera (ENO), where she took the title role of Alcestis in Gluck's Alceste. This debut established her presence in British opera houses, leading to a series of early mezzo-soprano roles at ENO, including Rosina in Rossini's The Barber of Seville, Charlotte in Massenet's Werther, and Beatrice in Berlioz's Beatrice and Benedict. These performances in the 1970s highlighted her versatility in lyric and dramatic repertoire, particularly in French and Italian operas. Murray expanded her engagements to the in 1979, debuting as Minerva in Monteverdi's . There, she began building a repertoire centered on and Handel works, including trouser roles that suited her agile voice and stage presence. Concurrently, her 1976 debut at the Royal Opera House, , as Cherubino in 's Le nozze di Figaro further solidified her command of youthful, energetic mezzo-soprano characters. By 1981, Murray achieved her first appearances at major European festivals, debuting at both the —as the Second in Mozart's Die Zauberflöte and Niklausse/ in Offenbach's Les contes d'Hoffmann—and the Zurich Opera. These engagements in the early 1980s marked the transition from her foundational and Irish base to broader international recognition, while she continued to cultivate core roles like Cherubino across venues.

International breakthrough and major roles

Ann Murray's international breakthrough came in the 1980s, marked by her rising prominence at leading opera houses across and . Following her early engagements in the UK, she established herself at House, , where she took on major roles such as Octavian in Richard Strauss's in 1987, conducted by . Her performances there solidified her reputation for lyrical parts in the Strauss and repertoires, contributing to her frequent appearances at the house throughout the decade and beyond. Murray expanded her global reach with debuts at prestigious venues, including the in New York, where she made her first appearance on October 18, 1984, as Sesto in Mozart's . She also performed regularly at in , singing roles like Dorabella in , Cherubino in Le nozze di Figaro, and Sesto under ; the , where she appeared in Mozart and Strauss operas from the late 1990s onward; the , featuring parts such as Marcellina in Le nozze di Figaro; and the in , where she was honored as Kammersängerin in 1998 after two decades of performances. These engagements highlighted her versatility in and classical opera, with signature roles including Dorabella in , Rosina in Rossini's Il barbiere di Siviglia, Octavian in , and Handel heroines like the title role in Xerxes. Her repertoire emphasized composers such as , Rossini, , and Handel, encompassing an extensive array of trouser roles and lyrical heroines that showcased her agile technique and dramatic insight. Murray frequently collaborated with esteemed conductors like at and the Festival, where she debuted as Octavian and later performed in productions like Le nozze di Figaro. These partnerships, along with her work at festivals including and , underscored her status as a leading international , with over 40 roles performed on world stages by the early 2000s.

Later career and retirement

In the 2000s and early , Ann Murray maintained a robust schedule of operatic engagements at prestigious venues, including her final appearance at the on December 24, 2011, as the Duchess of Krakenthorp in Donizetti's La fille du régiment. This role capped a series of performances that showcased her versatility in supporting parts within her signature and repertoire. As her career progressed into the , Murray increasingly focused on recitals and concert appearances, emphasizing lieder and orchestral works by composers such as Handel, Schubert, , and during European tours. These engagements allowed her to highlight her interpretive depth in intimate settings, drawing on the lyrical elegance that defined her earlier successes in leading roles like Dorabella and Rosina. Murray formally retired from performing in 2017, at the advice of her agent, who warned that continuing might confine her to lesser character roles—derisively termed "old bat parts"—potentially diminishing her esteemed legacy after nearly 50 years on stage. Her final performances in 2016 and 2017 centered on beloved repertoire, enabling her to conclude her career while her voice remained in strong form and her artistry at its height.

Teaching and mentorship

Academic positions

In 1999, Ann Murray was appointed Honorary Fellow of the Royal Academy of Music (RAM) in London, recognizing her contributions to the field of opera and vocal performance. In September 2010, she was appointed Professor of Singing at the RAM, a position she continues to hold as Visiting Professor, where she engages in formal music education following her performing career. Through this role, Murray is involved in vocal at the institution, emphasizing mezzo-soprano technique and interpretation informed by her own acclaimed repertoire in roles such as Cherubino, Dorabella, and Octavian. Her work at the RAM includes contributions to the development of its program and participation in student auditions, supporting the training of emerging singers in operatic arts.

Masterclasses and influence on singers

Ann Murray has been a dedicated tutor and masterclass leader at the Britten Pears Young Artist Programme, where she guides emerging singers through intensive sessions focused on artistic interpretation rather than technical mechanics. Her approach emphasizes creating backstories for characters, exploring facial expressions to convey emotion, and fostering collaborative discussions with pianists to bring songs to life, often beginning classes with poetry recitations to inspire creativity. In a 2022 interview marking the programme's 50th anniversary—commemorating its founding in 1972 by and —she described it as an "essential oasis" for young artists, drawing global talent and providing unparalleled development opportunities. Beyond the Britten Pears programme, Murray conducts masterclasses at institutions such as the Royal Irish Academy of Music, where she recently reunited with former peers while mentoring current students. She also provides online coaching to established singers. Her teaching style prioritizes dramatic expression in operatic and lieder roles, encouraging singers to delve into the psychological depth of their characters and integrate physicality with vocal delivery for authentic performances. Murray's broader influence on the community stems from her practical advice on career sustainability, drawn from her own experiences. She counsels young singers to avoid rushing into vocally demanding repertoire too early, which can cause lasting damage, and to learn continuously from conductors, directors, and fellow performers. She advocates thorough preparation, such as transcribing full scores by hand and mastering the languages of the works they perform, while balancing confidence with humility—termed "arrogant modesty"—to navigate the profession effectively. Through these insights, shared in workshops and personal guidance, Murray helps preserve interpretive traditions in , ensuring the next generation approaches roles with emotional authenticity and professional resilience.

Awards and honours

Operatic and professional recognitions

Ann Murray's distinguished contributions to were recognized through several prestigious honors throughout her career. In 1998, she was awarded the title of Kammersängerin by the , an esteemed designation honoring her long-standing association and exceptional performances with the company. In 2002, Murray was appointed an Honorary Dame Commander of the (DBE) in the Queen's Birthday Honours List, acknowledging her significant services to music and on an international stage. Further affirming her impact in the German operatic world, she received the Bavarian Order of Merit in 2004, a state honor recognizing her artistic achievements and cultural contributions. In 2024, the National Concert Hall in presented Murray with its Lifetime Achievement Award, celebrating her enduring legacy as an Irish mezzo-soprano; the honor was bestowed during a special gala concert featuring the of .

Academic and honorary titles

Ann Murray was awarded an Honorary Doctor of Music by the in 1997, in recognition of her distinguished contributions to the and her elevation of Irish musical talent on the international stage. This honor underscored her early impact as a leading and her role in bridging Irish musical traditions with global opera repertoires. In 1999, she received the title of Honorary Fellow from the Royal Academy of Music (RAM) in , a prestigious academic distinction that highlighted her artistic achievements and anticipated her future involvement in music education. This fellowship was later complemented by her appointment as of at RAM in 2010, reflecting institutional acknowledgment of her teaching excellence and mentorship in vocal technique. Following these recognitions, Murray was appointed International Chair in at the Royal Northern College of Music (RNCM) in in 2021, an honor tied to her inspirational teaching and decades of masterclasses that have shaped emerging singers. This role, held by a graduate of the institution, emphasizes her legacy in fostering vocal artistry and passing on insights from her collaborations with renowned conductors and orchestras. In January 2024, the National Concert Hall in bestowed upon her its Lifetime Achievement Award, celebrating her over 50 years of pioneering work in and her enduring contributions to Irish opera heritage by mentoring young Irish performers and promoting national culture abroad. This accolade further solidifies her status as a foundational figure in Irish musical and legacy.

Personal life

Marriage and family

Ann Murray met the English Philip Langridge in the world during a production of Cavalli's Eritrea at the Wexford Festival Opera in the 1970s. The couple married in 1981 and shared a deep professional and personal partnership, often navigating the demands of international careers together. They had one son, Jonathan Langridge, born in 1986, who followed in his parents' footsteps as a professional with a promising voice noted for its quality early on. To balance their frequent travels, Murray and Langridge planned schedules two to three years ahead, ensuring one parent was always home to provide family stability and support Jonathan's upbringing amid their globetrotting lifestyles. Langridge also acted as an invaluable for Murray, offering candid feedback on her vocal performances throughout her career. Philip Langridge passed away in 2010 from bowel cancer at age 70, a profound personal loss for Murray that reshaped her family life while she continued teaching and occasional performing. She and her son Jonathan maintained close family ties, with the musical legacy passing through generations in their household.

Post-retirement activities

Following her retirement from in 2017, Dame Ann Murray has embraced a more relaxed lifestyle, dividing her time between and while cherishing moments with family. She particularly enjoys spending time with her young grandson in , where the toddler has already shown an early affinity for music by singing "," Ireland's national anthem. Murray maintains her connection to music through informal coaching sessions, conducted both and in-person with established singers. These activities allow her to share insights from her career without the demands of full performances, focusing on guidance rather than formal instruction. As of 2025, she continues to mentor young singers through roles such as tutor at the Britten Pears Young Artist Programme and patron of the Oxenfoord International Summer School. In 2024, Murray made a notable public appearance at the National Concert Hall in , where she received the Lifetime Achievement Award during a gala concert featuring the conducted by Peter Whelan, and guest soloists including countertenor Cameron Shahbazi, tenor Robin Tritschler, baritone Armand Rabot, and her son Jonathan Langridge. The event celebrated her contributions to , drawing an audience to honor her legacy. She has also reflected on her Irish roots in occasional media interviews, expressing appreciation for the humility and discipline instilled by her upbringing and noting a sense of fulfillment in returning to more frequently post-retirement.

Recordings

Opera and oratorio recordings

Ann Murray's opera and oratorio recordings showcase her versatility as a mezzo-soprano, particularly in roles requiring agility, emotional depth, and dramatic flair, such as youthful trouser roles and spirited heroines. Her discography with major labels like Decca, , and Chandos highlights collaborations with renowned conductors and orchestras, capturing her interpretive strengths in and classical repertoire. These works often earned critical acclaim for her vibrant characterization and vocal precision. In Mozart's Le nozze di Figaro, Murray's portrayal of Cherubino on the 1987 recording, conducted by with the Wiener Philharmoniker, exemplifies her light, breathless, and brilliantly volatile delivery, bringing youthful energy to the page's arias. This complete set, featuring cast members like as the Countess and Thomas Allen as the Count, was nominated for a Grammy for Best Opera Recording in 1988. Her Cherubino role also appears in highlights from the same production, emphasizing the character's impulsive charm. Murray's Dorabella in Mozart's Così fan tutte is captured on a 1996 EMI recording led by with the , where her deliciously spirited and nuanced performance highlights the sister's playful yet conflicted emotions alongside Alison Hagley as Fiordiligi and Thomas Allen as Don Alfonso. This underscores her ability to convey wit and vulnerability in ensemble scenes like "Soave sia il vento." For Handel's Xerxes, Murray took the title role in a 1988 live English National Opera production, preserved on video and audio releases, where her commanding yet comedic interpretation drives the opera's romantic entanglements, supported by Valerie Masterson as Romilda and Christopher Robson in the countertenor role of Arsamenes. The recording, directed by Nicholas Hytner, captures her expressive phrasing in da capo arias, blending dramatic intensity with Handelian ornamentation. In Rossini's Il barbiere di Siviglia, Murray's Rosina features on a 2000 Chandos recording with the Orchestra of the Age of Enlightenment under René Jacobs, delivering fireworks and sly humor in arias like "Una voce poco fa," showcasing her technical brilliance in period-instrument performance. Her approach emphasizes the character's cunning and vocal agility, integral to the opera's comedic drive. Murray also recorded the title role of (Angelina) in Rossini's La Cenerentola from the 1988 Salzburg Festival, conducted by with the , where her warm, lyrical singing illuminates the heroine's journey of forgiveness and resilience, particularly in the virtuosic "Non più mesta." This live performance, featuring Francisco Araiza as Don Ramiro, highlights her interpretive depth in ensembles. In Richard Strauss's , Murray's Octavian on the 1991 Royal Opera House recording, conducted by Andrew Davis, presents a winning, subtly sensual noble youth, with her mezzo ideal for the trouser role's romantic duets opposite Kiri Te Kanawa's Marschallin and Barbara Bonney's . Released on , this set praises her vibrant presence in the presentation scene and tavern brawl, blending Straussian lyricism with dramatic vitality.

Recital and lieder recordings

Ann Murray's recital and lieder recordings showcase her versatility in solo vocal repertoire, emphasizing a dramatic yet intimate delivery that draws parallels to her operatic characterizations in more chamber-like settings. Her contributions to the Hyperion Schubert Edition, a comprehensive project documenting Franz Schubert's complete songs, highlight her interpretive depth in German lieder. In Volume 3, released in 1988 and accompanied by pianist Graham Johnson, Murray performs songs from Schubert's circle such as Der Jüngling und der Tod, bringing a nuanced emotional range to Schubert's introspective texts. She appears in additional volumes, including 30 (featuring Winterreise excerpts), 32, and 33, further expanding her role in this landmark series that spans 40 discs. Murray's recordings of Mahler and related Romantic songs extend her lieder expertise into late 19th- and early 20th-century . On the Avie Records album Ann Murray sings Britten, Mahler, Schumann, she delivers Gustav Mahler's with pianist Malcolm Martineau, capturing the cycle's lyrical tenderness and psychological subtlety in songs like "Ich atmet' einen linden Duft." This recording pairs Mahler's works with Robert Schumann's [Frauenliebe und -leben](/page/Frauenliebe und -leben), underscoring Murray's command of narrative-driven song cycles. While specific Strauss lieder sessions with Johnson are not documented in primary discographies, her broader Romantic repertoire reflects influences from Richard Strauss's melodic style. In exploring national influences, Murray's dedicated recitals of Irish and English art songs reveal her roots and affinity for folk-infused vocal music. The 1998 Forlane release Irish Songs: Bid Adieu, again with Graham Johnson, features traditional pieces like "The Star of the County Down" and "Johnny, I Hardly Knew Ye," arranged to highlight Ireland's poetic heritage and Murray's warm, storytelling timbre. Complementing this, Hyperion's 1993 album The Last Rose of Summer: Best-Loved Songs of Ireland includes English-language Irish standards and a Britten arrangement of the title song, blending art song elegance with cultural resonance. Her concert works extend to and 20th-century repertoire, where period-informed ensembles enhance the intimacy of her performances. Murray sings solos in Johann Sebastian Bach's cantatas BWV 119–121 on Hänssler Classic's Edition Bachakademie (Volume 29, 1989), conducted by Helmuth Rilling, contributing to a historically aware cycle that emphasizes textual clarity and ornamentation. For , beyond the Avie album's A Charm of Lullabies, she performs his realizations of Purcell duets and folk song arrangements in collaborative settings, such as with on , showcasing her precision in modern English vocal writing. Across her extensive , these recordings—numbering in the dozens for recitals alone—prioritize expressive drama in scaled-down formats, cementing Murray's legacy in lieder and song.

References

  1. https://www.bach-cantatas.com/Bio/Murray-Ann.htm
  2. http://finalnotemagazine.com/articles/ann-murray/
  3. https://www.independent.ie/entertainment/music/music-news/opera-singer-ann-murray-i-retired-because-my-agent-told-me-youre-going-to-spend-the-rest-of-your-life-singing-old-bat-parts/a2029963081.html
  4. https://www.irishtimes.com/culture/music/2024/01/29/ann-murray-if-id-had-my-time-again-i-would-have-stayed-in-ireland-thats-one-of-my-biggest-regrets/
  5. https://www.independent.ie/entertainment/music/classical-the-night-soprano-ann-brought-the-house-down/34996123.html
  6. http://www.bruceduffie.com/murray.html
  7. https://www.feisceoil.ie/About-Us/history.asp
  8. https://www.nli.ie/sites/default/files/2022-12/092_feisceoil.pdf
  9. https://www.rncm.ac.uk/people/ann-murray/
  10. https://www.ram.ac.uk/people/ann-murray
  11. https://www.academie-villecroze.com/en/young-talents/teachers/ann-murray
  12. https://www.glyndebourne.com/persons/ann-murray/
  13. https://askonasholt.com/ann-murray-celebrates-her-40th-anniversary-at-the-royal-opera-house-covent-garden
  14. https://www.salzburgerfestspiele.at/en/p/die-zauberfloete-1981
  15. https://tsaraslondon.com/2019/07/28/les-contes-dhoffmann-from-the-salzburg-festival-1981/
  16. https://www.rohcollections.org.uk/performance.aspx?performance=16225
  17. https://archives.metopera.org/MetOperaSearch/search.jsp?titles=La%20Clemenza%20di%20Tito&exact_date=19841018
  18. https://www.broadwayworld.com/bwwopera/article/Nino-Machaidze-Lawrence-Brownlee-Star-in-Donizettis-La-Fille-du-Rgiment-20111201
  19. https://askonasholt.com/artist/ann-murray-dbe
  20. https://www.brittenpearsarts.org/profile/ann-murray
  21. https://askonasholt.com/artist/ann-murray-dbe/press/ann-murray-dbe-receives-the-national-concert-hall-s-2024-lifetime-achievement-award
  22. https://www.rncm.ac.uk/news/rncm-appoints-ann-murray-as-international-chair-in-singing/
  23. https://www.nch.ie/news/national-concert-hall-bestows-lifetime-achievement-award-2024-on-celebrated-irish-mezzo-soprano-dame-ann-murray-at-gala-concert-in-her-honour/
  24. https://www.theatlantic.com/magazine/archive/1996/05/in-tune-with-ireland/376588/
  25. https://www.theguardian.com/music/2010/mar/07/philip-langridge-obituary
  26. http://news.bbc.co.uk/2/hi/entertainment/8554236.stm
  27. http://www.musicweb-international.com/sandh/2009/jan-jun09/langridge_interview.htm
  28. https://oxenfoordinternational.co.uk/ann-murray-2/
  29. https://www.irishtimes.com/culture/music/review/2024/01/31/ann-murray-gala-concert-review-no-name-dropping-here-as-stellar-singers-life-and-work-take-centre-stage/
  30. https://www.gramophone.co.uk/review/mozart-le-nozze-di-figaro-21
  31. https://www.discogs.com/artist/838409-Ann-Murray
  32. https://www.gramophone.co.uk/review/mozart-cos%25C3%25AC-fan-tutte-23
  33. https://www.grammy.com/awards/30th-annual-grammy-awards
  34. https://www.classicstoday.com/review/review-4266/
  35. https://www.classical-music.com/reviews/opera/mozart-217
  36. https://www.amazon.com/Mozart-Martinpelto-Hagley-Murray-Streit/dp/B000002RWW
  37. https://www.amazon.ca/Xerxes-Ann-Murray/dp/B00004Y7IA
  38. https://arthaus-musik.com/en/dvd/music/opera/media/details/Xerxes.html
  39. https://www.youtube.com/watch?v=MAkTxPP5S5k
  40. https://open.spotify.com/intl-pt/track/4futCNeTgWzAXKiUdE6oe6
  41. https://open.spotify.com/intl-ar/track/0zHshp7rkpsur8v0gG0io6
  42. https://www.naxosvideolibrary.com/title/R0351
  43. https://www.operaonvideo.com/la-cenerentola-salzburg-1988-murray-araiza-quilico-berry-chailly/
  44. https://www.gramophone.co.uk/reviews/review?slug=strauss-r-der-rosenkavalier-0
  45. https://www.prestomusic.com/classical/products/7989794--strauss-r-der-rosenkavalier
  46. https://www.prestomusic.com/classical/artists/4147--ann-murray
  47. https://www.hyperion-records.co.uk/dc.asp?dc=D_CDJ33003
  48. https://www.hyperion-records.co.uk/a.asp?a=A312&name=murray
  49. https://www.prestomusic.com/classical/products/7939659--ann-murray-sings-britten-mahler-schumann
  50. https://www.amazon.com/Irish-Songs-Adieu-Ann-Murray/dp/B0000254DM
  51. https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA66627
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