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Karan Armstrong
Karan Armstrong
Karan Armstrong
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Karan Armstrong (December 14, 1941 – September 28, 2021) was an American operatic soprano, who was celebrated as a singing actress. After winning the Metropolitan Opera National Council Auditions in 1966, she was given small roles at the Metropolitan Opera, and appeared in leading roles at the New York City Opera from 1969, including Conceptión in Ravel's L'heure espagnol, Blonde in Mozart's Die Entführung aus dem Serail, and the title roles in Verdi's La traviata, Offenbach's La belle Hélène and Puccini's La fanciulla del West. After she performed in Europe from 1974, first as Micaëla in Bizet's Carmen, and then as a sensational Salome at the Opéra du Rhin, she enjoyed a career at major opera houses, appearing in several opera recordings and films. Armstrong was for decades a leading soprano at the Deutsche Oper Berlin, where her husband Götz Friedrich was director. She appeared in world premieres, including Gottfried von Einem's Jesu Hochzeit, Luciano Berio's Un re in ascolto and York Höller's Der Meister und Margarita. She was awarded the title Kammersängerin twice.

Key Information

Biography

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Armstrong was born in Havre, Montana. Originally trained as a pianist, she graduated with a Bachelor of Music degree from Concordia College in 1963.[1] She later studied with Lotte Lehmann in Santa Barbara, California.[2] She made her operatic debut in 1965 with a secondary company in San Francisco, as Musetta in Puccini's La bohème.[3] She made her first appearance with the San Francisco Spring Opera the following year, as Elvira in Rossini's L'italiana in Algeri.[4]

In 1966, Armstrong won the Metropolitan Opera National Council Auditions, which led to her engagement by the house for small roles. She first appeared there on October 2, 1966, as one of the servants in Die Frau ohne Schatten by Richard Strauss, conducted by Karl Böhm, alongside Leonie Rysanek and Christa Ludwig.[5] She continued to perform regularly at the Met through the spring of 1969, in roles such as the Paggio in Verdi's Rigoletto (opposite Cornell MacNeil), Annina in Verdi's La traviata (with Virginia Zeani in the title role), and the Dew Fairy in Humperdinck's Hänsel und Gretel (with Teresa Stratas as Gretel).[6][7] She appeared as a guest at the Santa Fe Opera as Adina in Donizetti's L'elisir d'amore in 1968.[8]

Preferable contracts emanated from the New York City Opera, and she made her first appearance with that company as the Reine de Chémakhâ in Rimsky-Korsakov's Le coq d'or (with Michael Devlin) in 1969.[9] She appeared at the theatre many times through 1977,[8] singing such roles as Conceptión in Ravel's L'heure espagnol (with Kenneth Riegel), Blonde in Mozart's Die Entführung aus dem Serail (with Patricia Brooks and later Beverly Sills as Konstanze), and the title roles in La traviata, Offenbach's La belle Hélène and Puccini's La fanciulla del West, among others.[10]

In 1974, she first appeared in Europe, as Micaëla in Bizet's Carmen at the Opéra du Rhin in Strasbourg.[2] The following year, she created a sensation with her performance as Salome by Richard Strauss at the same theatre.[2] Further performances in Europe followed, including the title role in Puccini's Tosca at La Fenice in Venice, and Elsa in the 1979 Bayreuth Festival's Lohengrin,[11] alongside Peter Hofmann in the title role, directed by her future husband, Götz Friedrich, in a performance which was later recorded and filmed.[12] She appeared in Berlin and helped shape the Deutsche Oper Berlin for almost four decades in over 400 evenings and twenty-four different roles.[13] She gave her roles psychological credibility, often in productions with her husband as director.[13] She performed also in Vienna, Paris, at The Royal Opera House (as Berg's Lulu, which Robert Craft described as "accurately sung and perfectly enacted"[14]), Los Angeles, and at the Bolshoi Theatre in Moscow.[12]

She appeared in several operatic world premieres, including Gottfried von Einem's Jesu Hochzeit [de] (as Death), Giuseppe Sinopoli's Lou Salomé, Luciano Berio's Un re in ascolto, York Höller's Der Meister und Margarita, Desdemona und ihre Schwestern by Siegfried Matthus, and Cosima, also by Matthus.[2] She also performed in Douglas Moore's The Ballad of Baby Doe, Robert Ward's The Crucible, Carlisle Floyd's Susannah, Offenbach's Les contes d'Hoffmann (as Giulietta, opposite Norman Treigle), Bartók's Bluebeard's Castle, Poulenc's La voix humaine, Debussy's Pelléas et Mélisande, Berg's Wozzeck, Der Rosenkavalier by Richard Strauss, Les Troyens by Berlioz (as Cassandre), Korngold's Die tote Stadt, Wagner's Parsifal, Krenek's Karl V., Schoenberg's Erwartung, Wagner's Die Walküre (as Sieglinde), Janáček's Katya Kabanova and The Makropulos Case, Marcel Landowski's Montségur, Die Frau ohne Schatten (as the Färberin), Shostakovitch's Lady Macbeth of Mtsensk, Henze's The Bassarids, Beethoven's Fidelio, Hindemith's Mathis der Maler (as Ursula), Wagner's Tannhäuser (as Venus, with René Kollo in the title role) and Poulenc's Dialogues des Carmélites (as Mother Marie of the Incarnation).[15]

In 1985, Armstrong was named a Kammersängerin in Stuttgart;[2] in 1994, she received the title in Berlin.[2] Later roles included the Widow Begbick in Weill's Aufstieg und Fall der Stadt Mahagonny at the Deutsche Oper Berlin, Teatro Carlo Felice, Bern Theatre, Theater Erfurt,[16] Herodias in Salome at Antikenfestspiele Trier and Canadian Opera Company, Kabanicha in Katja Kabanowa at Israeli Opera and Teatro La Fenice, Kostelnička in Jenůfa at Komische Oper Berlin, Klytämnestra in Elektra at Teatro dell'Opera di Roma, Théâtre du Capitole and New National Theatre, Tokyo, Mrs Quickly in Verdi's Falstaff at New National Theatre, Tokyo, Mme Larine in Tchaikovsky's Eugene Onegin at the Deutsche Oper Berlin in a Friedrich production,[13] the Old Lady in Bernstein's Candide at the Flanders Opera,[17] the Queen of Hearts in Unsuk Chin's Alice in Wonderland in Geneva,[17] and Cecily 'Cissy' Robson in Ronald Harwood's play Quartet in Berlin.[18] In 2015, she sang Geneviève in a concert performance of Pelléas et Mélisande in Turin, conducted by Juraj Valčuha.[19]

Personal

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Armstrong was married for many years to the stage director and impresario Götz Friedrich.[15][20] Their marriage ended with Friedrich's death, in 2000.[15] The couple had one son, Johannes.[21]

Armstrong died in Marbella, Spain, on September 28, 2021, at the age of 79.[3][22][23]

Discography

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Source:[8]

  • Wagner: Lohengrin (Hofmann; Nelsson, 1982) [live] CBS OCLC 1184322289
  • Menotti: Songs (Francesch, p.1983) Etcetera OCLC 22489759
  • Berio: Un re in ascolto (Adam; Maazel, 1984) [live] col legno OCLC 1183573911
  • Henze: The Bassarids (Riegel; Albrecht, 1986) koch schwann OCLC 25064291
  • Landowski: Montségur (G.Quilico; Plasson, 1987) [live] Cybelia OCLC 874205377
  • Zemlinsky: Lyric Symphony (Kusnjer; Gregor, 1987–88) Supraphon OCLC 27646751
  • Zemlinsky: Lyric Symphony (Hermann; Gielen, 1989) [live] Orfeo
  • Höller: Traumspiel (Zagrosek, 1989) WERGO OCLC 1080904217

Videography

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References

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Bibliography

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Karan Armstrong

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Karan Armstrong is an American operatic soprano known for her intense and psychologically compelling portrayals in dramatic and modernist operas, particularly her acclaimed interpretations of Alban Berg's Lulu and Richard Strauss's Salome. She was celebrated as a singing actress whose charisma and stage presence made her especially effective in twentieth-century repertoire by composers such as Berg, Korngold, Shostakovich, Poulenc, and Kurt Weill, earning her the nickname “diva of Modernism.” Armstrong maintained a long and prominent association with the Deutsche Oper Berlin, where she gave over 400 performances in 24 roles from her 1977 debut as Salome until her final appearance as Larina in Eugene Onegin in 2016. Born on December 14, 1941, in Havre, Montana, Armstrong initially trained as a pianist and earned a Bachelor of Music degree from Concordia College in 1963 before studying voice with Lotte Lehmann in California. She made her professional operatic debut as Musetta in La bohème in San Francisco in 1965 and won the Metropolitan Opera National Council Auditions in 1966, leading to her Metropolitan Opera debut that year in Die Frau ohne Schatten. After performing at the Met, Santa Fe Opera, and New York City Opera, she moved to Europe in 1974, debuting at the Opéra du Rhin in Strasbourg. Her career flourished in Europe, where she appeared at major houses including the Royal Opera House Covent Garden, Bayreuth Festival, Teatro La Fenice, and Vienna State Opera. In 1981 she married German opera director Götz Friedrich, with whom she collaborated closely on numerous productions until his death in 2000. Armstrong received the title of Kammersängerin in Stuttgart in 1985 and in Berlin in 1994, and she later taught master classes and directed productions. She died on September 28, 2021, at the age of 79 in Marbella, Spain.

Early life and education

Early life

Karan Armstrong was born on December 14, 1941, in Havre, Montana, a small rural town in the northern plains of the American West. She grew up in this modest environment, raised primarily by her mother, Pearl, who worked as a teacher, after her father, Matthew, a tenor, was killed while serving in the Second World War when she was an infant, leaving her with no memory of him. Details of her childhood activities or specific early influences remain limited in available records, with her formative years spent in the isolated setting of Havre before pursuing further studies.

Education and early training

Karan Armstrong initially trained as a pianist, earning a Bachelor of Music degree from Concordia College in Moorhead, Minnesota, in 1963. Following her undergraduate studies, she shifted her focus to voice and pursued private vocal instruction with several teachers, most notably the celebrated soprano Lotte Lehmann in Santa Barbara, California. Sources describe her early vocal training as private and varied, emphasizing Lehmann's influence on her development as a singer. No graduate degree is documented in available biographical sources. This foundational education in piano and subsequent vocal studies prepared her for professional engagements.

Career

Early career in the United States

Karan Armstrong's early career in the United States began with significant recognition when she won the Metropolitan Opera National Council Auditions in 1966. This achievement provided her with opportunities to perform several minor roles at the Metropolitan Opera over the ensuing years. She had made her operatic debut earlier in 1965 with a minor company in San Francisco as Musetta in Puccini's La bohème. She went on to appear with the San Francisco Opera, singing Elvira in Rossini's L'Italiana in Algeri in 1966 and Lisette in Puccini's La rondine in 1969. Further engagements included her first appearance with the New York City Opera as the Queen of Shemakha in Rimsky-Korsakov's Le coq d'or in 1969. During this period, Armstrong primarily took on supporting and lyric soprano roles suitable to her light voice, building experience across regional and major American opera companies. By the early 1970s, her desire to explore heavier dramatic repertoire contributed to her eventual decision to pursue opportunities in Europe.

Move to Europe and Deutsche Oper Berlin

Karan Armstrong relocated to Europe in 1974, making her continental debut that year at the Opéra du Rhin in Strasbourg as Micaëla in Bizet's Carmen. This engagement marked the beginning of her transition from American stages to a prominent European career focused on dramatic repertoire. She achieved notable success the following year with the title role in Strauss's Salome at the same theater. Armstrong made her debut at the Deutsche Oper Berlin in 1977, performing the title role in Salome. She went on to establish herself as a leading dramatic soprano and a continual presence at the house for nearly four decades, appearing in over 400 performances across 24 roles until her final appearance in 2016 as Larina in Eugene Onegin. In 1978, Armstrong met stage director Götz Friedrich during a production of Salome in Stuttgart. They married in 1981, the same year Friedrich assumed the position of Artistic Director at the Deutsche Oper Berlin, prompting Armstrong to base herself more fully in Berlin. The couple maintained a close artistic collaboration for two decades, producing numerous stagings of works by Strauss, Wagner, Berg, Korngold, Poulenc, Shostakovich, and Kurt Weill until Friedrich's death in 2000. This partnership contributed significantly to Armstrong's status as one of the company's central figures during that era.

International engagements and later performances

Karan Armstrong made numerous guest appearances at leading opera houses across Europe during her career, extending her dramatic interpretations beyond her long-term position at the Deutsche Oper Berlin. Her European debut took place in 1974 at the Opéra du Rhin in Strasbourg. She subsequently performed at the Royal Opera House Covent Garden in London, the Vienna State Opera, the Bayreuth Festival, Teatro La Fenice in Venice, Teatro Regio di Torino, and various venues in Paris. In her later career, Armstrong shifted toward directing and education while winding down her singing engagements. In 2009 she directed a production of Giuseppe Verdi's La Traviata at the Volkstheater Rostock. She also taught master classes to emerging singers.

Repertoire and signature roles

Karan Armstrong began her operatic career as a lyric soprano, making her debut in 1965 as Musetta in Giacomo Puccini's La bohème with a minor company in San Francisco and appearing in similar lighter roles such as Micaëla in Georges Bizet's Carmen for her European debut at the Opéra du Rhin in Strasbourg in 1974. Her voice underwent a gradual transition to dramatic soprano as it matured and darkened, enabling her to tackle heavier repertoire; as she explained in 1988, "I began as a soubrette. Then, I was a lyric soprano. Now, as the voice has matured and darkened, and especially after the birth of my son four years ago, even heavier roles are possible." This shift was decisively marked by her breakthrough performance in the title role of Richard Strauss's Salome at the Opéra du Rhin in Strasbourg in 1975, an appearance described as a sensational success that launched her major European career. Armstrong became especially celebrated for her interpretations of early 20th-century operas, earning a reputation as a "prima donna of modern music" through her dramatic intensity and versatility as a singing actress. Her signature roles included Salome, Lulu in Alban Berg's Lulu (notably at the Royal Opera House Covent Garden), Marie in Berg's Wozzeck, Katya in Leoš Janáček's Katya Kabanova, Kostelnička in Janáček's Jenůfa, and Emilia Marty in Janáček's The Makropulos Case. She also excelled in other demanding modern works such as the Empress (Färberin) in Strauss's Die Frau ohne Schatten, Leonore in Beethoven's Fidelio, Klytämnestra in Strauss's Elektra, and character roles in operas by Korngold and Shostakovich. Armstrong participated in several world premieres, including Death in Gottfried von Einem's Jesu Hochzeit (Vienna, 1980), the title role in Giuseppe Sinopoli's Lou Salomé (Munich, 1981), a role in Luciano Berio's Un re in ascolto (Salzburg Festival, 1984), and a part in York Höller's Die Meister und Margarita (Paris, 1989). Her portrayals in these challenging 20th-century works were widely acclaimed for their vocal power and dramatic commitment.

Personal life

Later years and teaching

Death and legacy

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