Bio 2012 english

A rare and versatile performer, Liesl Odenweller consistently delights audiences and critics
throughout Europe in her unique and exciting interpretations of a wide variety of repertoire. She is
the recipient of numerous awards and grants, including the Liederkranz Prize in the US, the
International Bellini Prize, and the Italian “Il Virtuoso” Prize. She has received much acclaim for
her performances as Violetta in La Traviata in several European and American theaters and has
also enjoyed great success as Queen of the Night, Cleopatra, Gilda, Lucia, Konstanze, and
Recent roles include her critically acclaimed début as Cleopatra, Pergolesi’s Serpina in Venice,
Queen of the Night and First Lady Die Zauberflöte, First Knappe and Blumenmädchen
Parsifal, First Maid Daphne (the latter two just released on CD and DVD), Bastienne Bastien und
(broadcast live on Italian Radio),the Confidante in Elektra, and Cunegonde Candide
(cover) for the Teatro San Carlo in Naples, Teatro Piccolo in Milano, Teatro La Fenice in Venice,
and Vicenza’s Teatro Olimpico.
Major concert engagements have included gala events in Venice and Rome, including her recent
recital at the Teatro La Fenice, the opening of the Biennale di Arte Contemporanea 2007, as well as
in Milan and New York: Mozart Mass in C Minor, Poulenc Gloria, Strauss Vier Letzte Lieder,
Vaughan Williams Dona nobis pacem, Pergolesi Stabat Mater, Mozart Requiem, Szymanovsky
Stabat Mater, Brahms Requiem, and Fauré Requiem at Carnegie Hall, the Auditorium di Milano,
Teatro La Fenice, Festival de La Ciotat, Eglise de la Madeleine, Palazzo Ducale, and the
Ratzeburger Dom, collaborating with such orchestras as Riccardo Chailly’s Orchestra Verdi di
Milano, the New England Symphonic Ensemble, and the Neue Bachorchestra.
A devoted recitalist, Liesl Odenweller has been particularly admired for her interpretations of the repertoire of Vivaldi, Rossini, Debussy, Strauss, Mozart, and Tosti. She made her Lincoln Center début at Avery Fisher Hall in 1997 and her London recital début in 2003. She has collaborated with conductors including Sir Jeffrey Tate, Andrea Marcon, Gunther Neuhold, Romano Gandolfi, Raymond Hughes, Stefan Anton Reck, Gabor Ötvös, Marco Boemi, Bruno Rigacci, and Giovanni Reggioli, and stage directors Robert Wilson, Jonathan Miller, Paul Curran, Klaus Michael Grüber, Lorenzo Mariani, Renaud Doucet, Serena Sinigaglia, Denis Kriev, Thaddeus Strassberger, Gianfranco De Bosio, e Giuseppe Frigeni. She is a founding member of Venice’s most exciting new Baroque ensemble, Venetia Antiqua Ensemble, who are performing for the Gala Closing of the America’s Cup World Series in Venice.
Liesl Odenweller’s recording début CD was “This Son So Young,” issued on the Tower Hill label, and she is currently recording “The Golden Age of Venice” with Venetia Antiqua Ensemble. Liesl Odenweller’s forthcoming engagements include Esther with VAE, return engagements with
Santa Fe Pro Musica and the Festival de la Ciotat in Provençe, Cleopatra Giulio Cesare, Gilda
Rigoletto, Konstanze Die Entführung aus dem Serail, Queen of the Night Die Zauberflöte in
Milan, and symphonic concerts and recitals in Santa Fe, London, Venice, Verona, Rome,
Connecticut, Pennsylvania, and New York, including a US tour with Venetia Antiqua Ensemble.
Liesl Odenweller, Soprano
Operatic Repertoire (Complete Roles)
Ruoli di Opere Liriche
I Capuleti e i Montecchi (in progress)
A Midsummer Night’s Dream
Lucia di Lammermoor
Don Pasquale
L’Elisir d’Amore
Roméo et Juliette
Alcina (in progress)
Giulio Cesare
Die Entführung aus dem Serail
Le Nozze di Figaro
* K ö n i g i n d e r Die Zauberflöte
Die Zauberflöte
Die Zauberflöte
Les Contes d’Hoffmann
La Serva Padrona
La Bohème
Sweeney Todd
Der Rosenkavalier (in progress)
La Traviata
Falstaff (in progress)
* -- Roles already débuted* -- Ruoli già debuttati Liesl Odenweller, Soprano
Symphonic and Oratorio Repertoire
Repertorio Sinfonico e di Oratorio
IX Sinfonia
Les Leçons de Ténèbres
Israel in Egypt

IV Symphony
Psalm 42

Coronation Mass
Exsultate, Jubilate
Mass in C Minor
Solemn Vespers

Carmina Burana
Stabat Mater
Salve Regina

The Blessed Virgin’s

Miriam’s Song of Triumph
Vier Letzte Lieder
Stabat Mater
Dona nobis pacem
Motet Nulla in Mundo Pax
Motet In furore iustissime irae
Various solo cantatas
All works already débuted. Tutti già debuttati.
Liesl Odenweller, Soprano
“.the heir apparent to Sutherland and Anderson: this is one of the best techniques I have ever
heard.” –
Christopher Raeburn
“Ben interpretati anche tutti i ruoli di fianco. Citeremo almeno . la confidente di Liesl
Odenweller (The secondary roles were also interpreted well. We must at least mention the
Confidante of Liesl Odenweller.)” – Asterisco Informazioni, March 2008

“…very attractive and sexy as the maid was Liesl Odenweller.” – Il Giornale di Vicenza, 11 June

“.particular praise goes to the soprano, Liesl Odenweller, who has a velvety and intense voice,
rich with fascinating colors.” –
Operaclick, 23 maggio 2005
“…among the outstanding soloists the soprano Liesl Odenweller deserves special attention.” –
Corrierebit, 20 maggio 2005
“Liesl Odenweller’s…tone is rich and expressive, and her upper range is broad and notes
effortlessly reached…. Miss Odenweller [also] has a very good comic flair.” --
Bedford Gazette,
29 October 2004

“The acoustics…enabled the singer to showcase her virtuosic abilities. The sweet, controlled,
animated and fetching soprano voice effortlessly filled the hall with appropriate tone, volume, and
nuance. Even those unfamiliar with the languages could easily infer what was being sung.”

Recorder Newspapers, 17 November 2004
“Liesl Odenweller’s voice is perhaps a bit more lyric than one is used to hearing as Bastienne, but
the color is extremely beautiful, and she has a refreshing inclination toward unabashed
Il Giornale di Vicenza, 3 June 2004
“Odenweller portrayed every pensive demand of the text through her excellent German and the
wide variety of colors in her voice, fascinating even the most exacting musical critic. She was
showered with applause at the conclusion.”
Kirchenzeitung, 28 November 2002
“The American soprano Liesl Odenweller transmitted a blissful message through the color of her
light, sweet soprano voice in the Solace Aria.” --
Lübecker Nachrichten, 26 November 2002
“.a technically impeccable performance of the highest quality and rare intensity, in a work that is
notoriously difficult.” –
l’opera, December, 2002
“The two soloists for the Brahms Requiem are simply exceptional. No vocal overindulgence:
merely great artists.” –
Interview with Conductor Maestro Romano Gandolfi, Il Giorno,
November, 2002
“.seldom have we had the honor of having soloists of the caliber of the soprano Liesl Odenweller,
who despite a light cold sang with elegance and great beauty of vocal line.”
– Ratzeburg Gazette,
June, 2002
“.the twosome kept their hearers spellbound with superb presentations. Odenweller displayed
exceptional virtuosity and tremendous grasp of the singer’s art, engaging her audience. Her
superb renditions of songs.were uniformly crafted, expertly delivered – and very sweetly sung.”
Bedford Gazette,
March, 2002
“Liesl Odenweller has a lovely voice with a clear, bright top.”Fanfare, May/June, 2001
“Among the other notable moments: the episode of Pinkerton with his American wife, an extremely
beautiful and very elegant Liesl Odenweller with a classic Wilson costume.”
February, 2001
“. beautifully voiced singers combined seamlessly, with Liesl Odenweller a particularly
memorable Violetta .” --
Evening Advertiser, 25 July 2000
“The public’s overwhelming consensus was easily won by the young American soprano Liesl
Odenweller, who possesses an impressively effortless and secure technique. This was evident
particularly in her interpretation of Gilda in Rigoletto, a role that is perfect for her vocal abilities,
which allow her to soar in impressive pyrotechnics with great agility and ease even in the highest
-- Il Gazzettino di Venezia, February 1999
“Soprano Liesl Odenweller as Pamina brought a silvery vocal sheen to her performance. Her
controlled legato and ability to sustain long phrases were impressive.”
Asheville Citizen-Times,
July, 1995


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