Linda Finnie

Biography

Born: 1952   Country: Scotland  
Scottish mezzo soprano Linda Finnie has experienced a wide-ranging career, built upon both opera performance and concert work. Her full, ripe, if not especially large, instrument proved well-suited to a broad repertory. A long-standing exclusive recital and oratorio artist for Chandos Records, she has recorded numerous oratorios and song recitals. Under the leadership of conductor Daniel Barenboim, she made notable contributions to the Bayreuth Read more Festival Ring cycle of the late '80s, a production subsequently released on commercial recording.

Following studies at the Royal Scottish Academy of Music and Drama where she earned each of the school's performance awards, Finnie won the Kathleen Ferrier Memorial Award in 1974. In 1977, she gained international attention by capturing the Kathleen Ferrier Prize at s'Hertogenbosch. Not long thereafter, Finnie had made debuts with most of the major opera companies in the British Isles, among them Covent Garden and the English National Opera. Abroad, she sang first with the Frankfurt Oper, making her debut as Amneris. In Nice, she sang Waltraute in Die Götterdämmerung, establishing her suitability for the Wagnerian repertory. In 1988, she made her first appearance at Bayreuth, singing Fricka, Siegrune, and the Second Norn in the theater's new Ring cycle.

Meanwhile, Finnie's British appearances had expanded to include the famous Proms, where in 1986 she was the alto soloist in Mahler's Symphony No. 8 "Symphony of a Thousand." America heard her that same season when she appeared as a soloist in Verdi's Manzoni Requiem with the Chicago Symphony Orchestra. Other prominent orchestras figured in her engagement book, including the Pittsburgh and San Francisco Symphony Orchestras, the London Symphony Orchestra, the Philharmonia, the BBC Symphony, the Scottish National Orchestra, and the Orchestre National de Radio France. In opera, return engagements at Bayreuth and Frankfort were supplemented by appearances at London's Royal Opera and English National Opera and with the Niewe Nederlandse Opera.

Finnie became active in the recording studio early in her career, participating in Kurt Sanderling's recording of Beethoven's "Choral" Symphony in 1981. Since then, a substantial discography has amassed, including Gluck's Armide in 1983, Prokofiev's Alexander Nevsky in 1988, Mendelssohn's Elijah with Richard Hickox in 1989, and in the 1990s, such works as Mahler's Kindertotenlieder and Lieder eines fahrenden Gesellen and Elgar's Sea Pictures and Music Makers. Several commendable song recitals were also recorded for Chandos. Read less

Biography

Born: 1952   Country: Scotland  
Scottish mezzo soprano Linda Finnie has experienced a wide-ranging career, built upon both opera performance and concert work. Her full, ripe, if not especially large, instrument proved well-suited to a broad repertory. A long-standing exclusive recital and oratorio artist for Chandos Records, she has recorded numerous oratorios and song recitals. Under the leadership of conductor Daniel Barenboim, she made notable contributions to the Bayreuth Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Armide: Ouverture
Armide, Act 1, Scene 1: Dans un jour de triomphe...
Armide, Act 1, Scene 1: Je ne triomphe pas du plus vaillant de tous!
Armide, Act 1, Scene 1: Les Enfers ont prédit cent fois
Armide, Act 1, Scene 2: Armide, que le sang qui m'unit avec vous
Armide, Act 1, Scene 2: La chaine de l'hymen m'étonne
Armide, Act 1, Scene 2: Pour vous, quand'il vous plait
Armide, Act 1, Scene 2: Si je dois m'engager un jour
Armide, Act 1, Scene 3: Armide est encore plus aimable
Armide, Act 1, Scene 3: Balletto
Armide, Act 1, Scene 3: que la doceur d'une triomphe
Armide, Act 1, Scene 4: O ciel! O disgrace cruelle!
Armide, Act 2, Scene 1: Invincible héros c'est par votre courage
Armide, Act 2, Scene 1: Le repos me fait violence
Armide, Act 2, Scene 2: Arretons-nous ici, c'est dans ce lieu fatal
Armide, Act 2, Scene 2: Espirits de haine et de rage
Armide, Act 2, Scene 3: Plus j'observe ces lieux...
Armide, Act 2, Scene 4: Au temps heureux où l'on sait plaire
Armide, Act 2, Scene 4: Ah! Quelle erreur! Quelle folie
Armide, Act 2, Scene 4: Balletto
Armide, Act 2, Scene 4: On s'étonnerait moins que la saison nouvelle
Armide, Act 2, Scene 5: Enfin, il est en ma puissance
Armide, Act 2, Scene 5: Ah! Quelle cruauté de lui ravir le jour
Chor: "Wachet auf, ruft uns die Stimme"
Rezitativ: "Er kommt, er kommt, der Bräutigam kommt!"
Arie (Duett): "Wann kommst du, mein Heil?"
Choral: "Zion hört die Wächter singen"
Rezitativ: "So geh' herein zu mir"
Arie: "Mein Freund ist mein!"
Choral: "Gloria sei dir gesungen"
I. Overture
II. Russian Sea
III. Wedding: i) Allegro fastoso
III. Wedding: ii) Andante
III. Wedding: iii) Allegro fastoso
IV. Fire
V. Tartars and Canoneers: i) Allegro moderato
V. Tartars and Canoneers: ii) Moderato energico
VI. The Storming of Kazan
VII. Ivan's Sickness: i) Adagio
VII. Ivan's Sickness: ii) Andante sostenuto
VIII. At the Polish Court
IX. Anastasia
X. Song of the Beaver [Ephrosynia's Lullaby]
XI. The Banquet: i) Allegro ben ritmato, feroce
XI. The Banquet: ii) Allegro moderato
XI. The Banquet: iii) Allegro ben ritmato
XII: Murder in the Cathedral
XIII: Finale [Coda]
I. Sterbelied. Sehr ruhig und gefasst, mit verhaltener tiefer Empfindung
II. Dies eine kann mein Schnen nimmer fassen. Mit leidenschaftlichem Schmerz, massig schnell, erregt im Ausdruck
III. Mond, so gehst du wieder auf. Mit grosster, schmerzlichster Ruhe, ganz langsam, stets ausserst gebunden, ausdrucksvoll
IV. Gefasster Abschied. Mit liebenswurdigen, heitergemutvollem Ausdruck
Act I: Introduction
Act I Scene 1: Oh, did you hear the lovesick shepherd boy (Tatyana, Olga, Madame Larina, Nurse)
Act I Scene 1: My legs ache and can no longer run (Leader, Peasants, Madame Larina)
Act I Scene 1: In a cottage by the water (Peasants)
Act I Scene 1: Oh, how I love to hear the people singing (Tatyana, Olga)
Act I Scene 1: I'm not the sort to sit in silence (Olga)
Act I Scene 1: Come here, my darling Olga! (Madame Larina, Nurse, Tatyana, Peasants, Olga)
Act I Scene 1: Mesdames, I hope that you'll excuse me (Lensky, Onegin, Madame Larina)
Act I Scene 1: Now tell me, which of them's Tatyana? (Onegin, Lensky, Tatyana, Olga)
Act I Scene 1: How perfect, how wonderful (Lensky, Olga, Onegin, Tatyana)
Act I Scene 1: How I love you, I adore you, Olga (Lensky, Olga)
Act I Scene 1: Ah, here you are! (Madame Larina, Nurse, Lensky, Onegin)
Act I Scene 2: Introduction
Act I Scene 2: There! No more talk tonight (Nurse, Tatyana)
Act I Scene 2: I can't sleep, Nanny (Nurse, Tatyana)
Act I Scene 2: Well, let me think now (Nurse, Tatyana)
Act I Scene 2: To write is foolishness, I know it (Tatyana)
Act I Scene 2: I had to write (Tatyana)
Act I Scene 2: No, there could never be another (Tatyana)
Act I Scene 2: For you were always there beside me (Tatyana)
Act I Scene 2: Are you an angel (Tatyana)
Act I Scene 2: No, come what may (Tatyana)
Act I Scene 2: Ah, night is over! (Tatyana, Nurse)
Act I Scene 2: Oh, Nanny, may I ask a favour? (Tatyana, Nurse)
Act I Scene 2: Then make your grandson go in secret (Tatyana, Nurse)
Act I Scene 3: Dear companions, come this way (Girls)
Act I Scene 3: Onegin! Here! To see me! (Tatyana, Onegin)
Act I Scene 3: You wrote a letter (Tatyana, Onegin)
Act I Scene 3: Were I the sort who had intended (Onegin)
Act I Scene 3: But try to practise self-control (Onegin, Girls)
Act II Scene 1: Entr'acte and Waltz
Act II Scene 1: This is superb! (Guests)
Act II Scene 1: Certainly! But why aren't you dancing? (Captain, Guests)
Act II Scene 1: So that's their verdict! (Onegin, Lensky, Guests)
Act II Scene 1: How can I have deserved to be so taunted by you? (Lensky, Olga, Onegin)
Act II Scene 1: By chance I 'ave with me a song (Triquet, Guests)
Act II Scene 1: A cette fete conviee (Triquet, Guests)
Act II Scene 1: Messieurs! Mesdames! (Captain) - Mazurka
Act II Scene 1: Why aren't you dancing, Lensky? (Onegin, Lensky, Guests, Madame Larina)
Act II Scene 1: Here in your house! (Lensky, Onegin, Tatyana, Olga, Madame Larina, Guests)
Act II Scene 1: Your challenge I accept (Onegin, Lensky, Guests, Olga)
Act II Scene 2: Introduction
Act II Scene 2: What's happened? Where can your opponent be? (Zaretsky, Lensky)
Act II Scene 2: How far, how far away you seem now (Lensky)
Act II Scene 2: Ah, here they are! (Zaretsky, Onegin, Lensky)
Act II Scene 2: We fight to satisfy our honour (Zaretsky, Onegin, Lensky)
Act III Scene 1: Polonaise
Act III Scene 1: Here, too, I'm bored! (Onegin)
Act III Scene 1: Ecossaise
Act III Scene 1: The Princess Gremina! (Guests, Onegin, Tatyana, Gremin)
Act III Scene 1: The gift of love is rightly treasured (Gremin)
Act III Scene 1: And now, you must be introduced to her (Gremin, Tatyana, Onegin)
Act III Scene 1: Is this the very same Tatyana (Onegin)
Act III Scene 2: Introduction
Act III Scene 2: Why, why did he return and write this letter? (Tatyana, Onegin)
Act III Scene 2: Onegin, I was then far younger (Tatyana)
Act III Scene 2: Ah, Tatyana! (Onegin, Tatyana)
Act III Scene 2: Onegin, as a man of honour (Onegin, Tatyana)
Act III Scene 2: Onegin! Leave me, I entreat you (Onegin, Tatyana)
1. Adagio: Magnificat
2. Allegro: Et exsultavit
3. Andante molto: Quia respexit
4. Andante: Quia fecit
5. Andante molto: Et misericordia
6. Presto: Fecit potentiam
7. Allegro: Deposuit potentes
8. Allegro: Esurientes
9. Largo - Allegro - Adagio
10. Andante: Sicut locutus esr
11. Largo - Andante - Allegro
Where is she? (Nora, Cathleen)
Isn't it turf enough you have (Maurya, Cathleen, Nora)
Where is the bit of new rope, Cathleen (Bartley, Cathleen, Nora, Maurya)
Act I: He's gone now, God spare us (Maurya, Cathleen, Nora)
Wait, Nora, maybe she'd turn back quickly (Cathleen, Nora)
You didn't give him his bit of bread? (Cathleen, Maurya)
I went down to the spring well (Maurya, Nora, Cathleen)
Bartley will be lost now (Maurya, Nora, Cathleen, Woman, Chorus)
They are all gone now (Maurya, Nora)
And may he have mercy on my soul (Maurya, Chorus)
No. 1. Sterblied (Requiem)
No. 2. Dies eine kann mein Sehnen nimmer fassen (The one thing my longing can never grasp)
No. 3. Mond, so gehst du wieder auf (Moon, you rise again)
No. 4. Gefasster Abschied (Calm Farewell)
Meditation
Chorus and Solo: Seek Him that maketh the seven stars (Chorus, Tenor)
Recitative and Chorus: As Jesus passed by (Contralto, Women's Chorus)
Solo: Be not extreme, O Lord (Soprano)
Solo: Neither hath this man sinned (Baritone)
Light out of darkness (Chorus)
Recitative: And when He had thus spoken (Contralto, Baritone)
Women's Chorus: Doubt not thy Father's care! (Chorus)
Solo and Chorus: He went his way therefore (Contralto, Tenor, Chorus)
Solo: As a spirit didst Thou pass before mine eyes (Tenor)
Recitative and Chorus: They brought him to the Pharisees (Contralto, Tenor, Chorus)
Solo: Thou only hast the words of life (Contralto)
Soli and Chorus: But the Jews did not believe (Soprano, Contralto, Tenor, Chorus)
Solo and Women's Chorus: Woe to the shepherds of the flock (Soprano, Women's Chorus)
Recitative and Soli: Jesus heard that they had cast him out (Contralto, Tenor, Baritone)
Solo: I am the Good Shepherd (Baritone)
Light of the World, we know Thy praise (Chorus)
Part I: Introduction: Recitative: As God the Lord of Israel liveth (Elijah)
Part I: Overture
Part I: Help, Lord! wilt Thou quite destroy us? (Chorus)
Part I: Duet with Chorus: Lord! bow Thine ear to our prayer! (Soprano, Contralto, Chorus)
Part I: Recitative: Ye people, rend you hearts (Obadiah)
Part I: Aria: If with all your hearts ye truly seek Me (Obadiah)
Part I: Yet doth the Lord see it not (Chorus)
Part I: Recitative: Elijah! get thee hence (An Angel)
Part I: For He shall give His angels charge over thee (Chorus) - Recitative: Now Cherith's brook is dried up (An Angel)
Part I: Recitative, Aria and Duet: What have I to do with thee, O man of God? (The Widow, Elijah)
Part I: Blessed are the men who fear Him (Chorus)
Part I: Recitative: As God the Lord of Sabaoth liveth (Elijah, Ahab, Chorus)
Part I: Baal, we cry to thee (Chorus)
Part I: Recitative: Call him louder, for he is a god! (Elijah, Chorus)
Part I: Recitative: Call him louder! he heareth not (Elijah, Chorus))
Part I: Recitative and Aria: Draw near, all ye people (Elijah)
Part I: Chorale: Cast the burden upon the Lord (Angels)
Part I: Recitative: O Thou, who makest Thine angels spirits (Elijah, Chorus)
Part I: Aria: Is not His word like a fire (Elijah)
Part I: Arioso: Woe unto them who forsake him! (Contralto)
Part I: Recitative: O man of God, help thy people! (Obadiah, Elijah, The Youth, Chorus)
Part I: Thanks be to God! (Chorus)
I. La fleur des eaux
II. Interlude
III. La mort de l'amour
I. Overture
II. Russian Sea
III. Wedding: i) Allegro fastoso
III. Wedding: ii) Andante
III. Wedding: iii) Allegro fastoso
IV. Fire
V. Tartars and Canoneers: i) Allegro moderato
V. Tartars and Canoneers: ii) Moderato energico
VI. The Storming of Kazan
VII. Ivan's Sickness: i) Adagio
VII. Ivan's Sickness: ii) Andante sostenuto
VIII. At the Polish Court
IX. Anastasia
X. Song of the Beaver [Ephrosynia's Lullaby]
XI. The Banquet: i) Allegro ben ritmato, feroce
XI. The Banquet: ii) Allegro moderato
XI. The Banquet: iii) Allegro ben ritmato
XII: Murder in the Cathedral
XIII: Finale [Coda]
I. Introduction
II. We are the music makers
III. With wonderful deathless ditties
IV. We, in the ages lying
V. A breath of our inspiration
VI. They had no vision amazing
VII. And therefore today is thrilling
VIII. But we, with our dreaming and singing
IX. For we are afar with the dawning
X. Great hail! We cry to the comers


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