Irène Friedli grew up in Räuchlisberg, Switzerland, and completed her studies at the Basel Music Academy with a soloist diploma. The alto furthered her training in the interpretation class of Dietrich Fischer-Dieskau in Berlin, attended masterclasses with Brigitte Fassbaender, and studied with Helen Keller. She has won numerous awards at international song competitions. Since 1994, she has been a member of the ensemble at the Zurich Opera House. Here, she has sung roles including Second and Third Lady ("The Magic Flute"), Mercédès ("Carmen"), the title role in Ravel’s "L’Enfant et les sortilèges," Elsbeth ("Schlafes Bruder"), Lily ("Harley"), Annina and Flora ("La traviata"), Flosshilde ("Das Rheingold," "Götterdämmerung"), Marcellina ("Le nozze di Figaro"), Emilia ("Otello"), Lucia ("Cavalleria rusticana"), Olga in Peter Eötvös’ "Drei Schwestern," Marthe (Gounod’s "Faust"), Margret ("Wozzeck"), Lovis in Jörn Arnecke’s "Ronja Räubertochter," Flower Maiden and Voice from Above ("Parsifal"), Gertrud/Crone ("Hänsel und Gretel"), Clotilde ("Norma"), Mother/Other Mother ("Coraline"), Card Dealer ("Arabella"), and Nurse ("Boris Godunow"). In the world premiere of the family opera "Odyssee," she portrayed Eurycleia/Mother, and in "Girl with a Pearl Earring" she sang Tanneke. In 2012, she appeared at the Opéra Bastille in Paris. Most recently in Zurich, she has performed roles including the Queen of Hearts ("Alice in Wonderland"), Filipjewna ("Eugene Onegin"), Tisbe ("La Cenerentola"), Miss Bentson ("Lakmé"), Frau Waas/Frau Mahlzahn ("Jim Knopf"), Head Cook ("Amerika"), Ninetta ("I vespri siciliani"), Annina ("Der Rosenkavalier"), and Gertrud/Crone ("Hänsel und Gretel").
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, American bass-baritone from New Jersey, received his training at Rutgers University (Mason Gross School of the Arts) as well as at the renowned Curtis Institute of Music in Philadelphia. In 2019 he reached the New England Region Final of the Metropolitan Opera National Council Auditions and was awarded the Susan Eastman Encouragement Award there. Other important artistic stages included the Merola Opera Program in San Francisco as well as the Santa Fe Opera, where he appeared as an Apprentice Singer in "La bohème", "Così fan tutte" and "Jenůfa", among others. From 2020 to 2022 he was a member of the International Opera Studio at Opernhaus Zürich. He was subsequently taken into the house’s ensemble, of which he has been a member since the 2022/23 season. Here he has since appeared, among others, as Figaro ("Le nozze di Figaro"), Paolo Albiani ("Simon Boccanegra"), Don Fernando ("Fidelio"), De Brétigny ("Manon"), Marullo ("Rigoletto"), Paris ("Roméo et Juliette"), Marchese d’Obigny ("La traviata"), Pritschitsch ("Die lustige Witwe"), Johann ("Werther") as well as Fix ("In 80 Tagen um die Welt"). His most recent international engagements include his debut with the Warsaw Philharmonic as bass soloist in Beethoven’s Symphony No. 9 as well as his Salzburg debut as Marchese d’Obigny ("La traviata"). In summer 2026 he will appear at the Salzburg Festival as Johann ("Werther"). His repertoire also includes roles such as Leporello ("Don Giovanni"), Publio ("La clemenza di Tito"), Guglielmo ("Così fan tutte") and Rocco ("Fidelio").
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.