Elisabeth Söderström

Biography

Born: May 7, 1927; Stockholm, Sweden   Died: November 20, 2009; Stockholm, Sweden  
An artist of great intelligence and musical perception, Elisabeth Söderström grew from a promising young lyric soprano to a sovereign artist able to dominate a wide selection of lyric and spinto roles for three decades. Initially underrated (save by those who knew her well), she advanced to being the delight of many of her era's most distinguished conductors. Her recital repertory ranged through the great Austro-German composers, a fruitful Read more assortment of Scandinavians, Benjamin Britten and other important English composers, substantial numbers of Czech and other Central and Eastern Europeans, and a clutch of Russians. She also had a penchant for parlor songs, sometimes slightly naughty. With a voice best described as attractive rather than ravishing, she managed to establish herself as a notable singer of Mozart and Strauss and her performances of Janácek's leading ladies were standard setting.

Söderström's father was Swedish, her mother Russian. She trained with the celebrated coloratura soprano Adelaďde von Skilondz, star of the St. Petersburg Imperial Opera. After studying at the Royal Academy of Music and Opera School in her native Stockholm, Söderström made her debut at the age of 20 at the Drottningholm Court Theatre as Bastienne. She was subsequently engaged by the Swedish Royal Opera, where she remained a member for decades, singing such roles as Louise, Violetta, Mimě, Euridice, the heroines of Les contes d'Hoffman, Pamina, all three soprano principals in Rosenkavalier, Tatiana, and the eponymous characters of Janácek. Söderström made her Salzburg debut in 1955, singing Ighino in Pfitzner's Palestrina. She first sang at England's Glyndebourne Festival in 1957 and remained there for more than two decades, singing roles as light as Susanna and as heroic as Leonore.

In 1959, Söderström made her first appearance at the Metropolitan Opera as Susanna. Evidence that management at the various venues she visited (the Metropolitan in particular) did not know quite what to do with her gifts was seen in the fact that in that very same year, 1959, she performed Sophie at the Metropolitan, Octavian at Glyndebourne, and the Marschallin at Stockholm. Only with later engagements did the Met understand her protean talent. In 1960, Söderström made her first appearance at Covent Garden singing Daisy Doody in Karl-Birger Blomdahl's Aniara with the Stockholm Opera.

If the Metropolitan failed to capitalize on Söderström's abilities until a second round of engagements from 1983 to 1987, the rest of the opera world benefited during the interim from acquaintance with a singing actress of the first rank. Söderström's Australian debut came in 1982 when she performed one of her signature Janácek roles, Emilia Marty, in Adelaide. In addition to her appearances in contemporary works by Henze and Ligeti, she had become a welcome guest in Vienna and continued to flourish in the ensemble atmosphere of Glyndebourne, winning special praise for her Frau Storch in Strauss' Intermezzo and for the Countess in the same composer's Capriccio.

Söderström's skills as a recitalist and concert singer were under continual refinement. Her recording of Beethoven's Missa Solemnis under Otto Klemperer was justly applauded, as was her role in Sir Simon Rattle's recording of Britten's War Requiem. Her winning presence in recital inevitably meant an evening of communicative singing. Her several volumes of Russian song recorded with Vladimir Ashkenazy added immeasurably to Western understanding of this rich, but too seldom performed repertory. Likewise, her explorations of Scandinavian song opened new vistas to those who heard her live performances and listened to her recordings. Read less

Biography

Born: May 7, 1927; Stockholm, Sweden   Died: November 20, 2009; Stockholm, Sweden  
An artist of great intelligence and musical perception, Elisabeth Söderström grew from a promising young lyric soprano to a sovereign artist able to dominate a wide selection of lyric and spinto roles for three decades. Initially underrated (save by those who knew her well), she advanced to being the delight of many of her era's most distinguished conductors. Her recital repertory ranged through the great Austro-German composers, a fruitful Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Prelude
Uz se vecer chyli
Co to robis, mládku?
Co ty, Jenufo
Dusa moya, Stevo, Stevusko
A tak bychom sli celym zivotem
Stevo, Stevo, já vim
Jak razem vsecko to Stevkovo vypináni schiplo
Prelude
Necham jeste dvere otevreny
Ba zabednena t tvoye okenicka
Tetko Koselnicko
Ale videl jsem vcházet sohaje
Co chvila ... co chvila
Mamicko, mam tezkou hlavu
Kdo to je?
Tot'zrovna jde!
Neni ti teskno, Jenufko?
Dej Buh stesti
Vidis Laco, já to tusila
A hen ... uz jsou tu!
To bylo nákeho
Chud'átko!
Jeste jesm tu já!
Vstante, testounka moja!
Odesli
Odesli
Janácek: Jenufa / Act 1 - Prelude
Janácek: Jenufa / Act 1 - Uz se vecer chyli
Janácek: Jenufa / Act 1 - Co to robis, mládku?
Janácek: Jenufa / Act 1 - Co ty, Jenufo
Janácek: Jenufa / Act 1 - Dusa moya, Stevo, Stevusko
Janácek: Jenufa / Act 1 - A tak bychom sli celym zivotem
Janácek: Jenufa / Act 1 - Stevo, Stevo, já vim
Janácek: Jenufa / Act 1 - Jak razem vsecko to Stevkovo vypináni schiplo
Janácek: Jenufa / Act 2 - Prelude
Janácek: Jenufa / Act 2 - Necham jeste dvere otevreny
Janácek: Jenufa / Act 2 - Ba zabednena t tvoye okenicka
Janácek: Jenufa / Act 2 - Tetko Koselnicko
Janácek: Jenufa / Act 2 - Ale videl jsem vcházet sohaje
Janácek: Jenufa / Act 2 - Co chvila ... co chvila
Janácek: Jenufa / Act 2 - Mamicko, mam tezkou hlavu
Janácek: Jenufa / Act 2 - Kdo to je?
Janácek: Jenufa / Act 2 - Tot'zrovna jde!
Janácek: Jenufa / Act 3 - Neni ti teskno, Jenufko?
Janácek: Jenufa / Act 3 - Dej Buh stesti
Janácek: Jenufa / Act 3 - Vidis Laco, já to tusila
Janácek: Jenufa / Act 3 - A hen ... uz jsou tu!
Janácek: Jenufa / Act 3 - To bylo nákeho
Janácek: Jenufa / Act 3 - Chud'átko!
Janácek: Jenufa / Act 3 - Jeste jesm tu já!
Janácek: Jenufa / Act 3 - Vstante, testounka moja!
Janácek: Jenufa / Act 3 - Odesli
Janácek: Jenufa - Orchestration by Karel Kovarovic / Act 3 - Odesli
Janácek: Vec Makropulos (The Makropulos Case) / Act 1 - Prelude
Janácek: Vec Makropulos (The Makropulos Case) / Act 1 - Ach je, ach boze!
Janácek: Vec Makropulos (The Makropulos Case) / Act 1 - Táati, ta Marty je ohromná
Janácek: Vec Makropulos (The Makropulos Case) / Act 1 - Tady prosim, jenom racte
Janácek: Vec Makropulos (The Makropulos Case) / Act 1 - Konecne! ... Dobre, Gregore!
Janácek: Vec Makropulos (The Makropulos Case) / Act 1 - Emilie! ... Pro tebe nejsem Emilie
Janácek: Vec Makropulos (The Makropulos Case) / Act 1 - Nasli jsme Nasli!
Janácek: Vec Makropulos (The Makropulos Case) / Act 2 - Videli ty kytice?
Janácek: Vec Makropulos (The Makropulos Case) / Act 2 - Janku, pojd' sem!
Janácek: Vec Makropulos (The Makropulos Case) / Act 2 - Dovolte, dovolte, prosim
Janácek: Vec Makropulos (The Makropulos Case) / Act 2 - Dalsi. Kdo mi co chce?
Janácek: Vec Makropulos (The Makropulos Case) / Act 2 - Dovolte mi drive otazku
Janácek: Vec Makropulos (The Makropulos Case) / Act 2 - Tos ty, Bertiku?
Janácek: Vec Makropulos (The Makropulos Case) / Act 2 - To jsi ty, Bertiku?
Janácek: Vec Makropulos (The Makropulos Case) / Act 3 - Nu? Slysite?
Janácek: Vec Makropulos (The Makropulos Case) / Act 3 - Buenos dias, Maxi!
Janácek: Vec Makropulos (The Makropulos Case) / Act 3 - Pectiko s iniciákou
Janácek: Vec Makropulos (The Makropulos Case) / Act 3 - Pro lékare!
Zázrak!
Pojd'me mu s cesty!
Proc bych neodpovedel?
Co pak je?
Chces-li matky poslechnout
Tak vidis, porad jen pro ni!
Interlude I
Vis, co mi napadlo?
Nu coz?
Je cas, Tichone
Vida, chvástala jsi se
Vida! Nestesti!
Nic zvlástniho
Interlude II
Nikoho tu neni!
Vida, taky si vysel na toulku!
Za vodou, za vodickou
Jste to vy, Katerino Petrovno?
To jste si vymyslily peknou vec!
Krápe!
Celeho mne to pokropilo!
Pssst! Pssst! Zda se, ze je to on!
Ach, Varvaro!
Ach, Glaso!
Videt se s nim
Svedl nás Buh!
Ptácci prileti na mohylu
1. Lament for a dead infant
2. Fussy Mummy and Auntie
3. Lullaby
4. Before a long separation
5. A warning
6. The deserted father
7. A song of poverty
8. Winter
9. The good life
10. A girl's song
11. Happiness
Prelude
Uz se vecer chyli
Co to robis, mládku?
Co ty, Jenufo
Dusa moya, Stevo, Stevusko
A tak bychom sli celym zivotem
Stevo, Stevo, já vim
Jak razem vsecko to Stevkovo vypináni schiplo
Prelude
Necham jeste dvere otevreny
Ba zabednena t tvoye okenicka
Tetko Koselnicko
Ale videl jsem vcházet sohaje
Co chvila ... co chvila
Mamicko, mam tezkou hlavu
Kdo to je?
Tot'zrovna jde!
Neni ti teskno, Jenufko?
Dej Buh stesti
Vidis Laco, já to tusila
A hen ... uz jsou tu!
To bylo nákeho
Chud'átko!
Jeste jesm tu já!
Vstante, testounka moja!
Odesli
Odesli
Overture "Zarlivost" (Jealousy)
Missa solemnis, Op.123: Kyrie
Missa solemnis, Op.123, Gloria: Gloria in excelsis Deo
Missa solemnis, Op.123, Gloria: Qui tollis
Missa solemnis, Op.123, Gloria: Quoniam tu solus sanctus
Missa solemnis, Op.123, Credo: Credo in unum Deum
Missa solemnis, Op.123, Credo: Et incarnatus est
Missa solemnis, Op.123, Credo: Et resurrexit
Missa solemnis, Op.123, Sanctus: Sanctus
Missa solemnis, Op.123, Sanctus: Benedictus
Missa solemnis, Op.123, Agnus Dei: Agnus Dei
Missa solemnis, Op.123, Agnus Dei: Dona nobis pacem
1. Lament for a dead infant
2. Fussy Mummy and Auntie
3. Lullaby
4. Before a long separation
5. A warning
6. The deserted father
7. A song of poverty
8. Winter
9. The good life
10. A girl's song
11. Happiness
Sana metoder - En dod i skonhet - Glom inte (Such Methods - A Beautiful Death - Don't Forget)
Sana metoder - En dod i skonhet - Glom inte (Such Methods - A Beautiful Death - Don't Forget)
Sana metoder - En dod i skonhet - Glom inte (Such Methods - A Beautiful Death - Don't Forget)


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