Charlotte Margiono won international fame with her impressive Mozart repertoire. She was for a time one of the leading Mozart soloists, performing on all of the great stages of the world. She has also interpreted some of the more dramatic 19th-century roles with success, though without achieving a major breakthrough.
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Biography Charlotte Margiono
Charlotte Margiono won international fame with her impressive Mozart repertoire. She was for a time one of the leading Mozart soloists, performing on all of the great stages of the world. She has also interpreted some of the more dramatic 19th-century roles with success, though without achieving a major breakthrough. She worked intensively with the conductors Nikolaus Harnoncourt and John Eliot Gardiner. She teaches classical singing at the Utrecht School of the Arts. Margiono is known as a “diva without stardom pretensions”. She has described her career as “a very subtle, happy career”. (NRC Handelsblad, 2001)
Charlotte Margiono (Charlotte Marie-Louise Heijdemann; she adopted her father's Italian professional pseudonym) is born on March 24 to an artistic family: her father is a photographer and filmmaker, her mother a dancer and choreographer. “At an early age I was scampering across the stage. I was taught not only to be humble, but also to have a sort of pride. That came in handy later with auditions”. (Maas, 1994, p. 78) She assists her father with his scripts, and until she turns 21 dances in her mother's dance company. But she decides to become a flutist. Later, when she is a recorder and guitar student at the Arnhem Conservatory, a teacher discovers her singing talent and she starts developing her voice.
Margiono begins her vocal studies with Aafje Heynis.
Margiono sings her first role, the Flower Girl in Wagner's 'Parsifal', with De Nederlandse Opera.
She comes to the public's attention through her participation in a master class with Elisabeth Schwarzkopf that is broadcast on television.
She makes a name for herself abroad singing the role of Vitellia in Mozart's 'La Clemenza di Tito' at the music festival in Aix-en-Provence. Her reputation grows with performances of the Countess in Mozart's 'Le Nozze di Figaro', in Bern, Hamburg, Tokyo, Bordeaux and Dresden, among other places.
Margiono has her breakthrough in the Netherlands when she sings Fiordiligi in Mozart's 'Così fan Tutte', conducted by Nikolaus Harnoncourt, a conductor who draws the best from her. Margiono: “Nikolaus Harnoncourt musically raised me. I'll stay true to his beliefs to the day I die.” (NRC Handelsblad, 2001)
Margiono finds a doctor who can ease her allergy problems – these have inhibited her from accepting large operatic roles. Her health improves and her voice becomes more full, powerful and dramatic, though “youthfully dramatic”. Because of this, she develops as a Wagner interpreter, for example in the lyrical role of Eva in 'Die Meistersinger von Nürnberg', Siegelinde in 'Die Walküre', and Elisabeth in 'Tannhäuser'.
Margiono, who also plays the viola, begins the Margiono Quintet with four string players from the Concertgebouw Orchestra. In November, the quintet makes its debut in the Amsterdam Concertgebouw.
The Utrecht School of the Arts appoints Margiono for four years as lecturer of Communicating Music. Together with other teachers, she researches how young musicians can more directly attune their interpretations to the audience.
On February 3, Charlotte Margiono sings her last opera role: Marcellina in Mozarts opera 'Le nozze di Figaro'. She wants to concentrate more on 'Lieder' and concert performances. With pianist Frans Ehlhart she tours with songs on texts by the South African poet Ingrid Jonker.
Discography Charlotte Margiono
Alma Mahler-Werfel - The complete songs
|Type and year||CD, 1999|
|Label||Globe Records, GLO 5199|
|Type and year||CD, 2004|
|Label||Challenge Classics, SACC75138|
Four last songs (Richard Strauss)
|Type and year||CD, 2009|
|Label||Brilliant Classics, 9065|
|dirigent||Edo de Waart|
In the discography you will find all recordings that have been released listed chronologically. We restrict ourselves to the title, the type of audio, year of publication or recording, label, list of guest musicians, plus any comments on the issue.
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