This past Thursday, National Sawdust, the Brooklyn-based performance venue and a recording studio, raised funds to support its mission of continuing to build new audiences for classical and new musicians by honoring several internationally renowned artists for its 2018 Spring Gala at the uptown Alhambra Ballroom.
Die zweifache Echo Klassik-Preisträgerin Joyce DiDonato gilt als eine der besten und gefragtesten Koloraturmezzosoprane unserer Zeit, obendrein als eine Spielwütige mit preußischer Disziplin. In der Doku-Fiction „Die Florence Foster Jenkins Story” spielt sie die schlechteste Sängerin der Welt.
The New York Times
by Perri Klass, M.D.
When you sing a lullaby to your baby, you convey love and language and dreams of the future — and also, of course, you are trying to help your baby to a more immediate future of being asleep. Singing helps calm both the baby and the parent, experts say, and creates a bedtime ritual to signal a transition from the day’s activities.
Carnegie Hall’s Weill Music Institute created a lullaby project to help mothers bond with their babies. Tiffany Ortiz, the manager of the project, said it started in 2011 with a pilot at Jacobi Medical Center in the Bronx, where staff members noticed that some teenage parents were having trouble attaching to their children. It has expanded across New York City, with artists working with parents at different sites, including high schools, hospitals, clinics, shelters and the Rikers Island jail, and is now being replicated nationally and internationally …
“Cendrillon” is a fairy tale that features a young girl whose dreams come true thanks to a faithful Fairy Godmother. At the Met, Alice Coote and Joyce DiDonato are headlining the opera about hope that has captivated children for years.
On Thursday, April 26, 2018, the two mezzo-sopranos were playing the role of the Fairy Godmother for the children of Time In Kids. At a private event, located at 10 Hudson yards, the two operatic superstars gave a concert to many of the greatest art patrons in New York City, urging them on to support the organization.
As opera star Joyce DiDonato has proven, the road to success is a winding one.
“We want a Tony,” opera star Joyce DiDonato shouts from an office at the Metropolitan Opera. “We are technically on Broadway…”
The mezzo-soprano, singing the title Cinderella role in the Met premiere of Massenet’s Cendrillon, is not wrong. Fellow mezzo-soprano Alice Coote, who plays her Prince Charming, chimes in: “We’re singing, we’re dancing—what do you want?”
Born and raised in Prairie Village, Kansas, Metropolitan Opera superstar Joyce DiDonato, who will give a recital at the Granada on Sunday, April 15, took an unusual route to the pinnacle of success she has reached in recent years. The mezzo-soprano was not discovered at an early age like some of her contemporaries, but rather had to struggle to find representation and only gained widespread recognition after arduous years of apprenticeship — first as a student at Wichita State and then as a member of the Houston Grand Opera Studio, a development program for young singers. As she told the New York Times’ Matthew Gurewitsch in 2010, in those days she felt challenged, saying that “I placed in competitions, but I never won …. I remember thinking in those years: ‘No one is going to hand this career to me.’”
The New York Times
by Joel Rozen
Joyce DiDonato, the star mezzo-soprano, admits she was slightly fearful when she first visited the Sing Sing maximum-security prison in 2015. She had agreed to sing there as part of Carnegie Hall’s Musical Connections program, but wasn’t sure how an operatic voice would be received.
She made an impact on at least one listener. On a follow-up trip the next year, Ms. DiDonato encountered Joseph Wilson, an inmate and aspiring composer who had been at the recital. He said he had been overwhelmed by the performance, she recalled in a recent interview at the Metropolitan Opera, where she will sing the title role in the company premiere of “Cendrillon” — Massenet’s frothy, romantic, rarely done Cinderella adaptation — starting on April 12.