©Paul Foster Williams

艾瑪·貝爾

女高音

    前凱瑟琳費利爾獎得主女高音艾瑪·貝爾，在最近的數個樂季確立個人的表演曲目，從歌劇生涯一開始演出莫札特筆下的女主角，進而挑戰華格納與貝多芬作品中關鍵的年輕戲劇女高音。

2016/17樂季，艾瑪·貝爾的演出包括首度於巴伐利亞國立歌劇院由基里爾·佩特連科指揮的《紐倫堡的名歌手》艾娃一角、於漢堡州立歌劇院由長野健指揮的《聖衣會修女對話錄》新院長、於達拉斯歌劇院《碧廬冤孽》女家教。音樂會部分，貝爾演出由馬克·艾爾德指揮、哈雷管弦樂團演奏的《萊茵黃金》佛萊亞，並於科隆歌劇院以《費德里奧》雷歐諾雷一角為本季畫下句點，雷歐諾雷也快速成為她的招牌角色之一。

    貝爾常受邀至科芬園皇家歌劇院演出，近期於此演出的角色包括艾娃、新院長，以及備受好評的《唐懷瑟》伊莉莎白一角，《泰晤士報》評價為「一直以來，她的音色絕無僅有，但如今貝爾展現更多能力：完美抑揚、溫柔婉約、變化細緻、演出動人」，《劇場雜誌》也描述「但是艾瑪·貝爾展現了無可否認的巨星誕生時刻，她在伊莉莎白一角透露的深度和力量，指出她正朝全方位戲劇女高音的方向邁進。」

    貝爾早期演出十分多元廣泛，曾於斯卡拉大劇院演出《浪子歷程》的安妮·楚拉夫、《依多美尼歐》的伊雷莎、《唐·喬凡尼》的艾薇拉；於西班牙皇家歌劇院演出女家教與伊雷莎；於大都會歌劇院演出《費加洛的婚禮》的阿瑪維瓦伯爵夫人與艾薇拉；於葛蘭邦歌劇節演出《碧廬冤孽》的潔索小姐。最近數個樂季，貝爾於英國國家歌劇院演出由愛德華·加德納指揮的雷歐諾雷一角，亦於阿姆斯特丹音樂廳演出音樂會版的相同角色；於科隆歌劇院演出史特勞斯的阿拉貝拉；於蘇黎世歌劇院演出由賽巴斯提安·懷格勒指揮的伊娃；於柏林國立歌劇院演出由艾弗·博爾頓指揮的女家教；於威爾斯國家歌劇院與漢堡州立歌劇院演出《羅恩格林》的艾爾莎。

    艾瑪·貝爾是渲染力極佳的音樂會表演者，常與指揮家安東尼歐·帕帕諾爵士合作演出，例如由倫敦愛樂演奏的史特勞斯《最後四首歌》、由皇家歌劇院管弦樂團演奏的布瑞頓《戰爭安魂曲》，以及由聖西西里亞國家音樂院管弦樂團演奏的羅西尼《聖母悼歌》與貝多芬《莊嚴彌撒》。貝爾進一步的曲目包括貝多芬第九號交響曲與華格納《威森東克之歌》等核心作品，另外她合作的指揮家與樂團還包括長野健與瑞典哥德堡交響樂團、弗拉基米爾·尤羅夫斯基與倫敦愛樂，以及迦南德里亞·諾塞達與英國廣播公司交響樂團等等。

    A former winner of the prestigious Kathleen Ferrier Award, soprano Emma Bell has in recent seasons developed her repertoire, moving from the Mozart heroines with which she established her career to the key jugendlich-dramatisch roles of Wagner and Beethoven.

    Emma Bell’s 2016/17 season includes her debut at Munich’s Bayerische Staatsoper as Eva (Die Meistersinger von Nürnberg) under Kirill Petrenko, Madame Lidoine (Dialogues des Carmélites) at Staatsoper Hamburg under Kent Nagano, and the Governess (The Turn of the Screw) for Dallas Opera.  In concert, Bell joins Sir Mark Elder and the Hallé Orchestra as Freia (Das Rheingold) and she closes the season at Oper Köln as Leonore (Fidelio) which is fast becoming one of her signature roles.

    A regular presence on the stage of the Royal Opera House, Covent Garden, Bell’s most recent appearances there have included Eva, Madame Lidoine and her highly-acclaimed Elisabeth in Tannhäuser of which The Times wrote “her timbre has always been unique but now Bell shows so much more: perfect intonation, tenderness, subtle variation, compelling acting” with The Stage adding, “but it’s Emma Bell who offers what one must acknowledge as a star-is-born moment.  As Elisabeth, she sings with a depth and power that point her in the direction of a full-scale dramatic soprano”.

    A wide and varied early career has taken Bell to Teatro alla Scala as Anne Trulove (The Rake’s Progress), Elettra (Idomeneo) and Donna Elvira (Don Giovanni); to Teatro Real Madrid as the Governess and Elettra; to the Metropolitan Opera as Contessa Almaviva (Le nozze di Figaro) and Donna Elvira; and to Glyndebourne Festival Opera as Miss Jessel (The Turn of the Screw). In more recent seasons, Emma Bell has appeared as Leonore at English National Opera under Edward Gardner and in concert at Amsterdam’s Concertgebouw, as Strauss’ Arabella at Oper Köln, as Eva for Opernhaus Zürich under Sebastian Weigle, as the Governess for Staatsoper Berlin under Ivor Bolton, and as Elsa (Lohengrin) for both Welsh National Opera and Staatsoper Hamburg.

    An engaging concert performer, Emma Bell has enjoyed regular collaboration with Sir Antonio Pappano on works such as Strauss’ Vier letzte Lieder with the London Philharmonic Orchestra, Britten’s War Requiem with the Orchestra of the Royal Opera House, and both Rossini’s Stabat Mater and Beethoven’s Missa Solemnis with the Accademia Nazionale di Santa Cecilia. In a repertoire further including the core works of Beethoven’s Symphony No.9 and Wagner’s Wesendonck Lieder, Bell has appeared with the Gothenburg Symphony Orchestra and Kent Nagano, the London Philharmonic Orchestra and Vladimir Jurowski and the BBC Philharmonic Orchestra under Gianandrea Noseda to name but a few.