Biography of Elly Ameling (1934-VVVV)

Dutch soprano, was born in Rotterdam on February 8, 1934. He/She studied under severe supervision of his mother, Jo Bollekamp and Jacoba Dresden-Dhont. In 1956 wins award Noordewier t contest ' Hertogenbosch and in 1958 the first prize in the Geneva International competition. By then, had already begun Elly Ameling (abbreviation of Elisabeth Ameling) a promising career as a singer in oratorio, for which the Dutch fervor for Bach's oratorios was extremely conducive ground (be taken into account that interpreted the two passions - San Mateo and San Juan - practically in all areas of the country to along the weeks leading up to the passion and)(, of course, own Easter). Subsequently, he/she furthered studies in Paris with Pierre Bernac, which learns as regards the French song needed to become one of the best performers of the genre, well above the average of the own Gallic singers such as Régine Crespin and Mady Mesplé. In 1959 he/she premiered the mystery of the Nativity of Franck Martin and debuted at the Salzburg Festival under the baton of Rafael Kubelík singing the last movement of Mahler's fourth Symphony. From here, his career extends all over the world until the year of 1994, the sixty years, decided to retire with a concert tour through the main rooms of the concert of Europe and America. In 1985, he/she was appointed doctor "Honorias cause" by Princeton University. It is in possession of ocndecoraciones such as the French Legion of Honor and the order of the House of Orange of Holland.

Specializing in oratorio and recital (his appearances as opera singer have been minimal, as well an Ilia in Mozart's Idomeneo sung in 1973 at the Amsterdam Opera), his interpretations of Bach, Handel, Mozart and Mendelssohn deviate from the usual so far, carried out in most cases by singers of opera that looked to the oratory as one minor genre in which the absence of costume and set design was simpler and bearable interpretation. On the contrary, Ameling will be the first to give this music its intrinsic value and in entering historicist interpretation criteria. In this way, will be one of the few dedicated interpreters who collaborate with the pioneers of performance with original instruments when this trend seemed to fad and had failed to still the results that subsequently have achieved. However, not be fundamentalist Ameling in this matter, and you add to your recordings with Gustav Leonhardt (extracts of the Album by Ana Magdalena Bach) or Philip Ledger (Vespro della Beata Vergine of Monteverdi) other performed with full orchestra and romantic interpretation criteria, thus his St Matthew passion or his Magnificat de Bach led by Karl Münchinger. In any case, the Dutch soprano is able to demonstrate how much can be taken off of music if you are friendly with her beyond the criteria of interpretation that apply.

In the field of concert song highlighted Ameling, in addition to the perfect match of her crystalline voice to the sentiment of very different parts, due to its ease in pronunciation (was of the few singers who, already in the mid-1970s, boarded the Spanish repertoire with one more than decent diction and an amazing understanding of the style) and the intelligence with which deals with composers as different as SchubertSchumann, Brahms and Hugo Wolf. His recordings of the complete songs by Haydn and Faure, carried out in collaboration with the French baritone Gerard Souzay, marked true milestones in the history of the vocal interpretation of our century and coincide in time and intention with recordings and performances to the German baritone Dietrich Fischer-Dieskau in the comprehensive liederisticas of SchubertBrahms and Strauss. No wonder, therefore, is that the baritone counted with her to complete the Schubert integral with the interpretation of Threesomes and vocal quartets of the Austrian composer.

Throughout his career, he/she has collaborated with pianists as Gerald Moore, Rudolf Jansen, Dalton Badwin, Irving Gage or the fortepianist Jörg Demus, which conducted one of the first recordings of "lieder" of Schubert and Schumann with a piano from the time of such composers.