Monica Groop

Biography

Born: April 14, 1958; Helsinki, Finland  
One of several international singing stars in her time from the musically rich nation of Finland, mezzo-soprano Monica Groop emerged as a leading operatic figure in the 1990s. With an orientation towards Germanic repertory rather than Italian, she is also highly active on the recital and concert stages.

Groop's musical education culminated at the Sibelius Academy in Helsinki. In the 1986 summer season she participated in the Savonlinna
Read more Opera, then joined the Finnish National Opera. Her professional operatic debut was with that company in 1987 as Charlotte, the leading female character in Massenet's Werther. During her time on the Finnish National Opera's roster she sang the parts of Olga in Tchaikovsky's Evgeny Onegin, Dorabella in Mozart's Cosě fan tutte, Sesto in his La clemenza di Tito, and Octavian in Richard Strauss' Der Rosenkavalier.

In 1989, Groop entered the famous Cardiff Singer of the World Competition in Wales, and attracted attention as a finalist. She began her emergence in the international scene at about that time, especially with performances as Cherubino in Mozart's Le nozze di Figaro in the 1991 Aix-en-Provence Festival and in the same year debuted at Covent Garden in the Royal Opera's production of Wagner's Der Ring des Nibelungen, as Wellgunde and Waltraute.

Her stardom is not the result of one dramatic star-making appearance, but she considers 1994 her breakout year. It was on the recital stage that she gained major international recognition with her debuts at Carnegie Hall in New York and Wigmore Hall in London, the most important recital venues of their respective countries. The New York Times wrote "A new mezzo has joined the star parade." In the same year she was invited back to Covent Garden in the role of Varvara in Janácek's Kát'a Kabanová.

The Times review was taking cognizance of the presence of an unusual number of important mezzo-sopranos currently active. Following the success of Cecilia Bartoli, there has been a reawakening of interest in the lower female voice range, manifested in such things as the tendency to return to the original mezzo-soprano parts for many leading Rossini heroines, and resumption of the use of female mezzos in heroic roles in many Baroque operas.

Groop's statements suggest that she sees the presence of other mezzos of similar international stature in a positive way, giving her an opportunity to specialize in the repertory most congenial to her. "The bel canto tradition is not close to me," she has said (referring to the style of operatic singing most associated with Rossini, Bellini, and Donizetti), "and Bartoli and [Jennifer] Larmore are brilliant practitioners of that side of things. I have sung a great deal of Mozart, and now I am ready for Strauss."

Accordingly, in 1995 she added the Straussian role of The Composer (Ariadne auf Naxos) to her repertory in performances in Frankfurt. In the same year she made worldwide news by her portrayal of Debussy's Mélisande in a controversial production staged by Peter Sellars in Los Angeles.

Since then she has been in such demand that she spends nearly 300 days a year away from her home. She has made over 40 recordings with major labels such as Decca, Sony Classics, Harmonia Mundi, CPO, Accent, Chandos, BIS, and Finlandia. Her recorded repertory includes music of composers as diverse as Bach, Mozart, Mendelssohn, Haydn, Grieg, Sibelius, Vivaldi, Sarasate, Kálmán, Madetoja, and Pettersson. They include the first recordings of Vivaldi's Ottone and Donizetti's Linda di Chamounix. She has appeared in the world's major opera houses, and in concert with the greatest conductors and orchestras, including both standard ensembles and original instruments groups. Read less

Biography

Born: April 14, 1958; Helsinki, Finland  
One of several international singing stars in her time from the musically rich nation of Finland, mezzo-soprano Monica Groop emerged as a leading operatic figure in the 1990s. With an orientation towards Germanic repertory rather than Italian, she is also highly active on the recital and concert stages.

Groop's musical education culminated at the Sibelius Academy in Helsinki. In the 1986 summer season she participated in the Savonlinna
Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Kyrie
Gloria: Gloria in excelsis Deo
Gloria: Gratias agimus tibi
Gloria: Domine Deus
Gloria: Quoniam tu solus sanctus
Gloria: Cum sancto spiritu
Credo
Credo: Et incarnatus est
Credo: Et resurrexit
Sanctus
Sanctus: Osanna
Sanctus: Benedictus
Sanctus: Osanna
Agnus Dei
Agnus Dei: Dona nobis pacem
Cum sancto
Osanna
Overture
"Notte e giorno faticar"
"Leporello, ove sei?"
Ma qual mai s'offre, o Dei
"Orsů, spicciati presto"
"Ah! chi mi dice mai" - "Udisti? qualche bella"
"Chi č lŕ?"
"Madamina, il catalogo č questo"
"Giovinette, che fate all'amore"
"Manco male, č partita"
"Ho capito, signor sě!"
"Alfin siam liberati"
"Lŕ ci darem la mano"
"Fermati, scellerato!"
"Ah, fuggi il traditor"
"Mi par ch'oggi il demonio si diverta"
"Non ti fidar, o misera"
"Don Ottavio... son morta!"
"Or sai chi l'onore"
"Come mai creder deggio"
"Io deggio ad ogni patto"
"Masetto... senti un po'..."
"Fin ch'han dal vino"
"Batti, batti, o bel Masetto"
"Guarda un po' come seppe questa strega"
"Presto, presto... pria ch'ei venga"
"Bisogna aver corragio"
"Protegga il giusto cielo"
"Riposate, vezzose ragazze"
"Venite pur avanti"
"Ecco il birbo che t'ha offesa"
"Eh via, buffone, non mi seccar"
"Leporello!"
"Ah! taci, ingiusto core"
"Amico, che ti par?"
"Deh! vieni alla finestra"
"V'č gente alla finestra"
"Metŕ di voi qua vadano"
"Zitto... Lascia ch'io senta... Ottimamente"
"Vedrai, carino"
"Di molte faci il lume"
"Sola, sola in buio loco"
Mille torbidi pensieri
"Dunque quello sei tu"
"Ferma, perfido; ferma"
"Il mio tesoro intanto"
In quali eccessi, o numi
"Mi tradě quell'alma ingrata" (K540c, Aria)
"Ah! ah! ah! questa č buona!"
"O statua gentilissima"
"Calmatevi, idol mio"
"Crudele? Ah no! mio bene!"
"Giŕ la mensa č preparata"
"L'ultima prova"
"Don Giovanni, a cenar teco m'invitasti"
"Ah! dov'č il perfido?"
"Questo č il fin di chi fa mal!"
I. Jos olenkin (If I Just Had)
II. Ruusun asu (The Rose's Apparel)
III. Merenneitojen Kyynelet (A Mermaid's Tears)
IV. Minne paattyy sateenkaari? (Where Does the Rainbow End?)
V. Nainen unessa (The Woman in the Dream)
VI. Mita merkitysta? (What Meaning?)
VII. Lapsuuteni Kuollessa (When my Childhood Died)
VIII. Tunneli (The Tunnel)
IX. Kun naen meren (When I See the Sea)
X. Kukkiva omenapuu (The Flowering Apple Tree)
XI. Perhoset (Butterflies)
No. 1. Alven och snigeln (The River and the Snail)
No. 2. En blomma stod vid vagen (A Flower in the Path)
No. 3. Kvarhjulet (The Millwheel)
No. 4. Maj (May)
No. 5. Jag ar ett trad (The Tree)
No. 6. Hertig Magnus (Baron Magnus)
No. 7. Vanskapens blomma (The Flower of Friendship)
No. 8. Nacken (The Elf King)
No. 1. Nu star jul vid snoig port (Now Christmas stands at the snowy gate)
No. 2. Nu sa kommer julen (Now Christmas is coming)
No. 3. Det morknar ute (Outside it is getting dark)
No. 4. Giv mig ej glans, ej guld, ej prakt (Give me no splendour, gold or pomp)
No. 5. On hanget korkeat, nietokset (High are the snowdrifts)
No. 1. Varfornimmelser (The Coming of Spring)
No. 2. Langtan heter min arvedel (Vain longings are my heritage)
No. 3. Dold Forening (Hidden Union)
No. 4. Och finns det en tanke? (And is there a thought?)
No. 5. Sangarlon (The Singer's Reward)
No. 6. I systrar, I broder, I alskande par (Ye sisters, ye brothers, ye loving couples!)
Introit: Requiem aeternam
Kyrie eleison
Sequence No. 1: Dies Irae
Sequence No. 2: Tuba miram
Sequence No. 3: Rex tremendae majestatis
Sequence No. 4: Recordare, Jesu pie
Sequence No. 5: Confutatis maledictis
Sequence No. 6: Lacrimosa dies illa
Offertory No. 1: Domine Jesu Christe
Offertory No. 2: Hostias et preces
Sanctus
Benedictus
Agnus Dei
Communion: Lux aeterna
Sequentia: Dies irae
Sequentia: Tuba mirum
Sequentia: Rex tremendae
Sequentia: Recordare
Sequentia: Confutatis
Sequentia: Lacrimosa
Offertorium: Domine Jesu
Offertorium: Hostias
Communio: Amen
I. The Lover: Andante con moto
II. The Path of His Beloved: Allegretto
III. Good Evening!...Farewell!: Andantino - Doppio piu lento - Lento assai  
Kyrie
Gloria: Gloria in excelsis Deo
Gloria: Gratias agimus tibi
Gloria: Domine Deus
Gloria: Quoniam tu solus sanctus
Gloria: Cum sancto spiritu
Credo
Credo: Et incarnatus est
Credo: Et resurrexit
Sanctus
Sanctus: Osanna
Sanctus: Benedictus
Sanctus: Osanna
Agnus Dei
Agnus Dei: Dona nobis pacem
I. Et Hab (Hope)
II. Jeg reiste en deilig Sommerkveld (I Travelled One Lovely Summer's Eve)
III. Den Aergjerrige (Ambition)
IV. Med en Primula veris (With a Cowslip)
V. Pa Skogstien (On a Forest Path)
I. Guten (The Lad)
II. Varen (Spring)
III. Den Saerde (The Wounded One)
IV. Tytebaeret (The Lingonberry)
V. Langs ei A (Along a River)
VI. Eit Syn (A Vision)
VII. Gamle Mor (Old Mother)
VIII. Det fyrste (First Things)
IX. Ved Rondane (In the Hills)
X. Et Vennestykke (On Friends)
XI. Trudom (Faithfulness)
XII. Fyremal (Aims of Life)
No. 1. Gestillte Sehnsucht (Longing Eased)
No. 2. Geistliches Wiegenlied (Sacred Lullaby)
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
I. Die Mullerin (text: Adelbert von Chamisso)
II. Eingehullt in grauen Wolken (text: Heinrich Heine)
III. Ich stand in dunkeln Traumen (text: Heinrich Heine)
IV. Was soll ich sagen? (text: Adelbert von Chamisso)
I. Det forste mode (text: Bjornstjerne Bjornson)
II. God morgen! (text: Bjornstjerne Bjornson)
III. Jeg giver mit digt till varen (text: Bjornstjerne Bjornson)
IV. Takk for dit rd (text: Bjornstjerne Bjornson)
I. Gruss (text: Heinrich Heine)
II. Dereinst, Gedanke mein (text: Emanuel Geibel)
III. Lauf der Welt (Text: Ludwig Uhland)
IV. Die verschwiegene Nachtigall (text: Walther von Vogelweide)
V. Zur Rosenzeit (text: Johann Wolfgang von Goethe)
VI. Ein Traum (text: Friedrich von Bodenstedt)
Sinfonia: Allegro - Larghetto - [Allegro]
Act I Scene 1: Recitative: Nacqui a gran sorte ... (I was born to greatness ... ) (Cleonilla) - Aria: Quanto m'alletta (How alluring) (Cleonilla)
Act I Scene 2: Recitative: Caio ... (Caio ... ) (Cleonilla, Caio) - Aria: Sole degl'occhi miei (Light of my eyes) (Caio) - Recitative: Ma Cesare qui vien ... (But here comes Caesar ... ) (Caio, Cleonilla)
Act I Scene 3: Recitative: Cleonilla, a te ne vengo ... (Cleonilla, I come to you ... ) (Ottone, Cleonilla, Caio) - Aria: Caro bene (Beloved) (Cleonilla)
Act I Scene 4: Recitative: Piu fido amante, e chi miro giammai? ... (Has there ever been a truer lover? ... ) (Ottone, Caio) - Aria: Par tormento, ed e piacer (It seems a torment yet is a pleasure) (Ottone)
Act I Scene 5: Recitative: Quanto di donna amante ... (Just how cunnning a mistress can be ... ) (Caio, Tullia) - Aria: Chi seguir vuol la costanza (He who insists on being constant) (Caio)
Act I Scene 6: Recitative: Ah! Traditor t'intendo ... (Ah! Traitor, I know what's in your mind ... ) (Tullia) - Aria: Con l'amor di donna amante (My love, being that of a loving woman) (Tullia)
Act I Scene 7: Recitative: Quanto m'alletti, o cara ... (How I love, my dearest ... ) (Ottone, Cleonilla, Decio) - Aria: Frema pur, si lagni Roma (Let Rome fret and fume) (Ottone)
Act I Scene 8: Recitative: Grande ho, Decio, il desio ... (I am extremely curious to know, Decio ... ) (Cleonilla, Decio, Tullia) - Aria: Il tuo pensiero e lusinghiero (You are living in a fool's paradise) (Decio)
Act I Scene 9: Recitative: Porgimi il manto, caro ... (Hand me my robe, dear boy ... ) (Cleonilla, Tullia) - Aria: Che fe, che amor (I swear that faith, that love) (Cleonilla)
Act I Scene 10: Recitative: E Caio aborriro per fin ch'io viva? ... (Hold Caio in abhorrence for as long as I live? ... ) (Caio, Tullia) - Aria: Si, si, deggio partir (Yes, yes, I must be off) (Tullia)
Act I Scene 11: Recitative: E Caio aborriro per fin ch'io viva? ... (Hold Caio in abhorrence for as long as I live? ... ) (Caio) - Aria: Gelosia (Jealousy) (Caio)
Act II Scene 1: Recitative: Spinto Signor son' io ... (I am urged, my lord ... ) (Decio, Ottone) - Aria: Come l'onda (Like a wave) (Ottone)
Act II Scene 2: Recitative: A Cesare tradito io dir non volli ... (I decided not to tell the deceived Caesar ... ) (Deccio, Caio) - Aria: Che giova it trono al Re (What good is his throne to a king) (Decio)
Act II Scene 3: Recitative: Parli Decio che vuol ... (Decio can say what he likes ... ) (Caio, Tullia) - Aria: L'ombre, l'aure, e ancora il rio (The shadows, the breezes, and even the stream) (Caio, Tullia)
Act III Final Scene: Recitative: Caio infierito ... (Caio in a rage ... ) (Ottone, Decio, Cleonilla, Caio, Tullia)
Act III Final Scene: Grande e il contento (Great and heartfelt) (Chorus)


YOU MUST BE A SUBSCRIBER TO LISTEN TO ARKIVMUSIC STREAMING.
TRY IT NOW FOR FREE!
Sign up now for two weeks of free access to the world's best classical music collection. Keep listening for only $19.95/month - thousands of classical albums for the price of one! Learn more about ArkivMusic Streaming
Already a subscriber? Sign In