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Gundula Janowitz
Gundula Janowitz
Gundula Janowitz
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Gundula Janowitz (born 2 August 1937)[1] is an Austrian lyric soprano singer of operas, oratorios, lieder, and concerts. She is one of the most renowned opera singers of the 20th century and was pre-eminent in the 1960s and 1970s.

Key Information

Career

[edit]

Janowitz was born in Berlin, Germany, but grew up in Graz, Austria, where she became a naturalised Austrian.[2] She studied at the Graz Conservatory in Austria,[3] and had already begun to sing at the highest level by the end of the 1950s (Haydn's The Creation, with Herbert von Karajan in 1960). In 1959, Karajan engaged her as Barbarina in Mozart's The Marriage of Figaro at the Vienna State Opera, of which she became a permanent member in 1962.

During the 1960s and 1970s, Janowitz became one of the most popular singers in her field internationally and she developed a comprehensive discography of works ranging from Bach to Richard Strauss. Those eminent conductors with whom she performed included Karajan, but also Otto Klemperer, Eugen Jochum, Leonard Bernstein, Rafael Kubelík, Karl Böhm, Georg Solti, and Carlos Kleiber.

One of the emphases of Janowitz's work was the development of song recitals, which she gave several times at the Salzburg Festival. Following her vocal career, she was active as a vocal teacher. In 1990, she temporarily took over the position of Opera Director in Graz.[3]

Janowitz appeared on many of the great stages of the world, including the Glyndebourne Festival Opera, the Bayreuth Festival, the Salzburg Easter Festival, the Metropolitan Opera, the Paris Opera, La Scala and the Royal Opera House. In 1980, she sang the part of the Countess in a now legendary new production of The Marriage of Figaro (with Georg Solti as conductor, Giorgio Strehler as director and Ezio Frigerio as set designer). Her recording of Schubert's Lieder for female voice has been twice awarded Germany's Deutscher Schallplattenpreis.[4]

Janowitz's farewell to the operatic stage was on 18 May 1990, at the Vienna State Opera in the title role of Ariadne auf Naxos (with Heinrich Hollreiser as conductor, and Filippo Sanjust [de] as director and designer). She kept singing Lieder recitals until 1997, when she completely retired from performing. As well as being an honorary member of the Vienna State Opera and of the Academy of Music in Graz, she was appointed an honorary member of the Royal Academy of Music in London in 2000.

Voice and repertory

[edit]

Janowitz's voice is recognizable by its pure,[5][6] "creamy"[7] tone, and rapid vibrato.[8] Like her predecessor Maria Stader, who had a similar timbre to hers, and like her contemporary, Elizabeth Harwood, Janowitz mastered first and foremost the high and middle register and lyrical-emotional expression. Despite her comparatively weak sound projection, she occasionally performed in dramatic roles (Sieglinde, Leonore, Elsa) or comic roles (Marzelline, Rosalinde), but she was most highly regarded as Fiordiligi, Countess Rosina Almaviva, Pamina, Agathe, Arabella, Ariadne, Countess Madeleine, and in sacred music (the Angel Gabriel, The Creation).[1] Of her interpretation of Four Last Songs by Richard Strauss, David Bowie wrote: "Although Eleanor Steber and Lisa Della Casa do fine interpretations of this monumental work, Janowitz’s performance [...] has been described, rightly, as transcendental. It aches with love for a life that is quietly fading. I know of no other piece of music, nor any performance, which moves me quite like this."[9] With a few exceptions, she avoided foreign-language roles (although recordings exist of her singing Don Carlos and Verdi's Requiem and all three Mozart/DaPonte operas in Italian). An excerpt of her portrayal of the Figaro Countess in the duettino "Canzonetta sull'aria" with Swiss soprano Edith Mathis features prominently in the 1994 film The Shawshank Redemption.[10]

Selected discography

[edit]

Filmography

[edit]

Concerts

  • Gundula Janowitz: In Concert (recorded live) (1970, conductor Berislav Klobučar, Video Artists International Inc.)
  • Beethoven Symphony No. 9 in D minor, Op.125 "Choral" (1968, conductor/director Herbert von Karajan, Unitel Classica)
  • Bach Mass in B minor BWV 232 (1969, conductor Karl Richter; director Arne Arbom, Unitel Classica)
  • Mozart Requiem K.626 (1971, conductor Karl Böhm; director Hugo Käch, Unitel Classica)
  • Brahms Ein Deutsches Requiem, op.45 (1978, conductor/director Herbert von Karajan, Unitel Classica)

Operas

Decorations and awards

[edit]

References

[edit]
[edit]
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Gundula Janowitz

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Gundula Janowitz (born August 2, 1937) is a German-born Austrian celebrated for her luminous voice and elegant interpretations in , , and lieder, spanning composers from and to Wagner and Bach. Her career, active primarily from the late to the 1990s with lieder recitals continuing until 1997, featured leading roles at prestigious venues including the , , , , and , establishing her as one of the foremost sopranos of her generation. Born in to parents of Austrian descent, Janowitz spent her youth in , , where she became a naturalized citizen following her father's death. She initially worked as a typist to support her family before pursuing vocal studies at the Graz Conservatory under Herbert Thöny. In 1959, at age 22, she was discovered by conductor during an audition, leading to her engagement at the , where she made her debut as Barbarina in Mozart's Le nozze di Figaro that year (with some sources noting the formal debut in 1960). By 1962, she had become a permanent ensemble member, earning the title of Kammersängerin in 1969, and she remained affiliated with the house until her retirement in 1990. Janowitz's repertoire emphasized lyric and dramatic soprano roles, with particular acclaim for Mozart's Pamina and Donna Anna in Die Zauberflöte and Don Giovanni, the Marschallin in Strauss's Der Rosenkavalier, Ariadne in Ariadne auf Naxos, and Elsa in Wagner's Lohengrin. She debuted at the Salzburg Festival in 1963 as the Countess in Mozart's Le nozze di Figaro, first appeared at the Bayreuth Festival in 1960, made her Metropolitan Opera debut in 1967 as Sieglinde in Wagner's Die Walküre, and made her debut at the Royal Opera House, Covent Garden, in 1976 as Donna Anna, later performing roles including Arabella. She also joined the Deutsche Oper Berlin as a permanent member in 1966 and received the Kammersängerin title there in 1974. Beyond opera, she excelled in concert works, including over 300 lieder recitals across Europe, Japan, and the United States, and oratorios such as Bach's St Matthew Passion and Mozart's Requiem. Her discography includes landmark recordings under conductors like Karajan, , and Böhm, such as Strauss's (1973), Schubert Lieder cycles (earning two Deutscher Schallplattenpreise), arias, and Brahms's Deutsches Requiem (1979). Additional honors include the Music Prize in 1978 and honorary memberships in the , Academy of Music, and London's (2000). After retiring from the stage in 1990 with a final performance as at the , she briefly served as of the Opera in 1990–1991, continued occasional concerts and lieder recitals until 1997, and later taught masterclasses in and .

Early life and education

Birth and childhood

Gundula Janowitz was born on August 2, 1937, in , , during the Nazi era. Her parents, and Else (née Neumann) Janowitz, were Austrian and deeply musical. Following the end of , Janowitz's family relocated to , , where she spent her youth and later became a naturalized Austrian citizen. In the post-war environment of Graz, marked by economic hardship and reconstruction, she grew up immersed in music through her family's influence, frequently Schubert songs at home, which sparked her early interest in vocal performance. At age 10, she attended a production of Wagner's , an experience that profoundly inspired her, leading her to decide at age 12 to pursue a , with full support from her parents. This post-war setting in , combining cultural richness with personal adversity, shaped her resilience and deepened her commitment to music, setting the stage for her formal studies.

Musical training

Gundula Janowitz enrolled at the Styrian Conservatory in , , in the , following her family's relocation there after her birth in . She pursued formal vocal studies under the guidance of teacher Herbert Thöny, focusing on foundational techniques to develop control, breath support, and tonal purity essential for operatic and concert performance. Her curriculum emphasized early training in lieder and classical repertoire, including works by composers such as and Schubert, which honed her interpretive skills and lyrical phrasing while building a versatile foundation in both solo and ensemble . Not long after beginning her studies, her father died, forcing her to work as a shorthand typist and contribute to a honey farmers' to support herself. She also participated in a at the conservatory, where her victory provided key validation and momentum toward professional preparation. She received financial support from the Wagner Society of for a visit to the in 1959. A formative experience came that year when Janowitz was heard by conductor at the festival; this encounter offered early exposure to major international figures and reinforced her technical progress without yet entering the stage. By the end of the decade, around 1959, she completed her studies at the conservatory, equipped with the skills necessary for transitioning to operatic engagements.

Career

Debut and early career

Gundula Janowitz made her professional operatic debut on February 8, 1960, at the , portraying Barbarina in Wolfgang Amadeus Mozart's Le nozze di Figaro, a role she performed in 14 productions through March 14, 1962. This appearance followed her audition for in 1959, who engaged her for the ensemble, marking the beginning of a significant collaboration that shaped her early trajectory. Janowitz joined the as a permanent ensemble member in 1962, transitioning from guest appearances to a core role within the company, and was awarded the title of Kammersängerin in 1969. She also became a permanent member of the in 1966 and received the Kammersängerin title there in 1974. Throughout the early 1960s, she focused on repertory, taking on supporting and leading parts in Viennese productions, including her portrayal of Pamina in Die Zauberflöte starting January 27, 1961. These roles, such as Cherubino in Le nozze di Figaro in 1965, helped establish her reputation for lyrical precision and vocal clarity in the composer's operas. Her first international engagements came in the mid-1960s, including a debut at the in 1963 as Ilia in Mozart's , under Karajan's direction. This period also saw her perform at the Festival in 1964 as Ilia in Mozart's , further solidifying her presence in European opera circles through collaborations with Karajan, who conducted many of her early Mozart interpretations.

Major performances and international venues

Janowitz's international career gained momentum following her establishment at the Vienna State Opera, leading to acclaimed appearances at the world's leading opera houses. She made her debut at the Metropolitan Opera in New York on November 21, 1967, as Sieglinde in Wagner's Die Walküre, conducted by Herbert von Karajan. Her performances extended to Milan's La Scala, where she sang Leonore in Beethoven's Fidelio in 1978. At London's Royal Opera House Covent Garden, she debuted on June 11, 1976, as Donna Anna in Mozart's Don Giovanni, returning for further engagements such as in 1981. She also performed at the Glyndebourne Festival Opera, notably as Ilia in Mozart's Idomeneo on August 12, 1964, opposite Luciano Pavarotti and conducted by John Pritchard. Her early association with the Bayreuth Festival began in 1960, where she appeared in roles such as a Flowermaiden in Parsifal in 1962 and a Noble in Lohengrin, and later as Elsa in Lohengrin in 1967. In the realm of Richard Strauss operas, Janowitz excelled in principal soprano roles during the 1970s and 1980s, including Ariadne in at venues like and , often under conductors such as . She portrayed the Marschallin in internationally, with notable outings at the and during tours, such as with the company to in 1986. These interpretations highlighted her affinity for Strauss's lyrical demands, performed alongside esteemed colleagues like Brigitte Fassbaender as Octavian. Janowitz was a regular at the Salzburg Festival from the late 1960s, appearing frequently under Herbert von Karajan and Karl Böhm in Mozart operas and sacred works. Her roles there included Donna Anna in Don Giovanni (1968–1970) and Fiordiligi in Così fan tutte (1968–1972), with the latter production in 1972 conducted by Böhm. She also participated in concert performances, such as Beethoven's Ninth Symphony, collaborating with Karajan and the Berlin Philharmonic in 1968 at the Philharmonie in Berlin, alongside Christa Ludwig, Jess Thomas, and Walter Berry. Similar renditions occurred under Böhm at Bayreuth in 1965 with Grace Bumbry, Jess Thomas, and George London. These engagements underscored her versatility in operatic and concert settings with leading conductors and singers of the era.

Retirement and directorial roles

Janowitz bid farewell to the operatic stage on May 18, 1990, with a performance of the title role in Richard 's at the , an engagement that signified her retirement from staged . This portrayal of , a role she had embraced throughout her career, encapsulated the ethereal lyricism that defined her interpretations of Strauss heroines. She continued performing lieder recitals in the years following, with her final public appearance taking place on September 16, 1999, at the Odeon in —a titled In Memoriam Maria Callas, featuring works by Schubert, Schumann, and Wolf, accompanied by Charles Spencer. This event marked her complete withdrawal from concert singing, after which she ceased all professional vocal engagements. Concurrently with her operatic retirement, Janowitz served temporarily as (artistic director) of the Opera from 1990 to 1991, a position in which she managed the institution's artistic direction during a transitional period. Her tenure at the Graz-Steiermark Theater, where she had begun her journey, represented a brief pivot to opera administration before fully stepping away from public life. Following her 1999 recital, Janowitz retreated to a private existence in , embracing a serene unmarred by further commitments or notable public appearances.

Voice and repertory

Vocal characteristics

Gundula Janowitz was classified as a , renowned for her clear and pure that evoked a luminous, almost ethereal quality, often described as having a glassy and creamy texture ideal for the demands of and . Her voice featured a controlled and fast that added warmth and lift, enabling it to project over large orchestras while maintaining an instrumental-like flexibility and precision. Janowitz's strengths lay in her exquisite legato phrasing, which conveyed seamless lines with remarkable clarity, particularly in the high registers where her tone remained bright and unforced. This technical poise supported an emotional expressiveness that favored introspective and serene characterizations, allowing for a wide palette of subtle vocal colors without overt dramatic intensity. Her approach emphasized purity and simplicity, suiting roles that required hauteur or quiet reflection, as seen in her early interpretations of heroines like Ilia and Fiordiligi. In comparison to contemporaries such as , Janowitz's voice exhibited a lighter, more ethereal essence, lacking the deeper psychological probing and intricate word-coloring that defined Schwarzkopf's style, instead prioritizing a straightforward, non-interventionist . Over her career, her vocal quality evolved from the youthful, tremolo-free purity of the 1960s—marked by exceptional clarity and no hint of wobble—to a more warmed and mature by the , particularly in repertoire where the fast enhanced the introspective depth of roles like the Marschallin and .

Signature roles and compositions

Gundula Janowitz was particularly acclaimed for her interpretations of leading roles in Mozart operas, where her luminous tone and refined phrasing brought exceptional clarity to the composer's intricate vocal lines. Among her core Mozart repertory, she excelled as Fiordiligi in Così fan tutte, delivering the role's demanding coloratura and emotional depth with poised elegance during performances at major European festivals. Her portrayal of Pamina in The Magic Flute highlighted a tender vulnerability, especially in arias like "Ach, ich fühl's," emphasizing the character's journey from innocence to maturity. Similarly, as the Countess in The Marriage of Figaro, Janowitz conveyed the noblewoman's poignant introspection in "Dove sono," showcasing her ability to blend lyrical warmth with dramatic subtlety. In the operas of , Janowitz's specialties included the title role in , where her rich, soaring captured the mythical heroine's isolation and longing, often paired with her innate vocal purity that suited Strauss's opulent . She also shone as Daphne in Strauss's bucolic tragedy , portraying the nymph's transformation with ethereal grace in notable recordings and stage appearances. Beyond the stage, her concert rendition of Strauss's became a benchmark, with the 1974 recording under and the exemplifying her silken and profound emotional resonance in works like "Im Abendrot." Janowitz's sacred and orchestral repertory further demonstrated her versatility in large-scale vocal works. She performed Mozart's Requiem with distinctive serenity, particularly in the "Lacrimosa," contributing to acclaimed choral ensembles that underscored her blend of technical precision and expressive piety. In Beethoven's Ninth Symphony, her soprano solo in the "Ode to Joy" finale, as heard in the 1963 Karajan recording with the Berlin Philharmonic, conveyed triumphant joy through her clear, radiant delivery. Her engagements with Bach cantatas, including selections from the Christmas Oratorio and Mass in B minor, revealed a focused intensity suited to the Baroque master's contrapuntal demands, often in collaborations with period-informed ensembles. While proficient in opera, Janowitz's true prowess emerged in the concert hall, particularly through her Lieder recitals, where she prioritized intimate expression over theatrical grandeur. Her focus on Schubert cycles, such as Winterreise and Die schöne Müllerin in adaptations for soprano, earned her the Deutscher Schallplattenpreis for their nuanced storytelling and impeccable diction, highlighting her as a leading interpreter of the Romantic song tradition. This emphasis on Lieder and orchestral song cycles, including Brahms selections, affirmed her reputation as a consummate artist of the German lied, balancing textual fidelity with vocal artistry.

Recordings and media

Discography highlights

Gundula Janowitz's discography includes over 100 commercial releases, spanning , Lieder, and sacred music, with major contributions to the catalogs of and Decca from the 1960s through the 1980s. Her interpretations of Schubert's Lieder, particularly in recordings with pianist Irwin Gage, stand out for their lyrical purity and emotional depth, earning the Deutscher Schallplattenpreis twice for albums featuring works adapted for female voice. These releases, such as the 1978 collection of 26 Lieder including "Suleika I" and "," highlight her ability to convey introspective nuance in . Janowitz also performed songs from Schubert's , such as "Der Lindenbaum", in her final recital in as a tribute to , partnering with Charles Spencer for a 1999 release on First Hand Records. In opera, Janowitz's complete recording of Mozart's (K. 588) with conductor and the Wiener Philharmoniker, recorded in 1974 and released on , captures her as Fiordiligi in a cast including Brigitte Fassbaender, Reri Grist, and ; the album is noted for its elegant phrasing and dramatic restraint. Similarly, her portrayal of the Marschallin in Richard Strauss's appears in a celebrated live recording from the under in 1978, with highlights commercially issued on Orfeo, where her poised, silvery tone defines the role's poignant nobility alongside Yvonne Minton and . Janowitz's sacred music recordings further demonstrate her versatility, including conducted by Karl Richter with the Münchener Bach-Orchester, such as those on the 1960s Archiv Produktion sets featuring her in soprano solos from works like the (BWV 248). Her contribution to Mozart's (K. 626) under Böhm with the Wiener Philharmoniker and Chor der Wiener Staatsoper, recorded in 1971, showcases her ethereal delivery in the "Recordare" and "Benedictus," forming a cornerstone of her oratorio repertoire.

Film and video appearances

Gundula Janowitz's film and video appearances primarily consist of productions, recordings, and sacred music performances captured on or tape, showcasing her in visual formats during her active career. In , Janowitz served as the soloist in a landmark filmed of Beethoven's Symphony No. 9 in D minor, Op. 125 ("Choral"), conducted by with the Orchestra, (contralto), Jess Thomas (tenor), and Walter Berry (bass), recorded live in Berlin on New Year's Eve and Day. This black-and-white production, directed for , highlighted her poised delivery of the "Ode to Joy" in a historic context of German musical tradition. Janowitz appeared in a 1971 video recording of Mozart's in , K. 626, performed in the Piaristenkirche in under Karl Böhm's direction with the Vienna Symphony Orchestra, alongside , , and Walter Berry, and the Chorus of the . The intimate church setting emphasized the work's solemnity, with Janowitz's pure tone shining in sections like the "Recordare." She took the title role of in the 1978 film adaptation of Richard Strauss's , based on a production by Filippo Sanjust and directed by , with conducting the orchestra, René Kollo as Bacchus, Edita Gruberová as Zerbinetta, and Walter Berry in multiple roles. This colorful cinematic version blended the opera's and main act, allowing Janowitz to convey Ariadne's isolation and longing through close-up expressions and staging on a Mediterranean island set. Janowitz featured in several concert documentaries, including the 1970 live video "Gundula Janowitz: In Concert," recorded with Berislav Klobučar conducting the orchestra, presenting arias from Handel's , Mozart's and Le nozze di Figaro, and Verdi. She also appeared as Rosalinde in the 1972 television film of Johann Strauss II's , directed by Otto Schenk with the under , Eberhard Wächter, and Renate Holm. Her voice extended into broader media through the use of recordings in films; notably, the 1968 duet "Sull'aria" from Mozart's Le nozze di Figaro, sung with Edith Mathis under , was prominently featured in the 1994 prison drama , where it underscored a pivotal scene of communal solace. This integration of her discography into visual storytelling amplified her legacy beyond stage and screen performances.

Awards and honors

Major awards and decorations

Gundula Janowitz received the Austrian Cross of Honour for Science and Art, First Class, in 2000 for her contributions to Austrian cultural life through her operatic and lieder performances. In 2003, she was awarded the , recognizing her long-standing association with the and her role in elevating Viennese musical traditions. In 1978, she received the Joseph Marx Music Prize of the State of for her artistic achievements. Her recordings earned significant accolades, including the Deutscher Schallplattenpreis twice for her interpretations of Franz Schubert's Lieder for female voice, highlighting her mastery in the repertoire during the . In 2019, Janowitz was honored with the Hugo Wolf Medal by the International Hugo Wolf Academy for her lifelong dedication to lieder interpretation, particularly the works of and related composers. Janowitz's broader received international recognition, such as the Gramophone Lifetime Achievement Award in 2021, which celebrated her extensive recorded legacy spanning operas, oratorios, and concert works under conductors like and . These awards underscore her impact on both live performances and studio recordings, often tied to seminal releases like Haydn's Die Jahreszeiten and Schubert song cycles.

Honorary memberships and recognitions

In recognition of her distinguished contributions to and , Gundula Janowitz was appointed Kammersängerin by the in 1967, a prestigious title honoring her artistic excellence and long-standing association with the institution. This honor was complemented by a similar designation from the in 1974, underscoring her impact across major European opera houses. Janowitz was named an honorary member of the in 1981, a status reflecting her enduring legacy as one of its most celebrated sopranos over three decades. She also received honorary membership in the Academy of Music and in in 1986, where she had studied and begun her career, acknowledging her foundational role in Austrian musical education and performance. In 2000, the Royal Academy of Music in bestowed upon her an honorary membership, recognizing her international influence in lieder and operatic repertoire.

References

  1. https://operawire.com/artist-profile-german-soprano-gundula-janowitz/
  2. https://www.gramophone.co.uk/features/article/icons-gundula-janowitz
  3. https://www.naxos.com/Bio/Person/Janowitz_Gundula/82905
  4. https://www.bbc.co.uk/wales/cardiffsinger/sites/about/pages/gundula_janowitz.shtml
  5. https://www.abc.net.au/listen/programs/legends/legends/13505210
  6. https://www.orfeomusic.de/Artist/Detail/82905
  7. https://www.bach-cantatas.com/Bio/Janowitz-Gundula.htm
  8. https://repository.up.ac.za/bitstreams/29fe4cc2-9769-4c40-a77d-f1e5a39944ce/download
  9. https://archiv.wiener-staatsoper.at/search/person/1309
  10. https://archiv.wiener-staatsoper.at/search/person/1309/work/3/role/12
  11. https://archiv.wiener-staatsoper.at/performances/6855
  12. https://www.naxos.com/Bio/Person/Gundula_Janowitz/82905
  13. https://archives.metopera.org/MetOperaSearch/record.jsp?dockey=0373696
  14. https://www.rohcollections.org.uk/performance.aspx?performance=14525&row=2
  15. https://www.glyndebourne.com/archive_performances/idomeneo-12-august-1964/
  16. https://www.bayreuther-festspiele.de/en/fsdb/productions/parsifal/1962/1805/
  17. https://operadepot.com/products/strauss-der-rosenkavalier-janowitz-fassbaender-cotrubas-ridderbusch-pretre
  18. https://www.classicstoday.com/review/review-9278/
  19. https://www.operaonvideo.com/symphony-no-9-beethoven-berlin-1968-von-karajan-janowitz-ludwig-thomas-berry/
  20. https://www.naxos.com/catalogue/item.asp?item_code=C935171B
  21. http://www.musicweb-international.com/classrev/2017/Oct/Janowitz_last_FHR56.htm
  22. https://www.gramophone.co.uk/features/article/gundula-janowitz-80th-birthday-interview
  23. https://www.gramophone.co.uk/features/article/richard-strauss-s-ariadne-auf-naxos-which-recording-should-you-buy
  24. https://www.gramophone.co.uk/review/gundula-janowitz-the-golden-voice
  25. https://www.europadisc.co.uk/classical/131732/The_Gundula_Janowitz_Edition:_A_Voice_of_Silver_and_Gold.htm
  26. https://www.newyorker.com/magazine/1967/09/23/vienna-best-and-wurst
  27. https://open.spotify.com/intl-ar/track/42ktBFOFVA4qD1Y1g3k3NO
  28. https://www.amazon.com/Beethoven-Symphony-No-Gundula-Janowitz/dp/B00029CX0E
  29. https://www.deutschegrammophon.com/en/artists/gundula-janowitz/discography
  30. http://www.doremi.com/gundulajanowitz.html
  31. https://firsthandrecords.com/products-page/album/gundula-janowitz-the-last-recital-in-memoriam-maria-callas-rec-1999/
  32. https://www.operadis-opera-discography.org.uk/CLSTROSE.HTM
  33. https://www.bach-cantatas.com/Vocal/BWV248-Richter.htm
  34. https://www.naxos.com/CatalogueDetail/?id=8.550482
  35. https://www.digitalconcerthall.com/en/concert/206
  36. https://blogartswithrobert.com/ode-to-joy/
  37. https://www.operaonvideo.com/mozart-requiem-vienna-1971-bohm-janowitz-ludwig-schreier-berry/
  38. https://www.stage-plus.com/video/vod_concert_APNM8GRFDPHMASJKBSOJGE8
  39. https://www.imdb.com/title/tt0252899/
  40. https://www.naxosvideolibrary.com/title/A05004554
  41. https://www.vaimusic.com/product/4458.html
  42. https://www.imdb.com/title/tt0260906/
  43. https://shawshank.fandom.com/wiki/Soundtrack
  44. https://classical.music.apple.com/gb/album/331545598
  45. https://www.musiklexikon.ac.at/ml/musik_J/Janowitz_Gundula.xml
  46. https://www.staatsoper-stuttgart.de/spielplan/a-z/hugo-wolf-medaille-2019/
  47. https://www.gramophone.co.uk/awards/gramophone-classical-music-awards-2021/lifetime-achievement
  48. https://archiv.kug.ac.at/geschichte/die-geschichte-der-kunstuniversitaet-graz/ehrenmitglieder-der-kunstuniversitaet-graz
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