Patricia Rozario

Biography

Born: Bombay, India  
Patricia Rozario is one of the world's leading sopranos, with remarkable sales of avant-garde vocal music.

As a child in Bombay, she was highly impressed by the music on her father's Western classical music records, particularly, she recalls, those of Maria Callas and Victoria de los Angeles. Patricia learned light classical and popular songs and performed them socially and as a hobby. However, there was also a music and drama festival in
Read more which she participated, which she says was competitive. Every year she and her brothers worked up a new pop or classical song, and often won. It was pretty clear that she had talent. Her parents allowed her to go to England for her education and study music before returning to India to settle down, a plan she accepted. However, she says, from the moment she arrived "it was like an adventure unfolding."

She attended the Guildhall School of Music and Drama where her teacher was Walter Grüner. Recognizing her talent, and realizing she did not have a large or systematic exposure to the classical literature, he allowed her from the beginning to sit in on senior level classes. She began to win prizes in student competitions, earning her another year's scholarship at the Guildhall. By the time she graduated, she had won the Guildhall School's Gold Medal and the Maggie Teyte Prize. Grüner, for his part, talked with Patricia's parents to assure them that she had true potential as a professional singer, and convinced them to give her time to develop a career.

She began singing professionally in England. In addition to singing the standard recital repertory, she sang frequently in early music productions and took a strong interest in contemporary works. An early appearance was in Monteverdi's Il combattimento di Tancredi e Clorida at the English National Opera, and also appeared at the Aix-en-Provence and Wexford Festivals, and with Opera North and the Glyndebourne Touring Opera.

In 1991, she auditioned for a part in John Tavener's new opera Maria Egiziaca (Mary of Egypt). He recognized in her voice "a unique spiritual and primordial quality that I have never been able to find in another singer." The drawback was that she lacked (she thought) the bottom notes in the part, down to G under middle C, which Tavener required to be sung strongly. She found that working on the opera opened this range to her naturally and comfortably.

After that project, she worked regularly with Tavener. She performed his Eternity's Sunrise, Apocalypse, and We shall see Him as He is at the BBC Proms, the world premiere of his Vlepondas at Queen Elizabeth Hall, and Agraphon at London's Barbican Centre. She starred in his massive work Fall and Resurrection, recording it for Chandos, and her recording of Eternity's Sunrise and other works of Tavener's on Hyperion had pop-hit sales figures. She premiered in Opera North's production of Simon Holt's The Nightingale's to Blame, and Arvo Pärt composed Como Anhela le Cierva for her.

She has recorded many of the works already mentioned, in addition to Haydn's Stabat Mater, Canteloube's Songs of the Auvergne, Britten's The Rape of Lucretia, songs of Severac, Tavener's Svyati, several CDs in Graham Johnson's great complete Schubert song series on Hyperion, Handel's Almira, and the Gramophone Award-winning recording of John Casken's opera Golem. In 2001, she was honored with an OBE Read less

Biography

Born: Bombay, India  
Patricia Rozario is one of the world's leading sopranos, with remarkable sales of avant-garde vocal music.

As a child in Bombay, she was highly impressed by the music on her father's Western classical music records, particularly, she recalls, those of Maria Callas and Victoria de los Angeles. Patricia learned light classical and popular songs and performed them socially and as a hobby. However, there was also a music and drama festival in
Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
1. Stabat Mater Dolorosa
2. O quam tristis et afflicta
3. Quis est homo, qui non fleret
4. Quis non posset contristari
5. Pro peccatis suae gentis
6. Vidit suum dulcem natum
7. Eja mater, fons amoris
8. Sancta mater istud agas
9. Fac me vere tecum flere
10. Virgo virginium praeclara
11. Flammis orci ne succendar
12. Fac me cruce custodiri
13a.Quando corpus morietur
13b. Paradisi gloria / Amen
Refrain: The Unfolding of the Great Mystery
Ikon I
Ikon II
Ikon III - Refrain
Ikon IV
Ikon V - Refrain
Ikon VI
Ikon VII - Refrain
Ikon VIII
Ikon IX
The Tomb
Ikon X
Ikon XI
To this shrine of the first Christians (Son) -
Ask me not. Never search the inexpressible mystery of death (Mother) -
Wait! Do not forsake your grieving son (Son)
Section 1 -
Section 2
No. 1. La indita
No. 2. El toro
No. 3. La ausencia
No. 4. El galan y su morena
No. 6. La muerte y la doncella
No. 7. Reinas de la baraja
No. 1. Pastorcito Santo
No. 3. Aire y Donayre
No. 2. Coplillas de Belen
Canticle 1: Praise the Lord (Emigrant Woman, Chorus, Emigrant Man)
Narrative 1: Now the Lord said unto Abraham (All)
First Psalm: I rise in the morning and hear Your voice (All)
Narrative 2: Behold, a sower went out to sow (All)
Canticle 1: The dry land is left behind (Chorus)
Narrative 3: Thus saith the Lord, for as the rain cometh down (John Godley, Charlotte Godley)
Second Psalm: How deep are your oceans! (All)
Narrative 4: The ship was now in the midst of the sea (John Godley, Emigrant Woman)
Canticle 3: The sea teems with life (Chorus)
Narrative 5: Now therefore ye are not strangers and sojourners (All)
Third Psalm: My breath lies quiet at the door of my mouth (Chorus)
Narrative 6: He is like the man which built an house (All)
Canticle 4: Praise to our God! (Chorus, Emigrant Woman, Emigrant Man)
Ode to Death, Op. 38
This have I done for my true love, Op. 34, No. 1
O lady, leave that silken thread
No. 3. Soft and gently
The autumn is old
Winter and the birds
To this shrine of the first Christians (Son)
Ask me not. Never search the inexpressible mystery of death (Mother)
Wait! Do not forsake your grieving son (Son)
Act I Scene 1: Rome is now ruled by the Etruscan upstart ... (Male Chorus)
Act I Scene 1: Here the thirsty ev'ening has drunk the wine of light ... (Male Chorus)
Act I Scene 1: Who reaches heaven first is the best philosopher (Collatinus)
Act I Scene 1: Good night, Tarquinius! (Junius)
Act I Interlude: Tarquiius does not wait for his servant to wake (Male Chorus)
Act I Scene 2: Lucretia! (Junius)
Act I Scene 2: Listen! I heard a knock. Somebody is at the gate ... (Lucretia)
Act I Scene 2: Time turns upon the hands of women ... (Female Chorus)
Act I Scene 2: None of the women move. It is too late for a messenger ... (Female Chorus)
Act II Scene 2: Lucretia! Lucretia! O never again must we two dare to part ... (Collatinus)
Act II Scene 2: This dead hand lets fall all that my heart held when full ... (Collatinus)
Act II Scene 2: Is it all? Is all this suffering and pain, is this in vain? (Female Chorus)
1. Stabat Mater Dolorosa
2. O quam tristis et afflicta
3. Quis est homo, qui non fleret
4. Quis non posset contristari
5. Pro peccatis suae gentis
6. Vidit suum dulcem natum
7. Eja mater, fons amoris
8. Sancta mater istud agas
9. Fac me vere tecum flere
10. Virgo virginium praeclara
11. Flammis orci ne succendar
12. Fac me cruce custodiri
13a.Quando corpus morietur
13b. Paradisi gloria / Amen


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