Joo-Anne Bitter, "Einsam in trüben Tagen", (Elsa, Lohengrin 1. Akt)
Frammistaða áskriftir
Fyrri sýningar 2013 — Í gær
Die Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterGerhilde
Skoða leikara og mannskapLe nozze di Figaro (The Marriage of Figaro), Mozart
Theater LübeckLa Contessa di Almaviva (The Countess of Almaviva)
Skoða leikara og mannskapDie Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterHelmwige
Skoða leikara og mannskapDie Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterHelmwige
Skoða leikara og mannskapDer Vogelhändler (The Bird Seller), Zeller
Stadttheater KlagenfurtKurfürstin Marie (Electress Marie)
Skoða leikara og mannskap-
Sýndar fyrri sýningar
Die Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterGerhilde
Skoða leikara og mannskap
Le nozze di Figaro (The Marriage of Figaro), Mozart
Theater LübeckLa Contessa di Almaviva (The Countess of Almaviva)
Skoða leikara og mannskap
Die Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterHelmwige
Skoða leikara og mannskap
Die Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterHelmwige
Skoða leikara og mannskap
Næstu sýningar
2Le nozze di Figaro (The Marriage of Figaro), Mozart
Theater LübeckLa Contessa di Almaviva (The Countess of Almaviva)
Skoða leikara og mannskap
Æviágrip
The German soprano Joo-Anne Bitter is today considered to be the ideal cast in the lyric dramatic Wagnerian subject. Her role debuts as Elsa in Lohengrin and Eva in Die Meistersinger von Nürnberg at the Tyrolean Festival Erl in Austria and tours to China were rounded up with her very successful role debut as Elisabeth in Tannhäuser (Conductor Nicholas Carter) at the Stadttheater Klagenfurt this season. Joo-Anne Bitter has consistently developed these successes after completing her master's degree and her work as a PR consultant and communication coach. Encouraged by her Donna Anna debut in Mozart's Don Giovanni at the Hamburg Chamber Opera she fully devoted herself to her artistic talents. This followed game-changing and handpicked roles in the german repertoire like Pamina in Mozart's Zau
