"... a bright voluminous voice... a voice of molten chocolate. What a voice!"
Franz Liszt, Benjamin Britten, Camille Saint-Saëns, Reynaldo Hahn and Jules Massenet
SONGS ON POEMS BY VICTOR HUGO
Comissioned chamber music composition finished in April 2013 in Vienna by the austrian composer Michael Mautner. Work for voice, cello, percussion and piano on a poem of François Brousse.
In honor of the centenary of François Brousse, born on May 7, 1913 the Austrian composer M. Mautner has set this work for voice, cello, percussion and piano on the poem 'La Nuit' of François Brousse.read more
Margitta Rosales' combination of vocalism, musicianship, stage presence and theatrical ability has earned her enthusiastic praise: "Ms. Rosales singing was superb... she has a bright voluminous voice. This is a voice of molten chocolate. What a voice!" exclaimed the "Operissimo" when describing Rosales dark mahogany, deep soprano sound.
The soprano Margitta Rosales, was born in Wuppertal, Germany. She commenced her studies at the 'Hogeschool voor Muziek en Dans Enschede' in the Netherlands, under the direction of the Viennese baritone Prof. Horst Gross. Awarded with the eligible 'Wedekind Scholarship', she continued her studies under the tuition of mezzosoprano Prof. Liliana Stefanova at the 'Pancho Vladiguerov Music Academy' in Sofia where she graduated and received with honors, the Bachelor of Arts In Music, Opera Singing.
Yes, people call me Mimì, but my name is Lucia. My story is a brief one: On linen and silk I embroider, at home or outside ... I'm calm and happy, and it's my pleasure to make lilies and roses.
I love those things which possess such sweet enchantment. Things, that speak of love and spring, of dreams and visions, things that people call poetic. Do you understand?
Musetta « La Bohème » (Théâtre d'Opera Sofia)
Mimí «La Bohème» (Toscana Opera Festival)
Liú «Turandot» (Teatro delle Muse, Ancona)
Antonia «Contes d'Hoffmann» (Schillertheater)
Micaëla «Carmen» (Canteatro, Berlin)
Pamina «Die Zauberflöte» (Nymphenburg, Munich)
Susanna « Figaro» (Junge Kammeroper, Cologne)
Lauretta «Gianni Schicchi» (Rome Opera Festival)
Belinda «Dido and Aeneas» Purcell
Prêtresse « Aida » (Opera Guimera, Santa Cruz)
Helena «Midsummer Night's Dream» (Winterthur)
Marie «Prodadena Nevesta» Smetana
Giacomo Puccini (1858 1924)Vissi d’arte ToscaIn quelle trine morbide ManonUn bel dì Vedremo ButterflyO mio babbino Gianni SchicchiSi, mi chiamano Mimì La BohèmeTu che di gel sei Cinta.TurandotSenza Mamma Suor Angelica Arrigo Boito (1842 1918)L'altra notte Mephistofele Alfredo Catalani (1854 1893)Ebben! ... La Wally Umberto Giordano (1867 1918)mamma morta Andrea ChénierGiuseppe Verdi (1813 1901)Ave Maria Otello
" I put all my soul into La Bohème, and I love it boundlessly. I love its creatures more than I can say." ... Giacomo Puccini
Take a look behind the curtain. Margitta Rosales and Elias Castillo rehearsing "Sono andati..." from the last act of La Boheme at Paris.
Senza mamma... Suor Angelica I Puccini
'You are dead without knowing how loved you were... Descend from heaven and let your essence linger around me.'
Have a look ...
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16.02.2014 Palazzo Albrizzi
It is sometimes claimed that Wagner and Mathilde had a love affair. Wagner produced a fully orchestrated version of "Träume", to be performed by chamber orchestra under Mathilde's window on the occasion of her birthday, 23 December 1857. In any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems.
Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using musical ideas that are later developed in the opera. In "Träume" can be heard the roots of the love duet in act 2, while "Im Treibhaus" uses music later developed extensively for the prelude to act 3.
Recital with Natalia Morozova, piano
Fondamenta S. Andrea
Her rich, warm and expressive voice with an impressive range, leads the lyric soprano Margitta Rosales, to her stage debut performing the role of Musetta in "La BohÈme" by Giacomo Puccini at the Sofia Opera Program and Rousse Opera Theatre.
In concerts and following engagements she appeared in many Europeen countries and theaters. Among others she interpreted the role of Liú in Puccini's Turandot at the Teatro delle Muse in Ancona, Micaëla in Bizet's opera Carmen with the Canteatro in Berlin, Susanna in Le Nozze di Figaro for the Kammeroper Cologne, Lauretta in Puccini's Gianni Schicchi at the Rome Opera Festival, Clorinda from Rossini's La Cenerentola and Pamina in The Magic Flute by Mozart. She interpreted the role of Helena from Britten's A Midsummer Night's Dream at the Weissenhorn Theatre in Winterthur, Marie in The Bartered Bride by Smetana and Belinda in Purcell's Dido and Aeneas.
She appeared at the Teatro Guimera di Santa Cruz, DIE Theater Vienna, Teatro Principal de Mahón, Prinz Regent Theater Bochum, Schillertheater Wuppertal where she worked with conductors as Javier Perez Battista, Najden Todorov, Christoph KÖnig or George Hanson.
Her affinity for recital and concert repertoire, including contemporary 20th century work Premieres like the role of the Angel in Maximiliano Kolbe by Gianandrea Pauletta or Lulu in Die Maden by Eckhard Koltermann, has led to appearances at the International Opera Festival Varna, International Lake Constance Festival, KulturZeit Festival Tyrol, Toscana Opera Festival and the International Schouwburg Festival Arnhem.
In Paris, Rosales became master student of Maestro Boyan Stoilov. During the years she took part at various master classes, among these with Maestro David Jones /New York, Mirella Freni / Vignola, Margarita Lilova / Vienna, Renata Schotto / New York , Birgit-Nielsson-Opera-Academy at Stuttgart and renowned soprano Janet Williams / Berlin. She worked with the italian coach Silvano Zabeo, vocal studies director at the Teatro "La Fenice" in Venice and Maestro Hans-Joseph Kasper in Vienna.
Hommage musical d'un siècle à son poète
« La musique, qu'on nous passe le mot, est la vapeur de l'art. Elle est à la poésie ce que la rêverie est à la pensée, ce que le fluide est au liquide, ce que l'océan des nuées est à l'océan des ondes. Si l'on veut un autre rapport, elle est l'indéfini de cet infini. La même insufflation la pousse, l'emporte, l'enlève, la bouleverse, l'emplit de trouble et de lueur et d'un bruit ineffable, la sature d'électricité et lui fait faire tout à coup des décharges de tonnerres. »
'Music, we beg indulgence for this word, is the vapour of art. It is to poetry what revery is to thought, what the fluid is to the liquid, what the ocean of clouds is to the ocean of waves. If another description is required, it is the indefinite of this infinite. The same insufflation pushes it, carries it, raises it, upsets it, fills it with trouble and light and with an ineffable sound, saturates it with electricity and causes it to give suddenly discharges of thunder.'
Victor HUGO, "William Shakespeare", Part I Book II, Men of Genius, Chapter 4Franz Liszt, Benjamin Britten, Camille Saint-Saëns, Reynaldo Hahn and Jules Massenet
SONGS ON POEMS BY VICTOR HUGO