Top 10 similar words or synonyms for rysanek

fassbaender    0.850289

gruberova    0.826627

dernesch    0.824315

baltsa    0.819476

damrau    0.813081

sintow    0.797374

gueden    0.796198

lhevinne    0.794862

kirchschlager    0.794329

ridderbusch    0.794022

Top 30 analogous words or synonyms for rysanek

Article Example
Leonie Rysanek Leopoldine "Leonie" Rysanek (14 November 19267 March 1998) was an Austrian dramatic soprano.
Leonie Rysanek Strauss sopranos often make excellent Puccini voices and accordingly Rysanek sang many "Tosca"s and a few "Turandot"s. She also sang a remarkable Leonore in Beethoven's "Fidelio".
Leonie Rysanek Her Metropolitan Opera debut came in 1959 as Lady Macbeth, replacing Maria Callas who had been "fired" from the production. She made her farewell to the Met as the Countess in "The Queen of Spades" in January 1996.
Leonie Rysanek Leonie Rysanek's voice was astride the spinto and dramatic soprano voices in certain roles. Although her voice fell in the upper end of the jugendlich-dramatisch and dramatischer sopran categories in the German repertoire, it was exclusively dramatic by Italian operatic standards. In the octave just above middle C, the voice could occasionally sound dry with wobbly intonation, but at the top of the staff it blossomed into one of the most glorious sounds of the twentieth century. Her endurance in the high tessitura of Strauss' operas is legendary.
Leonie Rysanek Such a powerful, well-projected, and expressive voice as Rysanek's allowed her to sing many Verdi leads, notably Desdemona in "Otello", Lady Macbeth in "Macbeth", Amelia in "Un ballo in maschera", Elisabetta in "Don Carlo", Leonora in "La forza del destino", and Aida. She also sang Abigaille in the Metropolitan Opera's first staging of "Nabucco" in 1960. She found this last role uncongenial, and the strain of performing it numerous times during that season brought on something of a vocal crisis, from which she successfully recovered. The overall nature of Rysanek's voice is particularly evident in her 1959 recording of Lady Macbeth, when she was in her prime at age 33, where her somewhat hollow lower register is combined with soaring, dramatic power in her upper range, with strong skills at negotiating Lady Macbeth's upper range coloratura.