Phyllis Bryn-Julson

Biography

Born: February 5, 1945; Bowdon, ND  
Although the American soprano Phyllis Bryn-Julson has sung a wide range of repertory throughout her career, she has tended to favor and often champion modern, even avant-garde works, including some by Boulez, Wuorinen, Carter, Crumb, Sessions, Ligeti, Birtwistle and Henze. She is known for her perfect pitch, vocal accuracy at fast tempos and extraordinary three-octave range, qualities that have made her an easy choice by composers of difficult Read more modern repertory.



Born in Bowdon, North Dakota on February 5, 1945, she began piano lessons at the age of three. She continued piano studies at Concordia College in Minnesota, already showing a predilection for twelve-tone music. She also took instruction there on organ, violin and voice. At the behest of Gunther Schuller she turned to vocal studies, first at Tanglewood, then at Syracuse University, where she studied with Helen Boatwright. She made her debut in 1966 in Berg's Lulu Suite, with Erich Leinsdorf (an early mentor) and the Boston Symphony Orchestra.



Thereafter she performed widely with major orchestras in America and Europe, though her first appearance on the operatic stage did not come until 1976 in Boston, when she sang Malinche in the world premiere of Sessions' Montezuma. She made her highly successful debut at the proms in London the following year, again in a modern work, this time Henze's The Raft of Medusa.



In 1984 Bryn-Julson joined the faculty at the Peabody Conservatory in Baltimore, having already taught at the University of Maryland for thirteen years. 1987 was a year of triumphs for Bryn-Julson, with highly acclaimed appearances at Covent Garden in Stravinsky's The Nightingale and Ravel's L'enfant et les sortileges. That same year she sang in Moscow with the Peabody Symphony Orchestra and then conducted a master class at the Moscow Conservatory, the first American ever to do so.



In 1995 Byrn-Julson won a Gramophone Award for her performance of Schoenberg's Erwartung. She received Grammy nominations in 1997 and 1998 for two acclaimed recordings, the first, Dallapicolla's Il Prigioniero, and the latter, Schumann's Frauenliebe und Leben.



In 2000 she delivered one of her most memorable and critically hailed performances when she sang Schoenberg's Pierrot Lunaire at the Norton-Simon Museum Theater in Pasadena, California. Bryn-Julson continued making many highly successful appearances through 2005, the year she announced her retirement from singing. She continues to chair the voice department at Peabody. Read less

Biography

Born: February 5, 1945; Bowdon, ND  
Although the American soprano Phyllis Bryn-Julson has sung a wide range of repertory throughout her career, she has tended to favor and often champion modern, even avant-garde works, including some by Boulez, Wuorinen, Carter, Crumb, Sessions, Ligeti, Birtwistle and Henze. She is known for her perfect pitch, vocal accuracy at fast tempos and extraordinary three-octave range, qualities that have made her an easy choice by composers of difficult Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Requiem
I. Dedication
II. Introduction
III. -
IV. -
V. -
VI. -
VII. -
VIII. -
IX. -
X. The Sentence
XI. To Death
XII. -
XIII. Crucifixion
XIV. -
XV. -
XVI. Epilogue
XVII. Epilogue II
Stravinsky: Two Poems By Konstantin Bal'mont - 1. Nyezabudochka-tsvyetochek (The Flower)
Stravinsky: Two Poems By Konstantin Bal'mont - 2. Golub' (The Dove)
Stravinsky: Three Japanese Lyrics - 1. Akahito
Stravinsky: Three Japanese Lyrics - 2. Mazatsumi
Stravinsky: Three Japanese Lyrics - 3. Tsaraiuki
Stravinsky: Three Songs (Recollections Of My Childhood) - Sorochenka (The Magpie)
Stravinsky: Three Songs (Recollections Of My Childhood) - Vorona (The Rock)
Stravinsky: Three Songs (Recollections Of My Childhood) - Chicher-Yacher
Erwartung (Monodrama), Op.17 (1909): II. Szene: Ist das noch der Weg? Hier ist es eben.
Erwartung (Monodrama), Op.17 (1909): III. Szene: Da kommt ein Licht!
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Er ist auch nicht da...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Das Mondlicht...nein, dort...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Was soll ich tun...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Aber seltsam ist dein Auge...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Du siehst wieder dort hin?...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Oh! nicht einmal die Gnade...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Liebster, Liebster, der Morgen kommt...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Du siehst wieder dort hin?...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Oh! nicht einmal die Gnade...
Erwartung (Monodrama), Op.17 (1909), IV: Szene:: Liebster, Liebster, der Morgen kommt...
Variations for Orchestra, Op.31: Introduktion und Theme -
Variations for Orchestra, Op.31: Variation I -
Variations for Orchestra, Op.31: Variation II -
Variations for Orchestra, Op.31: Variation III -
Variations for Orchestra, Op.31: Variation IV -
Variations for Orchestra, Op.31: Variation V -
Variations for Orchestra, Op.31: Variation VI -
Prologue
Homage to Judy
Resolve I
Passion Chorale I
Toccata I B
Pretty Polly's Rhapsody I
Sinfonia
War-Cry
Toccata II B
Pretty Polly's Rhapsody II
Prologue
Rats Away!
Messalina
Dance of Death (Hawking for the Partridge)
Epilogue and Funeral March
I. We Go
II. Even During War
III. The Future
IV. We Are the Echoes
V. God Follows Me Everywhere
No. 1. I Sit at my desk
No. 2. If I thought ...
No. 3. Oh the Anguish
No. 4. You Ask Me
No. 5. Autumn
No. 6. Just Us
No. 1. Along With Me
No. 2. They Might Not Need Me
No. 3. The Night Has A Thousand Eyes
No. 4. Over The Fence
No. 5. Song
No. 6. Wild Nights
Requiem: Introitus
Requiem: Graduale
Requiem: Dies Irae
Requiem: Offertorium
Requiem: Sanctus
Requiem: Pie Jesu
Requiem: Agnus Dei


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