Carole Farley

Biography

Born: November 29, 1946; Le Mars, IA  
American soprano Carole Farley has sung operatic roles such as Mimì, Cio-Cio San, Tosca, Kundry, Violetta, and Constanze, but because she has specialized in operas outside the standard repertoire, particularly twentieth century works, and is deeply committed to living composers, as well as to relatively obscure composers of the recent past, she is not widely known to traditional opera audiences.

Farley received her training from Indiana
Read more University and as a Fulbright Scholar at the Hochschule für Musik, Munich. She made her recital debut at New York's Town Hall in 1969. At the Metropolitan Opera, Farley made her debut as Mimì in 1975, and went on to sing Lulu in 1977, and the Met's premiere of Lady Macbeth of Mtsensk in 1994. Lulu was a signature role of hers and she sang it over 100 times, in four languages, including the British premiere at the Welsh National Opera in 1971. She also gave over 100 performances of Salome. During the last quarter of the twentieth century she sang at the New York City Opera, the Chicago Lyric Opera, the Canadian Opera, and Théâtre de la Monnaie, as well as the houses of Brussels, Lyon, Zürich, Cologne, Florence, and Turin, among others.

She has devoted much of her career to newer music and has sung works of Janácek, Schoenberg, Weill, Britten, Rorem, Bernstein, and Bolcom. She is also committed to lesser known composers, such as Ernesto Lecuona, Aubert Lemeland, and conductor José Serebrier, to whom she is married. Her recordings include works by Tchaikovsky, Grieg, Delius, Milhaud, Prokofiev, and Richard Strauss. One of her most popular releases is a video of two one-act operas, Poulenc's La voix humaine and Menotti's The Telephone. Read less
Browse 1-19 of 19 Available Recordings

Biography

Born: November 29, 1946; Le Mars, IA  
American soprano Carole Farley has sung operatic roles such as Mimì, Cio-Cio San, Tosca, Kundry, Violetta, and Constanze, but because she has specialized in operas outside the standard repertoire, particularly twentieth century works, and is deeply committed to living composers, as well as to relatively obscure composers of the recent past, she is not widely known to traditional opera audiences.

Farley received her training from Indiana
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WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Jerome
II. Jerome et Alissa
III. Jerome et Alissa
IV. Lettre d'Alissa
V. Jerome et Alissa
VI. Lettres d'Alissa
VII. Prelude
VIII. Journal d'Alissa
I. Chant de Nourrice
II. Chant de Sion
III. Chant du Laboureur
IV. Chant de la Pitie
V. Chant de Resignation
VI. Chant d'Amour
VII. Chant de Forgeron
VIII. Lamentation
This is a face
Since I have met you
The rabbit
I am not free
For me there is no song
From wandering in the forest
Beware
I wouldn't die without love
I remember
For everything turned false
I have climbed
Pity Me Not Because the Light of Day
How to Swing those Obbligatos Around
The Crazy Women
Just Once
Never More Will the Wind
The Sage
O to Be a Dragon
The Bustle in a House
I Saw Eternity
Night Practice
The Fish
Costa del Nowhere
Table
River Song
Messing About in Boats
Rat's Song
Presto
Lento
Andante mosso
Andante comodo