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Soprano Christine Goerke has appeared in the major opera houses of the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Washington National Opera, Houston Grand Opera, Seattle Opera, Opera Company of Philadelphia, Pittsburgh Opera , New York City Opera, Glimmerglass Opera, Royal Opera House Covent Garden, Paris Opera, Théâtre du Châtelet, Théâtre du Capitole in Toulouse, Deutsche Oper Berlin, La Scala, Maggio Musical Fiorentio, Teatro Real in Madrid, Teatro Municipal de Santiago, and the Saito Kinen Festival. She has sung much of the great soprano repertoire, beginning with the Mozart and Handel heroines and now moving into the dramatic Strauss and Wagner roles. She has also received acclaim for her portrayals of the title roles in Elektra, Ariadne auf Naxos,   Norma and Iphigenie en Tauride; Kundry in Parsifal, Ortrud in Lohengrin, Leonora in Fidelio, Eboli in Don Carlos, Rosalinde in Die Fledermaus, Ellen Orford in Peter Grimes, Female Chorus in The Rape of Lucretia, Alice in Falstaff, and Madame Lidone in Dialogues des Carmelites. She recently made her role debut as Brünnhilde in concert performances of Die Walküre with the

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Soprano Christine Goerke has appeared in the major opera houses of the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Washington National Opera, Houston Grand Opera, Seattle Opera, Opera Company of Philadelphia, Pittsburgh Opera , New York City Opera, Glimmerglass Opera, Royal Opera House Covent Garden, Paris Opera, Théâtre du Châtelet, Théâtre du Capitole in Toulouse, Deutsche Oper Berlin, La Scala, Maggio Musical Fiorentio, Teatro Real in Madrid, Teatro Municipal de Santiago, and the Saito Kinen Festival. She has sung much of the great soprano repertoire, beginning with the Mozart and Handel heroines and now moving into the dramatic Strauss and Wagner roles. She has also received acclaim for her portrayals of the title roles in Elektra, Ariadne auf Naxos,   Norma and Iphigenie en Tauride; Kundry in Parsifal, Ortrud in Lohengrin, Leonora in Fidelio, Eboli in Don Carlos, Rosalinde in Die Fledermaus, Ellen Orford in Peter Grimes, Female Chorus in The Rape of Lucretia, Alice in Falstaff, and Madame Lidone in Dialogues des Carmelites. She recently made her role debut as Brünnhilde in concert performances of Die Walküre with the New Zealand Symphony Orchestra.

Ms. Goerke has also appeared with a number of the leading orchestras including the New York Philharmonic Orchestra, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, New World Symphony, Houston Symphony, Radio Vara (at the Concertgebouw),  Sydney Symphony, and the Orchestra of the Age of Enlightenment. She has worked with some of the world's foremost conductors including James Conlon, Mark Elder, Christoph Eschenbach, Claus Peter Flor, James Levine, Sir Charles Mackerras, Kurt Masur, Zubin Mehta, Seiji Ozawa, Donald Runnicles, Esa-Pekka Salonen, the late Robert Shaw, Leonard Slatkin, Patrick Summers, Jeffery Tate, Michael Tilson Thomas, and Edo de Waart

Ms. Goerke's recording of Vaughan Williams’ A Sea Symphony with Robert Spano and the Atlanta Symphony Orchestra won the 2003 Grammy Award for Best Classical Recording and Best Choral Performance. Her close association with Robert Shaw yielded several recordings included the Brahms' Liebeslieder Waltzes, Poulenc's Stabat Mater, Szymanowski's Stabat Mater, and the Grammy-nominated recording of Dvorak's Stabat Mater. Other recordings include the title role in Iphigenie en Tauride for Telarc and Britten’s War Requiem, which won the 1999 Grammy Award for Best Choral Performance.

This season, Ms. Goerke returned to the Royal Opera House Covent Garden in Elektra and the Metropolitan Opera as the Dyer's Wife in Die Frau ohne Schatten. She also appeared in concert performances of  Elektra with David Robertson and the Sydney Symphony and in a recital in Tucson as part of the Desert Song Festival. This summer she returns to the Glimmerglass Festival as Artist in Residence and for the title role in Ariadne auf Naxos, and next season's  many engagements include her first fully staged performances of Brünnhilde in Die Walküe at both the Canadian Opera Company and the Houston Grand Opera and the title role in Florencia en el Amazonas at the Washington National Opera. Other future plans include the full Ring Cycle at the Lyric Opera of Chicago, Metropolitan Opera, Canadian Opera Company and Houston Grand Opera.

Ms. Goerke was the recipient of the 2001 Richard Tucker Award.


April 2014

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Reviews

"Above all, Goerke brings a vocal bloom to the role of Elektra that few sopranos today could match. "

The New York Times

"Without any sign of strain, and never scooping or running out of steam at top or bottom, Goerke embodies Elektra as a woman on the verge of madness, with exhilarating intensity. The top notes are utterly thrilling – I can’t recall a performance as vocally secure and gripping as this, and that includes superb Elektras like Gwyneth Jones and Eva Marton."

Clive Paget, Limelight Magazine, February 2014

"[Christine Goerke] … proved nothing short of sensational. Imposing of figure and expansive of voice, … she has everything … this killer role requires - an Olympic Gold level of stamina, absolute security of pitch, a rich middle voice, diamantine top register, crisp clarity of diction and the intelligence to paint all the colours of the character’s mercurially psychotic personality."

Rupert Christiansen, The Telegraph, September 2013

"Goerke's voice rides Strauss's vast orchestra with phenomenal ease, and even though bitterness, contempt and loathing are etched unforgettably into her tone, she sings a role often shouted expressionistically with an extraordinary sense of line … Goerke makes it unmissable, whatever you think of the rest of it."

Tim Ashley, The Guardian, September 2013

"Christine Goerke brings to the title role a voice that can scythe through the weighty brassiness of the score without sounding shrill. She can bring tenderness too but it’s the manic gleam in her eye...and the staying power that thrill."

Evening Standard, September 2013

"Part of the thrill of watching US soprano Christine Goerke lies in the tanker-like size of her lustrous voice ... But that’s not where her greatness lies. Her real power is in the artistry and intensity with which she employs her natural gifts, and these make her portrayal of Elektra a scalp-prickling, knuckle-whitening, nerve-trembling triumph."

The Metro, September 2013

"Soprano Christine Goerke sang passionately of Siegfried’s murder, took the power-possessed ring and urged her horse up into the towering flames of the funeral pyre. The balance between Goerke and the DSSO was never lost. Her voice came across as full as the entire brass section, but as mellow and tuneful as the lower strings. As the orchestra brought the drama to a close, the modifications to the DECC stage shared the standing ovation with Goerke. Samuel Black, Duluth News Tribune, October 29, 2007"

"Christine Goerke's bold, expressive singing created an exuberant Alice, leader of the successful female schemers. She was the center of all of her scenes, blending and soaring as she shaped the role. Daniel Webster, Philadelphia Inquirer, May 8, 2007"

"Still, key figures such as conductor Corrado Rovaris and leading soprano Christine Goerke were performing Viennese operetta for the first time. Rovaris eschewed Straussian schmaltz for a straight-ahead Italian opera buffa style, and Goerke, a fledgling Wagnerite, couldn't help outsinging everybody with the innate amplitude of her voice. However, the role of Rosalinde (Mrs. Eisenstein) harnessed Goerke's great comic talents with marvelous precision. David Patrick Stearns, The Philadelphia Inquirer"

"The bearer of an exceptionally clear and brilliant sound that pierces the heart with its pathos, Goerke is a spectacular soprano Metro Weekly, Washington, DC"