Irène Friedli grew up in Räuchlisberg, Switzerland, and completed her soloist diploma at the Music Academy in Basel. The alto continued her studies in the interpretation class of Dietrich Fischer-Dieskau in Berlin, took part in masterclasses with Brigitte Fassbaender, and received further training with Helen Keller. She won numerous prizes at international song competitions. Since the 1994/95 season, she has been a member of the ensemble at Zurich Opera House. Here she has performed, among others, as the Second and Third Lady (Die Zauberflöte), Mercédès (Carmen), the title role in Ravel’s L’Enfant et les sortilèges, Elsbeth in Schlafes Bruder, Lily in Harley, Annina and Flora (La traviata), Flosshilde (Das Rheingold, Götterdämmerung), Marcellina (Le nozze di Figaro), Emilia (Otello), Lucia (Cavalleria rusticana), Olga in Peter Eötvös’ Three Sisters, Marthe in Gounod’s Faust, Margret (Wozzeck), Lovis in Ronja Räubertochter by Jörn Arnecke, Flower Maiden and Voice from Above (Parsifal), Gertrud/Witch (Hänsel und Gretel), Clotilde (Norma), Mother/Other Mother (Coraline), Fortune Teller (Arabella), and Nurse (Boris Godunov). In the world premiere of the family opera Die Odyssee, she portrayed Eurykleia/Mother, and in Girl with a Pearl Earring, Tanneke. In 2012, she appeared at the Opéra Bastille in Paris. Most recently in Zurich, she has appeared as the Queen of Hearts in Alice in Wonderland, Filipyevna in Eugene Onegin, Tisbe in La Cenerentola, Miss Bentson in Lakmé, Mrs. Waas/Mrs. Grindtooth in Jim Knopf, the Head Chef in Amerika, and Ninetta in I vespri siciliani.
Compositions by Richard Strauss, Gerald Finzi, Othmar Schoeck, Kurt Weill, Stephen Sondheim, Mitch Leigh, Pieter De Villiers, Richard Rodgers und Jerry Herman
From 28. May 2021 until 30. May 2021
Richard Strauss / John Henry Mackay
Drei Lieder op. 27: «Ruhe, meine Seele», «Heimliche Aufforderung» und «Morgen»
Gerald Finzi
Let us garlands bring op. 18: «Come Away, Come Away, Death», «Who Is Silvia?», «O Mistress Mine» und «It Was a Lover and His Lass»
Othmar Schoeck
5 Lieder: «Liederseelen», «Nachruf», «Nachtgeräusche», «Die Sternseherin» und «Das Ende des Festes»
Pieter De Villiers
Sewe Boerneef-Liedjies: «Doer bo teen die Rant», «My koekiesverrhen jou verkereveer» und «Aandblom is ‘n witblom»
Mitch Leigh
The Impossible Dream (aus: Man of La Mancha)
Kurt Weill
3 Lieder: «Nanna’s Lied», «Und was bekam des Soldaten Weib?» und «Wie lange noch?»
Andrew Lloyd Webber
The Music of the Night (aus: The Phantom of the Opera)
Stephen Sondheim
Everybody Says Don't (aus: Anyone Can Whistle)
Jerry Herman
I am what I am (aus: La Cage aux Folles)
Cast
Klavier Matthew Ottenlips
Irène Friedli
Thomas Erlank
Thomas Erlank stammt aus Südafrika. Er studierte Musik an der Universität von Stellenbosch (Südafrika) und Gesang am Royal College of Music in London bei Patricia Bardon. 2011 gab er sein Debüt als Solist in Steve van der Merwes Eleven – A Requiem for a Parent in der St. George’s Cathedral in Kapstadt. Zu seinem Repertoire gehören u.a. Rollen wie Aeneas (Dido und Aeneas), Dr. Blind (Die Fledermaus), Acis (Acis und Galatea) und Il Podestà (La finta giardiniera). Beim Händel Festival in London sang er Lurcanio in Händels Ariodante. 2015 wirkte er in David Morins Dokumentarfilm Finding Messiah mit. Mit Werken von Mozart, Haydn und Händel war er u.a. in St. Martin-in-the-Fields, in der Cadogan Hall und beim Brighton Fringe Festival zu erleben. Von 2018 bis 2020 war er Mitglied des Internationalen Opernstudios und sang hier 2018/19 den Tenorpart in der Ballettproduktion Winterreise von Christian Spuck, Borsa in Rigoletto, Ambrogio in der IOS-Produktion Il barbiere di Siviglia am Theater Winterthur sowie den Conférencier in der Uraufführung Last Call von Michael Pelzel. In der Spielzeit 2019/2020 war er in Belshazzar, in der Zauberflöte und in Fidelio zu hören. Seit der Spielzeit 2020/21 gehört er zum Ensemble des Opernhauses Zürich und sang jüngst in Idomeneo, L’incoronazione di Poppea, Die Odyssee, Dialogues des Carmélites, L’Olimpiade, Tristan und Isolde sowie in La traviata und Salome. Ausserdem gastierte er im März 2023 als Solist in Mozarts Requiem in der Gulbenkian Foundation Lissabon zusammen mit dem Gulbenkian Orchestra.
Andrew Moore
Andrew Moore, Bass-Bariton, stammt aus New Jersey. Er studierte an der Rutgers University und am Curtis Institute of Music in Philadelphia. Er war 2017 Finalist beim New Jersey State Opera Alfredo Silipigni Wettbewerb und sang im gleichen Jahr mit den New Jersey Chamber Singers die Baritonpartie im Requiem von Fauré. 2018 nahm er am Merola Opera Program in San Francisco teil, wo er u.a. beim Schwabacher Summer Concert und in The Rake’s Progress sang. 2019 war er Teilnehmer der Metropolitan Opera National Council Auditions und erreichte das New England Region Finale, wo er mit dem Susan Eastman Encouragement Award ausgezeichnet wurde. Im gleichen Jahr sang er an der Santa Fe Opera in den Produktionen La Bohème, Così fan tutte und Jenůfa. Weitere Auftritte hatte er als Vicar (Albert Herring), Fiorello (Il barbiere di Siviglia), Talpa (Il tabarro), Figaro (Le nozze di Figaro), Guglielmo (Così fan tutte), Rocco (Fidelio), L’Arbre (L’Enfant et les sortilèges) und Adonis (Venus und Adonis). Von 2020 bis 2022 war er Mitglied des Internationalen Opernstudios und sang hier u.a. Mamma Agata in Viva la mamma, Gouverneur (Le Comte Ory), Masetto in Don Giovanni sowie die Titelpartie in Die Odyssee. Seit der Spielzeit 2022/23 gehört er zum Ensemble des Opernhauses Zürich. In der Spielzeit 2024/25 ist er als Paolo Albiani (Simon Boccanegra), Max (In 80 Tagen um die Welt), Don Fernando (Fidelio), Paqui / Vertreter (Das grosse Feuer) und Marullo (Rigoletto) in Zürich zu erleben.
Good to know
Andrew Moore
Tell us Andrew...
This interview was conducted in 2020
When and why did you decide to become an opera singer?
I began my journey in music studying music education to become a music teacher. I really loved the idea of giving back and teaching music because, for me, music was something I really cherished growing up. It wasn’t until my senior year of college where after several convincing conversations with my voice teacher, I decided to try performing. It was after my first performance in my first opera (guglielmo in «Così fan Tutte») where I thought to myself «I could get used to this...». It was such a rewarding feeling. Being able to use my voice to tell a story to an audience. I loved it. Since then, I began performing much more over the years, and has now taken me up to be in Zurich with the IOS.
If I hadn't become an opera singer, I'd be …
A flavor chemist. Chemistry was my favorite subject in school, and I wanted to work in a food science laboratory and create new ways of creating foods and flavorings with natural and man made ingredients.
Which was your most precious experience on stage so far?
I think my most precious moment was having the chance to sing some of the role of Papageno on the San Francisco opera stage with a full house in the audience. It was a feeling unlike any other and I treasure it, as it was my first time singing on the stage of a major house.
… the most embarrassing moment?
Once I was in a production of «Joseph and the Amazing Technicolor Dreamcoat». There was a dance break, and in the show I had on the craziest wig. During the dance break, one of the dancers grabbed my neck in her choreography, and as she turned, she took my wig with her! And there I was: standing on stage in a bald cap. The entire audience burst into laughter. It was very fun though, I played it off very well. Something I will never forget.
… the biggest challenge?
Languages. Languages have always been a struggle for me. I work extra hard to make sure that I really understand my text and that things are pronounced as well as a native speaker would. I was once told the best advice by a colleauge that said: «Learn a new word in a different language everyday. This way, in a year, you would have learned 365 new words». When she put it like that, my struggle with languages became something that challenges me, but keeps me motivated to work hard and improve.
And what would be your biggest dream?
I’m not super sure what my biggest dream would be, to be honest. Being in this wonderful place like Zürich, is something a year ago I would have never imagined for myself. I have no idea what lies in front of me for the future, but im excited for the journey ahead.
Do you have a lucky charm or a ritual before going on stage?
Every night before a big performance, I use the small area in my bedroom and do a mini walk and talk, where I go through the motions and text of the show. It sounds crazy, but going to bed with a good feeling of confidence is key and helps me get a good night sleep for the next day.
My secret weapon to prevent hoarseness:
Tons and tons of sleep and not talking.
My idol:
Sam Ramey
Which opera character do you identify with the most and why?
Alfredo in «La Traviata». Although I am not a tenor, I am 100% a hopeless romantic. Someone who pursues not as a heroic chivalry act, but out of genuine love and affection. He loves deeply.
This song speaks out of the fullness of my heart:
«An die Musik» (Schubert)
Which is you favorite place in Zurich and why?
There is a little farm area on top of Sonnenberg past the Dolder called Adlisberg. It’s the cutest place and it has a really good restaurant with great food. I absolutely love it here.
What is your favorite word in Swiss German?
«Öpfuchüechli»
Andrew Moore studied in Philadelphia. He was a member of the International Opera Studio at Opernhaus Zürich and has been part of the ensemble since the 2022/23 season.