RAIMU MENGKONO: Kathleen Battle

Click on the photo to watch the finale of Mahler's Symphony #2 "Resurrection" with
soloists Florence Quivar and Kathleen Battle under the direction of Seiji Ozawa.

O glaube
Du wardst nicht umsonst geboren!
Hast nicht umsonst gelebt, gelitten!
Was entstanden ist
Das muß vergehen!
Was vergangen, auferstehen!
Hör' auf zu beben!
Bereite dich zu leben!
O Schmerz! Du Alldurchdringer!
Dir bin ich entrungen!
O Tod! Du Allbezwinger!
Nun bist du bezwungen!
Mit Flügeln, die ich mir errungen,
In heißem Liebesstreben,
Werd'ich entschweben
Zum Licht, zu dem kein Aug'gedrungen!
Mit Flügeln, die ich mir errungen
Werde ich entschweben.
Sterben werd'ich, um zu leben!
Aufersteh'n, ja aufersteh'n
wirst du, mein Herz, in einem Nu!
Was du geschlagen
zu Gott wird es dich tragen!

O believe,
You were not born for nothing!
Have not for nothing, lived, suffered!
What was created
Must perish,
What perished, rise again!
Cease from trembling!
Prepare yourself to live!
O Pain, You piercer of all things,
From you, I have been wrested!
O Death, You masterer of all things,
Now, are you conquered!
With wings which I have won for myself,
In love's fierce striving,
I shall soar upwards
To the light which no eye has penetrated!
Its wing that I won is expanded,
and I fly up.
Die shall I in order to live.
Rise again, yes, rise again,
Will you, my heart, in an instant!
That for which you suffered,
To God will it lead you!

Watch alternate clips, featuring Janet Baker and Sheila Armstrong with conductor Leonard Bernstein as well as Karin Ott and Brigitte Fassbaender with conductor Giuseppe Sinopoli, after the jump.

""Pace Una Volta" Zenobia (Predieri)

Kathleen Battle was born August 13, 1948, in Portsmouth, Ohio. She is the youngest of seven children. Her father was a steelworker, and her mother was an active participant in the gospel music of the family's African Methodist Episcopal church. Battle attended Portsmouth High School where her music teacher and mentor was Charles P. (Phil) Varney. In a Time Magazine interview with music critic Michael Walsh, he recalled first hearing the eight-year old Battle sing, describing her as "this tiny little thing singing so beautifully." "I went to her later", Varney recalled, "and told her God had blessed her, and she must always sing." In that same interview, Walsh described Battle as "the best lyric coloratura in the world". Battle was a good student and was awarded a scholarship to the University of

"Una voce poco fa"
Il Barbiere di Siviglia (Rossini)

Cincinnati College-Conservatory of Music where she studied voice with Franklin Bens and also worked with Italo Tajo. She majored in music education rather than performance in undergraduate school and went on to get a master's degree in Music Education as well. In 1971 Battle embarked on a teaching career in Cincinnati, taking a position at a Cincinnati inner-city public school. While teaching 5th and 6th grade music, she continued to study voice privately. In 1972, her second year as a teacher, a friend and fellow church choir member phoned her and informed her that the conductor Thomas Schippers was holding auditions in Cincinnati. At her audition Schippers engaged her to sing as the soprano soloist in Brahms' Ein Deutsches Requiem at the 1972 Festival dei Due Mondi in Spoleto, Italy. Her performance there on July 9, 1972 marked the beginning of her professional career.

"Giunse alfin il momento...
Deh vienni non tardar"
Le Nozze di Figaro (Mozart)

During the next several years, Battle would go on to sing in several more orchestral concerts in New York, Los Angeles, and Cleveland. In 1973 she was awarded a grant from the Martha Baird Rockefeller Fund for Music to support her career. William Mullen, managing director of the Santa Fe Concert Association was on the panel of judges who made the award. In 2004 he recalled: "We would meet monthly, listen to up-and-coming concert artists and give money to deserving artists for further study. A very young Kathleen Battle sang for us. The other judges thought her voice was too small, but I thought she had an incredible ability to communicate through music. I talked the other judges into giving her a grant." Thomas Schippers introduced Kathleen Battle to his fellow conductor James Levine who selected Battle to sing the Mater Glorioso in Mahler's Symphony No. 8 at the Cincinnati Symphony's May Festival in 1974. This was the beginning of a friendship and close professional

"Della crudele Isotta"
L'Elisir d'Amore (Donizetti)

association between Battle and Levine that would last for years and resulted in several recordings and performances in recital and concert performances, including engagements in Salzburg, Ravinia, and Carnegie Hall. In October 1975, she sang the role of title role in Scott Joplin's Treemonisha on Broadway in New York City at the Uris Theatre with conductor Gunther Schuller. Battle made her professional operatic debut in 1975 as Rosina in Rossini's Il barbiere di Siviglia with the Michigan Opera Theatre. She made her New York City Opera debut the following year as Susanna in Mozart's Le nozze di Figaro, and in 1977 made both her San Francisco Opera debut as Oscar in Verdi's Un ballo in maschera and her Metropolitan Opera debut as the Shepherd in Wagner's Tannhäuser. The latter performance was conducted by James Levine. Battle made her Glyndebourne Festival debut (and UK debut) singing Nerina in Haydn's La fedeltà premiata in 1979. Throughout the 1980s, Battle performed in recitals, choral works and opera. Her work continued to take her to performance venues around the

(part 1)
(part 2)
"Großmächtige Prinzessin"
Ariadne auf Naxos (Strauss)

world. In 1980 she made her Zürich Opera debut as Adina in Donizetti's L'elisir d'amore. In 1982, she made her Salzburg Festival debut in Così fan tutte, followed three days later by an appearance in one of the Festival's Mozart Matinee concerts. In 1985, she was the soprano soloist in Mozart's Coronation Mass at St. Peter's Basilica in the Vatican, conducted by Herbert von Karajan. That same year she made her Royal Opera debut as Zerbinetta in Ariadne auf Naxos. In 1987 Karajan invited Battle to sing Johann Strauss' "Frühlingsstimmen" for the Vienna New Year's Day concert, the only time Karajan conducted the internationally televised annual event, and the first time a singer had been engaged for such a contribution. In opera she sang a variety of roles including Oscar at Chicago Lyric Opera and a highly acclaimed Semele at Carnegie Hall. She returned to Salzburg various times to sing Susanna,

"Frühlingsstimmen" (J. Strauss)

Zerlina, and Despina, Mozart roles which she also sang at several other opera houses during that period. Battle became an established artist at the Metropolitan Opera in the 1980s, singing over 150 performances with the company in 13 different operas, including the Met's first ever production of Handel's Giulio Cesare. Other opera houses where she performed included San Francisco Opera, English National Opera, Grand Théâtre de Genève, Vienna State Opera, and Deutsche Oper Berlin.During this period, she received three Grammy awards for her recordings: Kathleen Battle Sings Mozart (1986), Salzburg Recital (1987), and Ariadne auf Naxos (1987). She also received the Laurence Olivier Award (1985) for

"Da tempeste"
Giulio Cesare (Händel)

her stage performance as Zerbinetta in Ariadne auf Naxos at the Royal Opera House, London. Critical response to Battle's performances had rarely varied throughout the years following her debut. In 1985, Time Magazine, pronounced her "the best lyric coloratura soprano in the world." The 1990s saw projects ranging from a concert program and a CD devoted to spirituals to a recording of baroque music, from performances of complete operas to recitals and recordings with jazz musicians. In 1990, Battle and Jessye Norman performed a program of spirituals at Carnegie Hall with James Levine conducting. In the same year, she returned to Covent Garden to sing Norina in Don Pasquale and performed in a series of solo recitals in California, as well as appearing at the Hollywood Bowl with the Los Angeles Philharmonic". Battle's Carnegie Hall solo recital debut came on April 27, 1991 as part of the hall's Centennial Festival. Accompanied by pianist Margo Garrett, she sang arias and songs by Handel, Mozart, Liszt, Rachmaninoff, Gershwin and Richard Strauss as well as several traditional spirituals. The contralto, Marian Anderson, who had

"Pie Jesu" Requiem (Fauré)

ended her farewell tour with a recital at Carnegie Hall in April 1965, was in the audience that night as Battle dedicated Rachmaninoff's "In the Silence of the Secret Night" to her. The recording of the recital earned Battle her fourth Grammy award. Another first came in January 1992 when Battle premiered André Previn's song cycle Honey and Rue with lyrics by Nobel Laureate in Literature Toni Morrison. The work was commissioned by Carnegie Hall and composed specifically for Battle. In December 1993 she was joined by Martin Katz and Kenny Barron on piano and Grady Tate (drums), Grover Washington, Jr. (saxophone) and David Williams (bass) at Carnegie Hall for a concert featuring the music of Handel, Haydn, and Duke Ellington as well as Christmas spirituals. During this time she also collaborated with other musicians including trumpeter Wynton Marsalis in a recording of baroque arias entitled, Baroque Duet; violinist Itzhak Perlman on an album of Bach arias; and flautist Jean-Pierre Rampal for a recital at Alice Tully Hall

"Der Hirt auf dem Felsen" (Schubert)

(also released on CD). In May 1993 Battle added pop music to her repertoire with the release of Janet Jackson's album Janet lending her vocals to the song, "This Time." An album of Japanese melodies, First Love, followed in November 1993. On the opera stage, she performed in a variety of Mozart, Rossini, and Donizetti operas, and made her role debut as Marie in Donizetti's La fille du régiment at San Francisco Opera (1993). Between 1990 and 1993, she performed in several productions at the Metropolitan Opera: Rosina in Il barbiere di Siviglia (1990), Pamina in Die Zauberflöte (1991 and 1993), and Adina (with Pavarotti as Nemorino) in L'elisir d'amore (1991, 1992, and the Met's 1993 Japan Tour). She also won her fifth Grammy Award in 1993, singing the title role of

"Oh! Quand je dors" (Liszt)

Semele on the Deutsche Grammophon recording conducted by John Nelson. Although Battle gave several critically praised performances at the Metropolitan Opera during the early 1990s, her relationship with the company's management showed increasing signs of strain during those years. As Battle's status grew, so did her reputation for being difficult and demanding. The soprano won an Emmy for "Outstanding Individual Achievement in Classical Music/Dance Programming" for the Metropolitan Opera Silver Anniversary Gala, 1992. In October 1992 "when Miss Battle opened the Boston Symphony Orchestra season, she reportedly banned an assistant conductor and other musicians from her rehearsals, changed hotels several times, and left behind what a report in The Boston Globe called 'a froth of ill will.'" In February 1994, during rehearsals for an upcoming production of La fille du régiment, Battle was said to have subjected her fellow performers to "withering criticism" and made "almost paranoid demands that they not look at her." General Manager Joseph

"Eternal Source of Light Divine"
Ode for the Birthday of Queen Anne
(Händel)

Volpe responded by dismissing Battle from the production for "unprofessional actions" during rehearsals. Volpe called Battle's conduct "profoundly detrimental to the artistic collaboration among all the cast members" and indicated that he had "canceled all offers that have been made for the future." Battle was replaced in La fille du régiment by Harolyn Blackwell. At the time of her termination from the Met, Michael Walsh of Time magazine reported that "the cast of The Daughter of the Regiment applauded when it was told during rehearsal that Battle had been fired." In a statement released by her management company, Columbia Artists, Battle said: "I was not told by anyone at the Met about any unprofessional actions. To my knowledge, we were working out all of the artistic problems in the rehearsals, and I don't know the reason behind this unexpected dismissal. All I can say is I am saddened by this decision." Since then, Battle has not performed in opera. For the remainder of the decade, she worked extensively in the recording studio and on the concert stage. She was a featured guest artist on the May 1994 album Tenderness, singing a duet, "My

"Et incarnatus est"
Great Mass in C Minor (Mozart)

Favorite Things," with Grammy-winning jazz vocalist Al Jarreau. In 1995 she presented a program of opera arias and popular songs at Lincoln Center with baritone Thomas Hampson, conductor John Nelson, and the Orchestra of St. Lukes. She also released two albums in 1995: So Many Stars a collection of folk songs, lullabies, and spirituals (with accompanying live concert performances) with Christian McBride and Grover Washington, Jr. (with whom she had performed in Carnegie Hall the previous year; and Angels' Glory, a Christmas album with guitarist Christopher Parkening, a frequent collaborator. In 1997 came the release of the albums Mozart Opera Arias and Grace, a collection of sacred songs. In October

"He Got the Whole World in His Hand"
(traditional spiritual)

"Over My Head, I Hear Music in the Air"
(traditional spiritual)

1998, she joined jazz pianist Herbie Hancock on his album Gershwin's World in the Ravel's "Prelude In C# Minor." December 1999 saw the release of Fantasia 2000 where she is the featured soprano in Elgar's "Pomp and Circumstance" performed by the Chicago Symphony Orchestra and conducted by long-time collaborator James Levine. In solo recitals she performed in cities including Los Angeles, New York, Cincinnati, and Chicago in programs that featured art songs from a variety of eras and regions, opera arias, and spirituals. Battle has continued to pursue a number of diverse projects including the works of composers who are not associated with traditional classical music, performing the works of Vangelis, Stevie Wonder, and George Gershwin. In August 2000, she performed an all-Schubert program at Ravinia. In

"Ihr habt nun Traurigkeit"
Requiem (Brahms)

June 2001, she and frequent collaborator soprano Jessye Norman, performed Vangelis' Mythodea at the Temple of Olympian Zeus in Athens, Greece. In July 2003 she performed at the Ravinia Chicago Symphony Orchestra Gala with Bobby McFerrin and Denyce Graves. The director, Zhang Yimou, specifically requested Ms. Battle to sing the theme "Lovers" for his 2004 film House of Flying Daggers. In 2006 she and James Ingram sang the song "They Won't Go When I Go" in a Tribute to Stevie Wonder and she began including Wonder's music in her recitals. In July 2007 she debuted at the Aspen Music Festival performing an all-Gershwin program as part of a season benefit. In October 2007, at a fundraiser for the Keep a Child Alive Charity, Kathleen Battle and Alicia Keys performed the song "Miss Sarajevo" written by U2's Bono. On April 16, 2008, she sang an arrangement of "The Lord's Prayer" for Pope Benedict XVI on the occasion of his

"Lovers" House of Flying Daggers
(composed by Shigeru Umebayashi)

Papal State visit to the White House. This marks the second time she sang for a pope. (She first sang for Pope John Paul II in 1985 as soprano soloist in Mozart's Coronation Mass.) On November 23, 2008, she performed "Superwoman" on the American Music Awards with Alicia Keys and Queen Latifah. On February 8, 2010, she performed at Carnegie Hall in a piano-accompanied recital of works by Schubert, Liszt, and Rachmaninoff. Battle is the recipient of six honorary doctorates from American universities, including the University of Cincinnati, Westminster Choir College, Ohio University, Xavier University, Amherst College, and Seton Hall University. She also received the NAACP Image Award - Hall of Fame Award in 1999. [Source]