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June Anderson (born December 30, 1952) is an American dramatic coloratura soprano. She is known for bel canto performances of Rossini, Donizetti, and Vincenzo Bellini.

Key Information

Subsequently, she has extended her repertoire to include a wide variety of other roles, including those from the Russian repertoire and works by Richard Strauss. In 2008, Anderson was elevated to Commandeur of the Ordre des Arts et des Lettres by the French Government[1] and in 2007 received a "Victoire d'honneur" in the Victoires de la musique classique in Paris.[2]

Anderson has performed in noted opera houses including La Scala, Covent Garden, La Fenice, Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago and Teatro Colón. She has collaborated with conductors Leonard Bernstein, James Levine, Charles Dutoit, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Giuseppe Sinopoli, Kent Nagano and Michael Tilson Thomas.

Early life

[edit]

June Anderson was born in Boston, Massachusetts and raised in Wallingford, Connecticut. She attended Lyman Hall High School where she was the 5th highest in academic standing among 505 graduates in the class of 1970. She began vocal studies at age 11 and at age 17 was the youngest finalist (at that time) in the Metropolitan Opera auditions.[3]

She received a degree from Yale University in French, graduating cum laude [3] and then decided to pursue a career in singing. Anderson studied voice under Robert Leonard in New York City. She had numerous auditions but no engagements at first. She has said that she continued her pursuit as a challenge, giving herself a deadline of two years (after which she would, if unsuccessful, enter law school). "No one wanted to know my name. I was down to my last $50. That's when I decided I was going to be a singer if it killed me!"[4]

Career

[edit]

Early career

[edit]

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.[5] Several years later, she would voice the Queen of the Night in the Oscar-winning Amadeus, directed by Miloš 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.[6]

1980s

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Anderson left New York City Opera in 1982 and embarked on a European career.[3] Anderson's career in this decade was marked by numerous debuts in quintessential bel canto roles in major European opera houses. She also participated in the recording of operatic works rarely heard in this era, including: Rossini's Mosè in Egitto, Wagner's Die Feen, Bizet's La jolie fille de Perth, Adolphe Adam's Le postillon de Lonjumeau, Fromental Halévy's La Juive, and Daniel Auber's La muette de Portici.

After being recommended to an Italian agent by Sherrill Milnes,[3] she made her European performance debut in 1982 in the title role of Rossini's Semiramide in Rome. In 1983, Anderson debuted in Florence and Geneva in the title role of Lucia di Lammermoor by Donizetti, a part which became one of her most frequent portrayals. She also sang Die Feen by Wagner in Munich,[5] and appeared in North America: Bellini's I puritani in Edmonton and Il barbiere di Siviglia in Seattle.

In 1984, she performed her first Amina in Vincenzo Bellini's La sonnambula in Venice, opening 135 years to the day after Maria Malibran's final Amina in that same theatre.[3] She also appeared as Marie in La fille du régiment by Donizetti in Parma. In 1985, Anderson debuted as Isabelle in the historic revival of Robert le Diable by Meyerbeer in Paris.[5] That year she also appeared in a rarely seen Verdi work, La battaglia di Legnano, in Pittsburgh.

In 1986, she performed her first Desdemona in Rossini's Otello in Venice. The same year, she made her debut at La Scala in Milan in La sonnambula, and her debut at Covent Garden in productions of Semiramide and Lucia di Lammermoor. She also appeared in La fille du régiment at the Opéra-Comique in Paris.

Anderson returned to the Opéra-Comique in 1987, appearing as Elvira in Bellini's I Puritani, and gave a recital at the Paris Opera with Alfredo Kraus. In Italy, she returned to La Scala for her debut as Giuletta in I Capuleti e i Montecchi and returned to Venice for her first performance of Beatrice di Tenda, also by Bellini.

Anderson also appeared in a 1988 concert version of Beatrice di Tenda at Carnegie Hall, with the Opera Orchestra of New York.

Elsewhere in 1988, Anderson focused on Rossini roles: playing her first Armida in Aix-en-Provence, appearing in Otello at the Pesaro Festival, and debuting as Anna in Maometto II (an early version of Rossini's Le siège de Corinthe) at the San Francisco Opera (she had previously recorded this work with Samuel Ramey in 1983). She also appeared that year in Luisa Miller by Verdi at the Opéra National de Lyon. In 1989, she made her long-awaited debut at New York's Metropolitan Opera as Gilda in Rigoletto, with Luciano Pavarotti. The New York Times review wrote of her Met debut:

Miss Anderson's debut as Gilda, although belated, could not have been more welcome. The Metropolitan is not rich in artists of this caliber. The tall soprano left America a decade ago to build a phenomenal European career, chiefly in the florid works of Bellini, Donizetti and Rossini. She demonstrated in a Caro nome of exquisite taste, effortless fluidity and pinpoint precision that she is a master of the bel canto style. She is comfortable above high C, but the lower ranges do not suffer in quality or power. The wide leaps of the Caro nome coda were taken effortlessly and squarely on the note. The Met audience does not often hear a trill as thrushlike and as precise as Miss Anderson's, nor a soprano who can soar as grandly over the ensemble in the quartet.[7]

In July 1989, she sang at the inaugural gala of the new Opéra Bastille in Paris, performing Ombre légère from Le pardon de Ploërmel, by Meyerbeer. (Not a fan of the modernist space, Anderson was later quoted as saying, "The place looks like a gymnasium."[8] )

Leonard Bernstein selected her to perform as Cunegonde in a December 13, 1989 London concert version of Candide conducted by the composer (for which she later shared an award for Best Classical Album at the 34th annual Grammy Awards (1992), given for the December 1989 Abbey Road Studios recording by the same cast and conductor).[9]

Twelve days later, again with Bernstein, she appeared in Berlin for a Christmas Day performance of Beethoven's Symphony No. 9 in D minor "Choral" at the Schauspielhaus, celebrating the fall of the Berlin Wall. The December 25, 1989 concert was broadcast live in more than twenty countries to an estimated audience of 100 million people, and was performed by an orchestra and chorus made up of many nationalities: from Germany, the Bavarian Radio Symphony Orchestra and Chorus, the Chorus of the Berlin Radio Symphony Orchestra, and members of the Sächsische Staatskapelle Dresden; from the Soviet Union, members of the Orchestra of the Kirov Theatre, from the United Kingdom, members of the London Symphony Orchestra; from the US, members of the New York Philharmonic, and from France, members of the Orchestre de Paris.

1990s

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In the next decade, Anderson continued to pursue traditional bel canto roles, but also expanded her repertoire. Anderson began with a January 1990 performance of the Berlioz song cycle Les nuits d'été at Carnegie Hall, with Giuseppe Sinopoli conducting London's Philharmonia Orchestra. Later that year, she appeared at the Metropolitan Opera in an opulent production of Rossini's Semiramide, with Marilyn Horne and Samuel Ramey. In 1990, Anderson also performed in Pesaro in a production of the rarely seen Ricciardo e Zoraide, also by Rossini, and visited the Lyric Opera of Chicago in a new production of Lucia di Lammermoor directed by Andrei Şerban. She closed 1990 with her New Year's Eve gala concert with Zubin Mehta and the New York Philharmonic broadcast nationwide on Live from Lincoln Center on PBS.

In February 1991, she returned to Carnegie Hall to perform La sonnambula with the Opera Orchestra of New York.[10] Also in 1991, she participated in the Gala celebrating the Silver Anniversary of the "new" house of Metropolitan Opera, performing "Je suis Titania" from Mignon, conducted by James Levine. She also sang with Pavarotti at a gala concert in Teatro Valli in Reggio Emilia, Italy to celebrate the 30th anniversary of his first stage appearance. On Christmas Day 1991, she, along with soprano Sarah Walker, tenor Klaus König and bass Jan-Hendrik Rootering, took part to the performance of Beethoven's Symphony No. 9 led under the baton of Leonard Bernstein in Schauspielhaus in Berlin; the concert was recorded by Deutsche Grammophon and published under the title "Ode an die Freiheit".

In 1992, she created her first Elena in La donna del lago at La Scala, the house's first production of the opera in 150 years, staged to mark the bicentenary of Rossini's birth. That same year, she appeared in a controversial new production of Lucia di Lammermoor at the Metropolitan Opera staged by Francesca Zambello.[11] Edward Rothstein wrote in The New York Times:

[S]ome of the audience's outrage may have been due to the contrast between the staging and the many musical virtues that survived in the performance, which was the most complete version of the score ever presented at the Met. June Anderson -- who must have had black-and-blue arms by the evening's end, so often was she grabbed and tossed about -- sang Lucia with more and more refined empathy as the opera proceeded....She delivered a mad scene that combined virtuosic control with a lovely, haunting innocence.[12]

The following year, Anderson appeared as Maria in Tchaikovsky's Mazeppa, in a concert performance at Carnegie Hall with the Opera Orchestra of New York. In 1993, she also appeared in Verdi's La traviata at the Lyric Opera of Chicago. Of that performance, the Chicago Tribune critic wrote:

The show belongs, of course, to Violetta Valery. Anderson quite simply has done nothing finer for Lyric Opera. She internalized every emotion of the role with her usual intensity and conviction, from desperate gaiety to startled joy at her first stirrings of love for Alfredo, right on through to her deathbed scene, which tugged mightily at the heartstrings of even the most jaded opera-goers Every dramatic gesture seemed careful thought out, yet nothing appeared mannered or merely gratuitous. . . .[H]er fiorature were uniformly true, she was able to project easily throughout the theater even when singing softly (how beautifully she floated the bel canto line of "Addio, del passato", giving us both verses of the aria), and she commanded the audience's sympathy like the canny singing actress she is. Anderson's Violetta lives up to the great Lyric tradition.[13]

Anderson began 1995 by appearing in Paris with Roberto Alagna in another controversial production of Lucia di Lammermoor, staged by Andrei Şerban and designed by William Dudley. While the International Herald Tribune noted that Şerban and Dudley were greeted by a "chorus of boos", it wrote of Anderson's performance:

[T]here were nothing but cheers for the impressive cast. June Anderson is surely the Lucia of the moment, and although she lent herself heroically to the frenetic demands of the staging, she also sang the role with superb possession of her vocal means and understanding of the psychological subtext.[14]

Later in 1995, Anderson returned to the Metropolitan Opera in La fille du régiment with Pavarotti, of which The New York Times wrote:

Ms. Anderson's take on Marie is a legitimate one. Winsome charm is at a minimum; tomboy toughness takes over. The role is, of course, one of the coloratura soprano's richest gold mines. Ms. Anderson takes its long series of hurdles with courage, adventure and cool beauty of singing. Wearing a uniform as well as she does is no small help to the evening.[15]

After appearing as Desdemona in Rossini's Otello for many years, in 1995 Anderson debuted in the same role in Verdi's Otello in Los Angeles, opposite Plácido Domingo. She also created her first Lucrezia in Verdi's I due Foscari at Covent Garden and ended the year with her debut as Rosalinde in Die Fledermaus at the Metropolitan Opera.

In 1996, Anderson portrayed Joan of Arc in Verdi's Giovanna d'Arco, both in concert versions in New York and Barcelona, and in a stage production at Covent Garden. She returned to Tchaikovsky in 1996, portraying her first Tatiana in Eugene Onegin in Tokyo. She also appeared in La Traviata, alongside the Italian tenor Salvatore Fisichella, in Tokyo that same year. She participated in the Gala celebrating James Levine's 25th Anniversary at the Metropolitan Opera, singing with Carlo Bergonzi and Ferruccio Furlanetto a selection from I Lombardi alla prima crociata, a work she recorded in its entirety with Levine, Luciano Pavarotti, Samuel Ramey and the Metropolitan Opera orchestra that same year.

In 1997, Anderson made her first appearance in Vincenzo Bellini's Norma at the Lyric Opera of Chicago. The Chicago Tribune noted that Anderson's "clear, bright upper range was at its clarion best, the soprano singing with strength and nuanced sensitivity" and hailed her acting as well: "[D]ramatically, Anderson was exceptional, drawing out all of the conflicting emotions with an intensity tempered by dignity."[16] Later in 1997, she returned to the Opera Orchestra of New York to portray her first Elvira in Verdi's Ernani.[17] In 1998, Anderson spoke in Opera News of her move away from light coloratura roles "into deeper water":

I wanted to put it off as long as possible. I kept saying, and it's been quoted so many times, I didn't want to do "Normina." I wanted to do Norma. And Leonora. I didn't want to sound like a soubrette trying to do these things. I've done things like Il Corsaro and La Battaglia di Legnano very early in my career, so Verdi's always been a presence. I did mostly Rigolettos and Traviatas, and then I added Desdemona a few years ago. ... So I suppose Leonora would be next in line."[18]

Indeed, in 1998, Anderson played her first Leonora in Verdi's Il trovatore at the Metropolitan Opera, in a cast including Richard Margison and Dolora Zajick.

2000s

[edit]

In recent years, Anderson has returned occasionally to her prior roles – appearing in Lucia in São Paulo in 2000 and Athens in 2002, La traviata at the Metropolitan Opera in 2001, and new productions of La sonnambula (Opéra de Marseille, 2004) and Maometto II (Bilbao, 2005). She continues to appear as Norma, in Parma in and Teatro Colón 2001, and at the Opéra de Marseille and the Canadian Opera Company in 2006. Of that latter performance, Toronto's The Globe and Mail wrote:

Bel canto is a term too often bandied about, but it does mean what it says: beautiful singing, but beautiful as distinct from merely pretty; beautiful not only in its musical sensitivity and accuracy of pitch in the face of extreme vocal challenges devised by the composer, but also in its penetration and detailed communication of the emotions encompassed in the music and drama. It was all this that June Anderson's Norma comprehended and conveyed. . . .

Anderson, [] also, as a bonus, looked the part: feminine, classy and dignified. I doubt there's been a markedly better Norma since Callas and Sutherland.[19]

The Toronto Star wrote of Anderson's portrayal in Norma:

[T]he title role is a jewel for any soprano diva's crown. . . .And how very special that one of the great contemporary Normas, American soprano June Anderson, is present to bring down the house. . . . Anderson, a late addition to the cast, has a remarkable dramatic presence. . . Anderson captures the full conflict that besets Norma....The American soprano also captures the role's intimate side, first shown in the famous aria "Casta diva", which invokes the goddess of the moon. Anderson alone is worth the price of admission.[20]

Anderson continues to claim new territory as well, with debut performances in Donizetti's Anna Bolena (Pittsburgh 2000) and Le convenienze ed inconvenienze teatrali (Monte Carlo 2004), The Bassarids by Hans Werner Henze (Théâtre du Châtelet, 2005), Rossini's Il viaggio a Reims (Monte Carlo 2005), and the Richard Strauss operas Capriccio (Naples 2002) and Daphne (La Fenice 2005). Of her debut in Daphne a reviewer in Opera magazine wrote:

The performance seemed to me an absolute triumph for June Anderson. At a career stage where she could reasonably be expected to scale down effort, ambition and new projects, she has instead taken the admirable decision to continue expanding her artistic range - as this first-ever Daphne (follow-up to her recent first ever Capriccio Countess) demonstrated.... [T]he singing offered countless ravishments: crystalline timbre, clean-cut line-delineation, dead-on-target intonation, awesomely easy projection of one perilously exposed high phrase after another.[21]

In 2007, Anderson performed Verdi's Requiem in Paris with conductor Christoph Eschenbach and the Orchestre de Paris, Norma in Leipzig, and at galas at La Fenice in Venice (June 2007), and the Odeon of Herodes Atticus in Athens (July 2007) honoring the 30th anniversary of the death of Maria Callas. She appeared as Anna Bolena in Bilbao in October 2007, and ended the year with Verdi's Requiem in Manchester and at St. Paul's Cathedral in London.

In January 2008, Anderson was elevated from "Officier" to "Commandeur" of the Ordre des Arts et des Lettres by the French Government, the highest level of commendation within the Ordre recognizing "eminent artists and writers, as well as individuals who have contributed to the recognition of French culture in the world."[1] Her 2008 schedule included recitals and concerts in Aix-en-Provence, Brussels, Bordeaux, Paris, a performance with conductor Kent Nagano and the Montreal Symphony Orchestra, at the Bel Canto Festival in Québec, and a Christmas concert in Geneva. In 2009, Anderson appeared in the title roles of Norma at Teatro Verdi in Trieste, Italy (February - March 2009), and Lucrezia Borgia at Opéra Royal de Wallonie in Liège, Belgium (June 2009).

In the 2010–11 season, June Anderson added two new roles to her repertoire: Madame Lidoine, in Dialogues des Carmelites at the Opéra de Nice, and Salome (opera) at the Opéra Royal de Wallonie. Her 2012 schedule included a further role debut as Pat Nixon in John Adams' Nixon in China at the Théâtre du Châtelet.

Notable recordings

[edit]

Recordings include:

Vincenzo Bellini

Gioachino Rossini

Gaetano Donizetti

Giuseppe Verdi

Leonard Bernstein

Other composers/recordings

References

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

June Anderson

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June Anderson (born December 30, 1952) is an American dramatic renowned for her interpretations of operas by , , and . Born in , , Anderson began voice lessons at age 11 after initially training as a dancer, which she abandoned following knee surgery. She graduated cum laude from with a major in , focusing on 19th-century works, before studying voice intensively with coach Robert Leonard, who emphasized breathing and support techniques. In 1970, at the age of 17, she won the National Council Auditions, the youngest to do so at the time, providing key early recognition that helped launch her career. Her professional debut came in 1978 at the Opera, where she portrayed the Queen of the Night in Wolfgang Amadeus Mozart's , a role she later voiced in the 1984 film Amadeus. Anderson's career gained international prominence in the , particularly in , where she specialized in agile, virtuosic roles, earning acclaim as a successor to sopranos like and . She made her La Scala debut in 1986 as Amina in Bellini's and performed frequently at venues like the Opéra and . Notable among her achievements was becoming the first non-Italian singer to win the prestigious d'Oro Prize for her interpretations of Bellini's works. Anderson championed lesser-known operas, including Rossini's and Maometto II, Bellini's , and Handel's Orlando, often reviving them in concert and staged productions to highlight their dramatic and vocal demands. Over time, her voice matured into a fuller, more dramatic timbre, allowing her to expand her repertoire to include roles in operas like Luisa Miller and Puccini's , as well as contemporary works such as John Adams's , where she triumphed as at the in . She collaborated with conductors like on his 1989 production of , earning a Grammy Award in 1992 for Best Classical Album shared with the cast and production team. Despite facing challenges, including that required relearning her technique, Anderson maintained a selective approach to her career, prioritizing vocal and roles that suited her strengths. Her recordings and performances, totaling over 50 operatic credits, continue to exemplify precision in and emotional depth in expression. Anderson retired from performing around 2014.

Early life and education

Childhood and early influences

June Anderson was born on December 30, 1952, in , , and raised in , a suburb near New Haven. As a young child, she enjoyed and around the family home, with her mother encouraging her pursuits in . However, Anderson initially focused on until age 11, when she underwent for a knee tumor, halting her dancing career. Prompted by her mother—described by Anderson as a ""—she began private voice lessons at that age, discovering a natural aptitude for . Her early vocal training took place in the New Haven area, where she studied with local teacher Hilda Riggio, a prominent figure in the community's music scene outside Yale University. As a high school student at Lyman Hall High School in Wallingford—graduating in 1970 ranked fifth among 505 students—Anderson performed in regional productions, including Haydn's L'infedeltà delusa in 1968 and a high school staging of Show Boat. Her vocal timbre was noted early on to resemble that of German coloratura soprano Erna Berger. At age 14, she made her operatic debut in the title role of Ernst Toch's The Princess and the Pea (La Princesse au petit pois) with the New Haven Symphony Orchestra during a children's concert series. By 17, she sang Gilda in Verdi's Rigoletto with the New Haven Opera Company and became the youngest finalist in the Metropolitan Opera National Auditions. Anderson's early influences included the composers and , whose works sparked her interest in during her formative years. Her mother's encouragement and the supportive local arts environment in played key roles in nurturing her talent, though she initially considered other paths like before committing to music. These experiences laid the foundation for her development as a dramatic .

Academic background and vocal training

June Anderson was born in Boston, Massachusetts, and raised in Wallingford, Connecticut. She attended Lyman Hall High School in Wallingford, where she ranked fifth academically among 505 graduates in the class of 1970. At age 11, Anderson began private vocal lessons in Connecticut at her mother's urging, initially as a means to channel her interests after discontinuing dance training due to a knee tumor. By age 14, she made her first operatic appearance as the Princess in Ernst Toch's with the New Haven Symphony Orchestra. In 1970, at 17, Anderson became the youngest finalist in the history of the National Council Auditions, earning widespread recognition for her early talent. Anderson pursued higher education at , graduating cum laude in 1974 with a degree in , specializing in 19th-century works. Following graduation, she committed fully to a musical career and relocated to to study voice intensively with pedagogue Robert Leonard, her primary teacher from 1974 until his death in the mid-1990s. Under 's guidance, Anderson developed foundational techniques in breath control and vocal support, drawing inspiration from Maria Callas's non-commercial recordings that her teacher introduced to her repertoire studies. also encouraged her to tackle demanding roles like Bellini's Norma early in her training to build technical precision and stamina suited to demands. This rigorous preparation emphasized principles, laying the groundwork for her specialization in agile, high-lying parts.

Career

Debut and early professional years

Anderson made her professional debut with the Opera on October 18, 1978, portraying the Queen of the Night in Mozart's Die Zauberflöte (), a role that highlighted her agile technique and marked the beginning of her operatic career. After graduating cum laude from in 1974 with a degree in French, she continued training with coach Robert Leonard, refining her skills for the stage. In the years following her debut, Anderson performed a series of supporting and leading roles with the Opera, including Gilda in Verdi's and Donna Anna in Mozart's , which allowed her to build experience in diverse repertory while establishing her reputation in American houses. These engagements, spanning 1978 to 1982, emphasized her versatility in both classical and styles, though she often balanced opera with occasional musical theater and concert work to support her burgeoning career. By the early 1980s, seeking greater opportunities in the tradition, she relocated to , where she made her European debut at the Rome Opera in 1982 as in Rossini's opera of the same name, earning acclaim for her dramatic intensity and vocal precision in this challenging title role. This period of transition solidified Anderson's focus on 19th-century , with initial forays into rarer works that showcased her high and flexibility, setting the stage for her wider international recognition. Her persistence in pursuing roles that matched her strengths, despite initial challenges in breaking into major venues, underscored her methodical approach to professional growth during these formative years.

1980s international breakthrough

In 1982, June Anderson left the Opera to pursue opportunities in Europe, following a recommendation from Sherrill Milnes to an Italian agent. Her international breakthrough began that year with her European debut at the Rome , where she performed the title role in Rossini's , a demanding showcase that highlighted her agility and dramatic flair as a . The mid-1980s saw Anderson solidify her reputation through a series of acclaimed debuts at major opera houses. In 1983, she sang Lucia in Donizetti's in and , roles that established her as a leading interpreter of 19th-century Italian repertoire. She followed this in 1984 with performances as Amina in Bellini's at in and as Marie in Donizetti's in , earning praise for her technical precision and vocal brilliance. By 1985, Anderson made her Paris Opéra debut as Isabelle in Meyerbeer's Robert le diable, further demonstrating her versatility in French grand opera. Anderson's prominence peaked with high-profile debuts in 1986, including in La sonnambula at Milan's , where she received widespread accolades for her mastery, and the title role in Semiramide at London's . That same year, she portrayed in Rossini's at , reinforcing her status as a Rossini specialist. These performances positioned her as a successor to sopranos like in the revival, with critics noting her powerful, flexible voice suited to the era's demand for authentic period interpretations. Her international career continued to expand, culminating in a 1989 Metropolitan Opera debut as Gilda in Verdi's , marking her return to American stages on a grand scale.

1990s role expansion

In the , June Anderson broadened her beyond her core specialization in Rossini, , and Donizetti to incorporate more dramatic roles and select works from other composers, reflecting a maturation of her vocal technique toward greater heft and emotional range while preserving her signature agility. This shift was influenced by her desire to explore heavier dramatic parts, as she discussed in a 1998 Opera News interview, noting the transition to roles like those in 's operas required building stamina for sustained intensity. A key expansion began with her 1995 debut as Desdemona in Giuseppe Verdi's Otello at Los Angeles Opera, opposite Plácido Domingo as Otello, where she delivered a secure and poignant portrayal, particularly in the Willow Song and final scenes, earning praise for blending lyricism with tragic depth. That same year, she debuted as Lucrezia in Verdi's I due Foscari at the Royal Opera House, Covent Garden, showcasing her ability to navigate the opera's intricate ensemble demands and psychological complexity. She also took on the lighter but versatile Rosalinde in Johann Strauss II's Die Fledermaus at the Metropolitan Opera, demonstrating her adaptability across operatic styles. In 1996, Anderson portrayed Giovanna in Verdi's Giovanna d’Arco in productions at in New York, the Gran Teatre del in , and , highlighting her dramatic conviction in the title role's arc from visionary to sacrificial figure. She ventured into with Tatiana in Pyotr Ilyich Tchaikovsky's at the New National Theatre in , emphasizing introspective lyricism in the character's letter scene and . The decade's highlight was her 1997 debut as Norma in Vincenzo Bellini's Norma at the , a pinnacle that tested her full range; critics commended her clear, bright upper register and command of the cavatina "Casta Diva," marking a career resurgence after a vocal hiatus earlier in the decade. Later that year, she sang in Verdi's with the Opera Orchestra of New York at , excelling in the role's fiery cabalettas and confrontational arias. Anderson capped the 1990s with her 1998 debut as Leonora in Verdi's , opposite Dolora Zajick as Azucena, where her radiant tone and affecting vulnerability in arias like "D'amor sull'ali rosee" were lauded for revitalizing the production's vocal standards. These roles solidified her evolution into a versatile capable of dramatic heft, expanding her international profile at major houses.

2000s and later career

In the , June Anderson sustained her international career by diversifying her repertoire, incorporating more dramatic and contemporary works alongside her established strengths. She debuted the title role in Donizetti's Anna Bolena at Pittsburgh Opera in 2000, marking a significant expansion into heavier dramatic roles. The following year, she took on the title role in Bellini's Norma at Teatro Regio di Parma in 2001 and in , showcasing her vocal agility in one of the operatic repertoire's most demanding parts. In 2002, Anderson portrayed the Countess in Richard Strauss's Capriccio at in , blending her lyrical precision with Straussian elegance. By mid-decade, Anderson ventured further into 20th-century opera. In 2005, she performed Agave in Hans Werner Henze's The Bassarids at in , a role that highlighted her interpretive depth in modern expressionism. That same year, she sang in Rossini's at and debuted the title role in Strauss's at in , where her performance was captured in a live recording praised for its ethereal quality. She returned to Norma in a performance at Opéra de Marseille in 2006, partnering with mezzo-soprano Mzia Nioradze as Adalgisa. Anderson's engagements continued into the late 2000s and early 2010s with title roles that pushed her vocal and dramatic boundaries. In 2009, she performed Norma at Teatro Verdi in and the title role in Donizetti's Lucrezia Borgia in a at Opéra Royal de Wallonie in . A notable late-career highlight came in 2011 with her debut as in Richard Strauss's at Opéra Royal de Wallonie in , an unexpected foray into intensity at age 58. In 2012, she portrayed in John Adams's at Théâtre du Châtelet in , earning acclaim for her nuanced depiction of the in this minimalist . That year, she also received the rank of Commander in the French Ordre des Arts et des Lettres for her contributions to . Anderson's performances tapered after 2012, with no major operatic engagements reported thereafter. Since retiring from the stage, she has remained active in the opera community, serving on the jury of the 2023 Queen Elisabeth International Competition for Voice.

Repertoire and performance style

Bel canto specializations

June Anderson established herself as a leading interpreter of opera, specializing in the works of , , and , where her dramatic voice—characterized by agility, power, and a secure high register—excelled in roles demanding both technical brilliance and emotional depth. Often classified as a drammatica d'agilità, she championed the revival of lesser-known scores while delivering acclaimed performances in staples, drawing comparisons to for her vocal control and stylistic precision. In Donizetti's repertoire, Anderson's signature role was Lucia in , which she performed internationally, including at the in 1992 opposite as Edgardo and a notable production at the Opera in 1993, where her portrayal of the mad scene earned prolonged ovations for its dramatic intensity and vocal fireworks. She also shone as Norina in , bringing wit and flexibility to the character's demands. Anderson's Bellini interpretations highlighted her lyrical sensitivity, particularly as Adalgisa in Norma, a role she later revisited in concert settings, such as a 2006 performance in . She took on the title role of Norma herself in productions like the 2009 staging, delivering the iconic "Casta Diva" with radiant tone and dramatic conviction, and explored rarer works such as Beatrice di Tenda and Elvira in . Her Rossini engagements formed the core of her bel canto legacy, with standout portrayals including Semiramide in the 1982 La Scala debut and subsequent recordings, where her commanding presence and stylistic flair were praised; Desdemona in Otello; Armida in Armida; Anna in Maometto II, noted for superior elegance over contemporaries like Beverly Sills; and Elcia in Mosè in Egitto, sung with stunning conviction under period-informed conducting. Anderson also excelled as Elena in La donna del lago, offering a brilliant "Tanti affetti" in recordings that showcased her sweeter Act II timbre, and as Rosina in La Cenerentola, blending agility with dramatic nuance. These roles underscored her commitment to Rossini's opere serie, often in pioneering revivals that emphasized authentic bel canto phrasing and ornamentation.

Dramatic and other roles

While renowned for her interpretations, June Anderson expanded her repertoire in the and beyond to encompass more roles, particularly in operas by , , and , showcasing her vocal agility alongside greater emotional depth and stamina. This shift allowed her to explore characters requiring sustained lyricism and intensity, moving beyond the florid demands of Rossini and early Donizetti works. One of her pivotal dramatic debuts was as Norma in Vincenzo Bellini's Norma at the in 1997, a role she had long aspired to tackle for its blend of fireworks and tragic gravitas. Critics praised her command of the part, noting her "clear, bright upper range was at its clarion best, the singing with strength and nuanced sensitivity." This performance marked her first assumption of the priestess, a character demanding both technical precision in arias like "Casta Diva" and dramatic conviction in the opera's confrontations. Anderson revisited Norma in subsequent seasons, including a 2009 production in , further solidifying her affinity for Bellini's heroic heroines. In Verdi's oeuvre, Anderson excelled in roles blending vulnerability and passion, such as Violetta Valéry in La Traviata. She performed the courtesan-turned-tragic figure in multiple high-profile productions, including a 1993 mounting at the Lyric Opera of Chicago opposite Dmitri Hvorostovsky as Giorgio Germont, where her portrayal captured the character's emotional arc from exuberance to resignation. Earlier expressions of interest in the role, voiced in a 1990 interview, underscored her desire to interpret Violetta under directors who emphasized psychological nuance over superficiality. She also took on Desdemona in Verdi's Otello, debuting in the part in 1995 at the Los Angeles Music Center Opera alongside Plácido Domingo, where her "beautifully" sung Willow Song and Ave Maria highlighted a poised innocence amid encroaching doom. These Verdi interpretations demonstrated her ability to convey subtle dramatic shading, as in the tender duets and final scenes that demand lyrical warmth over pure virtuosity. Anderson's foray into late-Romantic and modern dramatic territory included the title role in Richard 's Salome, which she debuted in 2011 at the Opéra Royal de Wallonie in in the French version of the opera. This portrayal of the biblical princess, known for its obsessive intensity and the infamous , represented a bold late-career expansion, with Anderson delivering the final scene's hallucinatory fervor to acclaim. She also essayed in 's pastoral tragedy Daphne in a 2005 live recording from , embodying the nymph's transformation with ethereal tone and narrative sensitivity. Beyond , her repertoire embraced contemporary works, such as in John Adams's during the 2000s, where she portrayed the First Lady's introspective arias with poised restraint, and Madame Lidoine in Francis Poulenc's Dialogues des Carmélites at the Opéra de in the 2010–11 season, adding a layer of spiritual poise to the opera's revolutionary terror. Other notable ventures included lighter dramatic fare, such as Rosalinde in Johann Strauss II's operetta Die Fledermaus, which she performed to highlight her charismatic stage presence and sparkling high notes in ensembles like the csárdás. Additionally, in Gaetano Donizetti's Lucrezia Borgia, she tackled the titular poisoner's vengeful monologues, a role bridging her bel canto roots with darker dramatic intrigue. These selections reflect Anderson's selective broadening, prioritizing roles that aligned with her vocal profile while avoiding those, like Puccini's Tosca, deemed too heavy by her teachers.

Recordings

Opera studio recordings

June Anderson's studio recordings encompass a range of and French Romantic operas, showcasing her agility in roles and dramatic expressiveness. These recordings, primarily from the 1980s and 1990s with major labels like , , and Decca, highlight her contributions to reviving lesser-known works alongside staples of the repertoire. Her interpretations often emphasize technical precision and vocal brilliance, as noted in contemporary reviews praising her command of high and ornamentation. A pivotal early recording was her portrayal of Elcia in Gioachino Rossini's Mosè in Egitto (, 1982), conducted by Claudio Scimone with the . This studio production of the 1818 sacred opera featured Anderson opposite Ruggero Raimondi as Mosè and Ernesto Palacio as Osiride, capturing the work's dramatic intensity and prayer-like choruses in a complete edition based on the original Italian version. Critics lauded her radiant tone in the prayer "Mi parla il cor" and her chemistry in duets, marking it as a benchmark for Rossini revivals. In 1983, Anderson took on Anna Erisso in Rossini's Maometto II (, 1985 release), again under Scimone, with as the title role and Palacio as . This studio recording of the 1820 Naples version emphasized the opera's fireworks, with Anderson's agile runs in "Ah! che invan sul mesto ciglio" drawing acclaim for blending and . The production was celebrated as the first complete recording of the Venetian revision, underscoring Anderson's role in promoting Rossini's serious operas. Her foray into yielded several acclaimed studio efforts. As Catherine Glover in Georges Bizet's La jolie fille de Perth (, 1985), conducted by Georges Prêtre with the Nouvel Orchestre Philharmonique, Anderson navigated the opéra comique's lyrical demands opposite Alfredo Kraus, her vibrant soprano shining in the "Ô jour de plaisir." The recording was praised for its idiomatic style and orchestral polish, reviving Bizet's early work. Similarly, in Adolphe Adam's Le postillon de Lonjumeau (, 1986), she starred as Madeleine under Fulton with the Orchestre Philharmonique de Monte-Carlo, delivering the famous "Leggero, brillante" with sparkling precision; this studio recording, made in the Salle , was hailed for restoring the opéra-comique's sparkle. Anderson also appeared as Elvira in Daniel Auber's (, 1986), again with Fulton and Kraus as , her expressive phrasing in Elvira's arias contributing to this influential studio revival of the grand opéra that sparked the 1830 . A landmark in grand opéra came with her role as Princess Eudoxie in Fromental Halévy's (Philips, 1989), conducted by Antonio de Almeida with the , alongside as Eléazar and Julia Varady as Rachel. This was the first complete studio recording of the 1835 work, with Anderson's poignant delivery in "Mon doux seigneur" and the Act IV trio earning praise for dramatic depth and vocal control, cementing its status as a definitive edition. Later, Anderson expanded into Verdi with Giselda in I Lombardi alla prima crociata (Decca, 1997), a studio recording under with the Orchestra and Chorus, featuring as Oronte and as Pagano. Her fervent rendition of "Salve Maria" and the prayer scene highlighted her maturing timbre, with the production noted for its theatrical pacing and choral grandeur in this early score. In addition to complete operas, Anderson recorded recital albums of opera arias in studio settings, focusing on her strengths. Her Opera Arias (Erato, 1988), with the Orchestre Philharmonique de Monte-Carlo under Nicola Rescigno, included excerpts from , Norma, and I puritani, showcasing her pure tone and trill in "Son vergin vezzosa." The Airs d'opéras français (Erato, 1984), conducted by Michel Plasson, featured selections from Gounod, Massenet, and Meyerbeer, demonstrating her French diction and elegance in arias like "Je veux vivre" from . These collections, emphasizing conceptual depth over exhaustive lists, underscored her versatility across national styles.
OperaRoleComposerYear (Release)LabelConductorKey Co-stars
Mosè in EgittoElciaRossini1982Claudio ScimoneRuggero Raimondi, Ernesto Palacio
Maometto IIAnna ErissoRossini1985Claudio Scimone, Ernesto Palacio
La jolie fille de PerthCatherine GloverBizet1985Georges PrêtreAlfredo Kraus, Gino Quilico
Le postillon de LonjumeauMadeleine1986Thomas FultonJohn Aler, François Le Roux
ElviraAuber1986Thomas FultonAlfredo Kraus, John Aler
Princess EudoxieHalévy1989Antonio de Almeida, Julia Varady
GiseldaVerdi1997Decca,

Concert and live recordings

June Anderson's concert and live recordings capture her virtuosic technique in both operatic and vocal showcase settings, often highlighting her expertise and collaborative performances with renowned artists. These recordings, primarily from the and , reflect her international prominence and include full operas captured during stage productions as well as recitals drawn from live events. Unlike her studio efforts, these preserve the spontaneity and dramatic intensity of performance venues, contributing to her legacy in Rossini and Donizetti repertory. One of her earliest significant live opera recordings is by Donizetti, performed at the Teatro Comunale in in 1983, where she sang the title role opposite Alfredo Kraus as Edgardo, under conductor Gianluigi Gelmetti. This performance showcases her agile high register and emotional depth in the Mad Scene, marking an early milestone in her European career. The recording, available on labels like Legato Classics, is noted for its vocal fireworks and historical value as a document of her rising stardom. In 1986, Anderson recorded La fille du régiment live at the in , portraying Marie alongside Kraus as Tonio and conducted by Bruno Campanella with the Orchestre et Chœur du Théâtre National de l'Opéra de Paris. Released by (now Warner Classics), this rendition emphasizes her spirited delivery of the nine high Cs in the Act I lesson scene, blending comic timing with precise , and remains a benchmark for the role. The 1987 live from the , also featuring Kraus and directed by the same orchestra under various conductors, includes excerpts from (), (Gounod), (Rossini), (Delibes), and La fille du régiment (Donizetti), preserved on and highlighting her French and Italian operatic versatility. Anderson's bel canto prowess is further documented in Semiramide by Rossini, recorded live at the in 1990 with as Arsace, as , and conducting. Available on video via Image Entertainment and audio excerpts through various platforms, her interpretation of the title role's elaborate arias like "Bel raggio lusinghier" demonstrates dramatic authority and vocal agility in this rare revival. Another key live capture is by Rossini from in 1992, where she performed Elena under , opposite Rockwell Blake and Chris Merritt; the production, directed by , was issued on DVD by Opus Arte, preserving her nuanced phrasing in the opera's demanding lines. Beyond full operas, Anderson participated in concert works with live elements, though fewer were formally released as such. Her 1993 recital at Hall during the Mostly Mozart Festival, featuring Mozart arias, exemplifies her concert style, with recordings circulating via archival video. These live efforts underscore her adaptability across formats, prioritizing vocal brilliance over textual completeness in non-operatic contexts.

Recognition

Awards

June Anderson has received several prestigious awards recognizing her contributions to opera and classical music. In 1970, at the age of 17, she became the youngest finalist and winner in the National Council Auditions, marking an early milestone in her career. She was the first non-Italian singer to win the Bellini d'Oro prize, an annual award honoring excellence in performances of 's works, highlighting her specialization in repertoire. In 1992, Anderson shared the Grammy Award for Best Classical Album for her performance in Leonard Bernstein's , conducted by Bernstein himself. For her international impact, particularly in , she was appointed Commandeur of the Ordre des Arts et des Lettres by the French government in 2008, an elevation from her earlier recognition in the order. Additionally, in 2007, she received the Victoire d'honneur at the Classique, a lifetime achievement award for her distinguished career.

Honors and legacy

Anderson's legacy endures as a pivotal figure in the modern revival of , particularly the works of Rossini, Donizetti, and , where her agile, powerful voice brought renewed attention to these 19th-century scores. She championed lesser-known operas, such as Rossini's and 's Beatrice di Tenda, performing them in major venues like and , which helped preserve and popularize these rarities for contemporary audiences. Her recordings and performances continue to exemplify precision in and emotional depth in expression, influencing subsequent generations. Additionally, her vocal dubbing for the Queen of the Night in Miloš Forman's 1984 Amadeus introduced her artistry to a broader cinematic audience, bridging and .

References

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