Jane Eaglen

Biography

Country: England  
In the 1990s Jane Eaglen emerged as the long hoped for major dramatic soprano voice, the most important since the retirement of Birgit Nilsson. In addition she brought an unexpected versatility, singing music of Mozart, Bellini, Puccini, Verdi, and Strauss.

In her hometown of Lincoln, England, in the north Midlands her interest in music was first noticed by a neighbor, who suggested that Jane take piano lessons when the girl was five. She
Read more kept taking them until she was 16. Her musical interests were more directed towards pop and rock music than classical, and she apparently had no thought of becoming an opera singer. However her voice developed a pure, sweet sound, not suited to pop music. Her piano teacher suggested that she study voice.

She studied with a local teacher when she was 16 and 17 years old. When the teacher predicted that one day she would sing Norma and Brünnhilde, Jane naively responded "Are they good?"

Eaglen applied for the Guildhall School in London but was turned down. She auditioned for Joseph Ward, voice professor at the Royal Northern College of Music, Manchester, England. Ward spotted her potential and accepted her as his student. Eaglen says that there must have been "four or five notes in the middle of my voice that sounded like something." Ward began to teach her the music and the style of operas of Bellini and Wagner, so that she would know it when the time came. But he counseled her to be patient, as big voices typically take time to develop.

At the age of 22 she became a member of the English National Opera. She did not become on overnight success. She spent several years singing parts like Berta, the maid in The Barber of Seville, and other short parts, including one of the trio of Ladies in Mozart's Magic Flute. She got the role of Leonora in Verdi's Il trovatore, and then made a sensation as Santuzza in Mascagni's Cavalleria Rusticana.

It was as Donna Anna, in Mozart's Don Giovanni, that she first gained international fame. She has sung that part at the Vienna State Opera, in Munich, and Bologna, and also in her debut appearance at the Metropolitan Opera House in New York. She has also sung Amelia (Verdi's Un ballo in maschera), Turandot, Tosca, La Gioconda, and Strauss' Ariadne. Fulfilling her first teacher's prediction, she became particularly well known as Bellini's Norma . The London Sunday Times called her "The Norma of the 1990s."

Moving into the repertory of Wagner's operas, she sang a thrilling interpretation of Isolde in Seattle. She points out that there are great similarities between Norma and Isolde, including the character of the melodic line, for Wagner admired Bellini's melodic writing. Fulfilling the other half of her first teacher's prediction, she sang her first Ring cycle, as Brünnhilde, at the Lyric Opera of Chicago. In the spring of 2000 she was scheduled to sing that complete role in the Metropolitan Opera's internationally broadcast radio series.

Jane Eaglen is an exclusive artist for the Sony Music label. Read less

There are 32 Jane Eaglen recordings available.

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Formats & Featured

Biography

Country: England  
In the 1990s Jane Eaglen emerged as the long hoped for major dramatic soprano voice, the most important since the retirement of Birgit Nilsson. In addition she brought an unexpected versatility, singing music of Mozart, Bellini, Puccini, Verdi, and Strauss.

In her hometown of Lincoln, England, in the north Midlands her interest in music was first noticed by a neighbor, who suggested that Jane take piano lessons when the girl was five. She
Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Part I, Veni, creator spiritus: Veni, creator spiritus -
Part I, Veni, creator spiritus: Imple superna gratia -
Part I, Veni, creator spiritus: Infirma nostri corporis -
Part I, Veni, creator spiritus: Tempo I: Allegro, etwas hastig -
Part I, Veni, creator spiritus: Infirma nostri corporis -
Part I, Veni, creator spiritus: Accende lumen sensibus -
Part I, Veni, creator spiritus: Veni, creator spiritus -
Part I, Veni, creator spiritus: Gloria sit Patri Domino
Part II, Final Scene from Faust: Poco adagio -
Part II, Final Scene from Faust: Piu mosso: Allegro moderato -
Part II, Final Scene from Faust: Waldung, sie schwankt heran -
Part II, Final Scene from Faust: Ewiger Wonnebrand -
Part II, Final Scene from Faust: Wie Felsenabgrund mir zu Fussen -
Part II, Final Scene from Faust: Gerettet ist das edle Glied - Hande verschlinget euch -
Part II, Final Scene from Faust: Jene Rosen, aus den Handen -
Part II, Final Scene from Faust: Uns bleibt ein Erdenrest -
Part II, Final Scene from Faust: Ich spur' soeben nebelnd um Felsenhoh' - Hier ist die Aussicht frei - Freudig empfangen wir -
Part II, Final Scene from Faust: Hochste Herrscherin der Welt! -
Part II, Final Scene from Faust: Dir, der Unberuhrbaren - Du schwebst zu Hohen der ewigen Reiche -
Part II, Final Scene from Faust: Bei der Liebe, die den Fussen -
Part II, Final Scene from Faust: Bei dem Bronn, zu dem schon weiland -
Part II, Final Scene from Faust: Bei dem hochgeweihten Orte -
Part II, Final Scene from Faust: Neige, neige, du Ohnegleiche -
Part II, Final Scene from Faust: Er uberwachst uns schon - Vom edlen Geisterchor umgeben -
Part II, Final Scene from Faust: Komm! Hebe dich zu hohern Spharen! - Blicket auf zum Retterblick, alle reuig Zarten -
Part II, Final Scene from Faust: Alles Vergangliche ist nur ein Gleichnis
Te Deum: Te Deum laudamus (choir/solo quartet)
Te Deum: Te ergo quaesumus (solo quartet)
Te Deum: Aeterna fac cum sanctis tuis (solo quartet/choir)
Te Deum: Salvum fac populum tuum (solo quartet/choir)
Te Deum: In te, Domine, speravi (choir/solo quartet)
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part One: Hymnus "Veni creator spiritus" - "Veni creator spiritus"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part One: Hymnus "Veni creator spiritus" - "Imple superna gratia"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part One: Hymnus "Veni creator spiritus" - "Infirma nostri corporis"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part One: Hymnus "Veni creator spiritus" - "Accende lumen sensibus"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part One: Hymnus "Veni creator spiritus" - "Veni, Creator...Da gaudiorum praemia"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part One: Hymnus "Veni creator spiritus" - "Gloria sit Patri Domino"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - Poco adagio: Waldung, sie schwankt heran
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Ewiger Wonnebrand"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Wie Felsenabgrund mir zu Füßen"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Gerettet ist das edle Glied"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Uns bleibt ein Erdenrest"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Höchste Herrscherin der Welt"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Dir, der Unberührbaren"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Bei der Liebe, die den Fussen"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Neige, neige, du Ohnegleiche"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Komm! Komm!"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Blicket auf zum Retterblick"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" - Part Two: Final scene from Goethe's "Faust" - "Alles Vergängliche"
Jew
Allegro mesto
Tsurik a heym
Allegro
Andante
Moderato martiale
Mother
Allegro molto
Letter to Warsaw
Allegro martiale
Lento
An Ordinary Day - Moving Day - Kaddish
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantabile
Symphony No. 9 in D Minor, Op. 125, "Choral": IV. Finale
Act I: People of proud Peking (Mandarin, Liu, The Unknown Prince, Chorus)
Act I: When all was lost (Timur, The Unknwon Prince, Liu, Chorus)
Act I: Sharpen the axe! (Chorus)
Act I: Is the moon never rising? (Chorus)
Act I: How young to die! (The Unknown Prince, Chorus)
Act I: Son, are you mad? (Timur, The Unknown Prince, Liu, The Prince of Persia, Chorus)
Act I: What do you want? Who are you? (Ping, Pong, Pang, Chorus)
Act I: Why so much noise? (Ping, The Unknown Prince, Pang, Pong, Timur, Chorus)
Act I: Nights without a gleam of starlight . . . (Pang, Pong, Ping, The Unknown Prince, Timur, Chorus)
Act I: I beg you, hear me (Liu)
Act I: Don't cry for me, Liu (The Unknown Prince, Liu, Timur)
Act I: Ah! How can you ignore us? (Timur, Liu, The Unknown Prince, Ping, Chorus)
Act II Scene 1: Hallo Pang! Hallo Pong! (Ping, Pong, Pang, Chorus)
Act II Scene 1: I've a house in fair Honan (Ping, Pang, Pong, Chorus)
Act II Scene 1: Do you remember when the Royal Prince of Samarkand came? (Pong, Pang, Ping, Chorus)
Act II Scene 2: With the three enigmas ready (Chorus)
Act II Scene 2: I am the pris'ner of a ghastly promise (The Emperor, The Unknown Prince, Chorus)
Act II Scene 2: People of proud Peking! (The Mandarin, Chorus)
Act II Scene 2: Within this Palace a story lives forever (, Chorus)
Act II Scene 2: O Princess who in caravans of splendour (, The Unknown Prince, Chorus)
Act II Scene 2: O stranger, now listen! (, The Unknown Prince, The Emperor, Liu, Chorus)
Act II Scene 2: Emp'ror and father! Son of Heaven! (, The Emperor, The Unknown Prince, Chorus)
Act II Scene 2: Three enigmas that you asked me (The Unknown Prince, The Emperor, Chorus)
Prelude
Act I Scene 1: Yes, Ethiopia once again has dared (Ramfis, Radames)
Act I Scene 1: I pray that I be chosen (Radames)
Act I Scene 1: Goddess , fair as a vision (Radames)
Act I Scene 1: Have you just heard a joyous tale (Amneris, Radames)
Act I Scene 1: ! (Radames, Amneris)
Act I Scene 1: Alas, I hear the cries of war (, Amneris, Radames)
Act I Scene 1: Grave is the cause (The Pharaoh, Messenger, , Radames, Amneris)
Act I Scene 1: Now go forward noble army (The Pharaoh, Ramfis, Chorus, , Radames, Amneris, Messenger)
Act I Scene 1: As victor then return! ()
Act I Scene 1: The sacred names of a father and lover ()
Act I Scene 1: Hear me, ye gods, pity my cry! ()
Act I Scene 2: Almighty, almighty Phtha (High Priestess, Ramfis, Priests, Priestesses)
Act I Scene 2: Sacred Dance of the Priestesses
Act I Scene 2: The gods have shown you favour (Ramfis, Priests)
Act I Scene 2: Great Godhead we petition thee (Ramfis, Radames, Priests, Priestesses)
Act II Scene 1: We hear the hymns and cheering (Slave-girls, Amneris)
Act II Scene 1: Dance of the Young Moorish Slaves
Act II Scene 1: No more now! (Amneris)
Act II Scene 1: Now the battle is over your people suffer (Amneris, )
Act II Scene 1: Tremble! I know your secret ... (Amneris, )
Act II Scene 1: But, look with pity on my distress ... (, Amneris)
Act II Scene 1: Now go forward noble army (Chorus, Amneris, )
Act II Scene 1: Hear me, ye gods, pity my cry! ()
Act II Scene 2: Glory to Isis, goddess fair (Populace, Priests)
Act II Scene 2: Trumpet Fanfare
Act II Scene 2: Ballabile
Act II Scene 2: Glorious warrior Radames (Populace, Priests)
Act II Scene 2: Valiant pride of your country (The Pharaoh, Radames)
Act II Scene 2: Worship and glory to all the gods on high (Ramfis, Priests, , Amneris, Amonasro, Pharaoh)
Act II Scene 2: As you see, I am wearing the colours of my King (Amonasro, , Slave-girls, Prisoners, Ramfis, Priests, Amneris, Populace, Radames)
Act II Scene 2: O King, by holy Isis (Radames, Pharaoh, Amneris, Priests, Populace, Ramfis)
Act II Scene 2: Glory to Isis, goddess fair (Pharaoh, Populace, Slave-girls, Prisoners, Ramfis, Priests, , Radames, Amneris, Amonasro)
Sieben Frühe Lieder: Nacht (Voice)
Schilflied (Voice)
Die Nachtigall (Voice)
Traumgekrönt (Voice)
Im Zimmer (Voice)
Liebesode (Voice)
Sommertage (Voice)
Vier Letzte Lieder: Frühling (Voice)
September (Voice)
Beim Schlafengehen (Voice)
Im Abendrot (Voice)
Act I: Opening - Ah! Here in safety! (Angelotti)
Act I: I don't believe it ... (Sacristan, Cavaradossi)
Act I: Give me my palette! (Cavaradossi, Sacristan, Angelotti, Tosca)
Act I: Mario! Mario! Mario! (Tosca, Cavaradossi)
Act I: Our little house in the country (Tosca, Cavaradossi)
Act I: What eyes in all the world (Cavaradossi, Tosca, Angelotti, Sacristan)
Act I: All the choir in here at once! (Sacristan, Chorus)
Act I: You make the church a fairground! (Scarpia, Sacristan, Spoletta)
Act I: Mario?! Mario?! (Tosca, Sacristan, Scarpia)
Act I: 3 agents, go in a carriage ... (Scarpia, Spoletta, Chorus)
Act II: Tosca, my falcon (Scarpia, Sciarrone)
Act II: Richer far is the flavour (Scarpia, Sciarrone, Spoletta)
Act II: It seemed wise to arrest him ... (Spoletta, Scarpia, Cavaradossi, Tosca, Chorus)
Act II: Now you and I can talk (Scarpia, Tosca, Sciarrone, Cavaradossi)
Act II: Enough. Tosca, your answer (Scarpia, Tosca, Cavaradossi, Spolettaa, Sciarrone)
Act II: Floria! (Cavaradossi, Tosca, Scarpia, Sciarrone)
Act II: How much? (Tosca, Scarpia)
Act II: Life has taught me singing and loving (Tosca, Scarpia, Spoleta)
Act II: Which route have you chosen? (Scarpia, Tosca)
Act III: No words can cheer me ( A Shepherd Boy, Jailor, Cavardossi)
Act III: All the stars shone in heaven (Cavaradossi, Tosca)
Act III: Oh, hands of mercy (Cavaradossi, Tosca, Jailor)
Act III: What a time they are taking! (Tosca, Spoletta, Sciarrone, Soldier)


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