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Sheri Greenawald

December 01, 2023

Sheri Greenawald (born November 12, 1947) is an American soprano and music educator who had an active performance career in concerts and operas during the second half of the 20th century and early 21st century.[1] She has portrayed principal roles in the world premieres of several operas, including works by composers Leonard Bernstein, Daniel Catán, Carlisle Floyd, Thomas Pasatieri, and Stephen Paulus. She has performed leading roles with opera companies in the US and abroad, including the Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, Bavarian State Opera, La Fenice, and Paris Opera.[2] She was particularly active as a performer with the Santa Fe Opera and San Francisco Opera. A former member of the voice faculty at the Boston Conservatory, she served as director of the San Francisco Opera Center from 2002 through 2020.

Music critic Michael Walsh wrote that, " Only partly in jest, Greenawald has been described as a ‘heroic soubrette’. Her lyric soprano voice is aptly suited to such Mozartian roles as Susanna, Zerlina, and Despina, Norina (Don Pasquale) and Sophie (Werther), but it also has considerable power and range, suitable for the heavier parts of Ellen Orford, Mimì and Violetta."[1]

Early life and education edit

Born Sheri Kay Greenawald in Iowa City, Iowa on November 12, 1947,[1] Greenawald grew up in Monticello, Iowa.[2] In 1965 she entered the University of Northern Iowa (then known as State College of Iowa) where she was a voice student of Charles Matheson and earned a bachelor's degree in music.[2] While at UNI a visiting music teacher from New York, Virginia Hutchins, convinced Greenawald to come to New York to sing for Maria DeVarady with whom she began voice lessons.[3] She worked briefly in advertising in New York City, before entering the Professional Studies program at the Juilliard School where she was a pupil of voice teachers Hans Heinz and Daniel Ferro.[2][4] She later studied with Audrey Langford in London.[1]

Performance career edit

Greenawald made her professional opera début in 1974 as Theresa in the New York première of Francis Poulenc’s Les mamelles de Tirésias which was staged by the Manhattan Theater Club (MTC).[1][5] She performed with the MTC again later that year as Célie in the New York premiere of Thomas Pasatieri's Signor Deluso.[6] Two years later she created the role of Marian Harrington in the world premiere of Pasatieri's Washington Square (1976) at the Michigan Opera Theatre; later taking on the lead role of Catherine in that opera for its staging by the New York Lyric Opera Company in 1977.[7]

Greenawald performed the title role in the original production of Carlisle Floyd's Bilby's Doll at the Houston Grand Opera in 1976; a production which was double cast with Catherine Malfitano (who performed the role in the premiere) as the other singer alternating in the part during the opera's initial run.[8] She made her debut at the Santa Fe Opera (SFO) in 1976 as Susanna in Wolfgang Amadeus Mozart's The Marriage of Figaro.[9] She returned to the SFO multiple times during her career, performing the roles of Nannetta in Verdi's Falstaff (1977),[10] Countess Almaviva in The Marriage of Figaro (1982),[11] Pamina in The Magic Flute (1984), the Governess in Benjamin Britten's The Turn of the Screw (1983),[12] Euridice in Jacques Offenbach's Orpheus in the Underworld (1983),[13] Violetta in La traviata (1989),[14] The Countess in Richard Strauss's Capriccio (1993),[15] Christine Storch in Richard Strauss's Intermezzo (1994),[16] and the title role in Emmerich Kálmán's Countess Maritza (1999).[17]

Greenawald performed several roles with The Municipal Opera Association of St. Louis, including Mimi in Giacomo Puccini's La bohème with Vinson Cole as her Rodolfo in 1978,[18] and Violetta in Verdi's La traviata in 1979.[19] In 1978 she made her debut at the San Francisco Opera as Marzelline in Beethoven's Fidelio.[20] She appeared with that company several more times, portraying the roles of Lauretta in Puccini's Gianni Schicchi (1979), Mozart's Pamina (1980), the title role in Jules Massenet's Cendrillon (1982),[21] Bella in the United States premiere of Michael Tippett's The Midsummer Marriage (1983),[22] Cordelia in Aribert Reimann's Lear (1985),[23] and the title role in Massenet's Manon (1986).[24]

Greenawald made her international debut at the Dutch National Opera as Susanna in Wolfgang Amadeus Mozart's The Marriage of Figaro in 1980.[1] In 1981 she performed the role of Gilda in Giuseppe Verdi's Rigoletto at the Opera Theatre of Saint Louis.[25] That same year she performed Puccini's Mimi with the Washington National Opera under conductor Gian Carlo Menotti with President Ronald Reagan and First Lady Nancy Regan attending the opening night performance.[26] Later that season she performed again with the Washington National Opera] s Anna Truelove in Stravinsky's The Rake's Progress.[27] In 1983 she created the role of Dede in the world premiere of Leonard Bernstein's A Quiet Place at the Houston Grand Opera,[28] and portrayed Hanna Glawari in Franz Lehár's The Merry Widow for her debut with the Canadian Opera Company.[29] In 1987 she performed the role of Violetta in Verdi's La traviata with Opera North in Leeds, England.[30] She returned to the Canadian Opera Company in 1990 as Magda in Puccini's La Rondine.

At the Seattle Opera Greenawald appeared as Natasha in Prokofiev's War and Peace (1990)[1] and Melisande in Claude Debussy's Pelléas et Mélisande (1993).[31] In 1991 she made her debut at the Lyric Opera of Chicago as Pauline in Prokofiev's The Gambler.[32] In 1992 she performed the role of Donna Anna in Mozart's Don Giovanni with the Chicago Symphony Orchestra and conductor Daniel Barenboim.[33] She performed the role of Birdie in Marc Blitzstein's Regina with the Scottish Opera, and appears on that company's 1993 recording of the opera made for Decca Records.[34] In 1994 she returned to the Houston Grand Opera as Anna Maurrant in Kurt Weill's Street Scene.[35] She appeared at the Welsh National Opera as The Marschallin in Der Rosenkavalier (1994)[36] and Countess Almaviva in The Marriage of Figaro (1995), the latter with conductor Carlo Rizzi.[37]

In 1995 Greenawald returned to the Opera Theatre of Saint Louis to create the role of Helen in the world premiere of Stephen Paulus's The Woman at Otowi Crossing.[38] That same year she portrayed Marie Antoinette in John Corigliano's The Ghosts of Versailles at the Lyric Opera of Chicago,[39] and made her debut at the Metropolitan Opera as Jenny in Weill's Rise and Fall of the City of Mahagonny.[40] In 1996 she created the title role in the world premiere of Daniel Catán's Florencia en el Amazonas in Houston; a work she also performed with the Los Angeles Opera and Seattle Opera. That same year she portrayed Abigail in Jack Beeson's Lizzie Borden at the Glimmerglass Opera.[41] In 1999 she returned to the Houston Grand Opera as Countess Charlotte Malcolm in Stephen Sondheim's A Little Night Music.[42]

In 2000 Greenawald sang Kurt Weil's “Seven Deadly Sins” with the Los Angeles Philharmonic.[43] In 2002 she portrayed the Beggar Woman in the Lyric Opera of Chicago's production of Stephen Sondheim's Sweeney Todd with Bryn Terfel in the title role.[44] In 2018 she portrayed the Old Lady in Leonard Bernstein's Candide with the San Francisco Symphony.[45]

Teaching career edit

Greenawald was a member of the voice faculty at the Boston Conservatory from 2000 to 2002.[46] She served as director of the San Francisco Opera Center from 2002 through 2020.[47]

References edit

  1. ^ a b c d e f g Walsh, Michael (2002). "Greenawald, Sheri (Kay)". Grove Music Online. Oxford Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.O007161.
  2. ^ a b c d University of Northern Iowa Alumni Association (Winter 2004). "Remembering UNI:Sheri Greenawald" (PDF). Northern Iowa Today. Vol. v88n1. University of Northern Iowa Press.
  3. ^ Maria-Cristina Necula (2009). "Sher Greeenawald". Life in Opera: Truth, Tempo, and Soul; Encounters with Stars, Innovators, and Leaders of Today's Opera World. Amadeus Press. p. 97. ISBN 9781574671797.
  4. ^ "Greenawald, Sheri". International Who's who in Classical Music. Routledge. 2009. p. 312.
  5. ^ Allen Hughes (18 April 1974). "Opera: Mamelles de Tiresias Is at Theater Club". The New York Times. p. 50.
  6. ^ Donal Henahan (11 December 1974). "Music: One-Act Operas: Pasatieri's 'Signor Deluso' Shares Bill With Holst Work at Theater Club Curtis Orchestra and Emanuel Ax Play". The New York Times. p. 57.
  7. ^ Margaret Ross Griffel (2013). Operas in English: A Dictionary. Scarecrow Press. p. 532. ISBN 9780810883253.
  8. ^ Ken Wlaschin (2006). "Bilby's Doll". Encyclopedia of American opera. McFarland & Company. p. 41. ISBN 9780786421091.
  9. ^ Peter G. Davis (14 August 1976). "Opera: 'Figaro,' 'Egisto' at Santa Fe". The New York Times. p. 10.
  10. ^ Peter G. Davis (August 22, 1977). "Putting the Festive Into Opera Festival". The New York Times.
  11. ^ Bernheimer, Martin (15 August 1982). "Santa Fe: An oasis in the desert". Los Angeles Times. p. l1.
  12. ^ "Legitimate: Santa Fe Spells Out Lineup Of New Operas On $3.5-Mil Budget". Variety. 311 (5): 73. June 1, 1983.
  13. ^ Holland, Bernard (July 31, 1983). "The Crosby System – Artistic Health Through Containment". The New York Times. p. 17.
  14. ^ Donal Henahan (3 August 1989). "New 'Traviata' in Santa Fe". The New York Times. p. C19.
  15. ^ John von Rhein (8 Aug 1993). "Weill in the Southwest: Santa Fe offers two rare revivals by the German composer". Chicago Tribune. p. N12.
  16. ^ Bernard Holland (13 August 1994). "Mozart's 'Abduction' as a Sort of Musical: Mozart as a Sort of Musical". The New York Times. p. 11.
  17. ^ Young, Allen (Aug 16, 1999). "Legit: Nun Sense Strong at Santa Fe Fest". Variety. 375 (13): 33, 35.
  18. ^ Bernheimer, Martin (9 June 1978). "'La Boheme' in St. Louis: Martin Bernheimer – The Pioneer Spirit in St. Louis". Los Angeles Times. p. h1.
  19. ^ Blumenfeld, Harold (24 June 1979). "Cslendar: Opera Mahler Joins the Opera – In St. Louis". Los Angeles Times. p. n85.
  20. ^ Bernheimer, Martin (20 November 1978). "Opera Review: German Revivals in San Francisco". Los Angeles Times. p. f1.
  21. ^ Bernheimer, Martin (13 November 1982). "Cinderella Fantasy: S.F. Opera Produces 'Cendrillon'". Los Angeles Times. p. f1.
  22. ^ Bernheimer, Martin (4 November 1983). "Belated U.S. Premiere: S.F. Opera Discovers Tippeit's 'Marriage'". Los Angeles Times. p. j1.
  23. ^ Bernheimer, Martin (14 September 1985). "San Francisco Opera: Revival of Reimann's 'Lear'". Los Angeles Times. p. d1.
  24. ^ Bernheimer, Martin (2 December 1986). "Greenawald and Araiza Triumph in 'Manon'". Los Angeles Times. p. H1.
  25. ^ "Legitimate: 'Actor's revenge; Tennimore' at St. L". Variety. 302 (8): 171. March 25, 1981.
  26. ^ Bernard Holland (9 November 1981). "The Washington Opera: 'La Boheme'". The New York Times. p. C18.
  27. ^ Paul Hume (1 December 1981). "Masterful 'Rake': Washington Opera Honors Stravinsky's Classic Washington Opera's Masterful 'Rake's Progress'". The Washington Post. p. B1.
  28. ^ Trouble in Jones Hall. August 1983. pp. 154–155. {{cite book}}: |work= ignored (help)
  29. ^ Ezra Schabas, Carl Morey (2000). Opera Viva: The Canadian Opera Company The First Fifty Years. Dundurn Press. p. 269. ISBN 9781770700970.
  30. ^ "Theatre Week: Saturday, April 18, La Traviata". The Stage and Television Today (5531): 10. April 16, 1987.
  31. ^ Edward Rothstein (23 March 1993). "'Pelleas,' In Seattle, Is Back In Fashion: 'Pelleas et Melisande' Back in Vogue The Seattle Opera gives an abstract look to a Debussy masterpiece". The New York Times. p. C13.
  32. ^ Edward Rothstein (11 Nov 1991). "Prokofiev's Radical and Chilling 'Gambler' in Chicago: A Chilling 'Gambler' by Prokofiev An extended modernist recitative with no arias". The New York Times. p. C11.
  33. ^ John von Rhein (5 February 1992). "Mozart without a focus: Staging hurts 'Giovanni'". Chicago Tribune. p. D14.
  34. ^ Greenfield, Edward (15 January 1993). "American classics". The Guardian. p. A6.
  35. ^ Bernard Holland (31 Jan 1994). "Kurt Weill Goes Back to the 'Hood In a Near-Forgotten 'Street Scene': Catfish Row is transplanted to New York, energy intact. Kurt Weill Returns to the American 'Hood". The New York Times. p. C13.
  36. ^ Tom Sutcliffe (26 May 1994). "Rosy and cavalier". The Guardian. p. A6.
  37. ^ Holliday, Jon (March 16, 1995). "Opera Review: Le Nozze di Figaro". The Stage. No. 5944. p. 15.
  38. ^ John von Rhein (25 June 1995). "Eclectic excellence: Opera Theatre of St. Louis delivers a solid season". Chicago Tribune. p. M10.
  39. ^ John von Rhein (8 October 1995). "A spirited trip through time: 'Ghosts of Versailles' makes Chicago debut". Chicago Tribune. p. G1.
  40. ^ Bernard Holland (27 November 1995). "'Mahagonny,' an Apt Metaphor For Political Chaos in Any Era: 'Mahagonny' As Apt Metaphor". The New York Times. p. C11.
  41. ^ Peter G. Davis (July 29, 1996). "Classical Music: House of Whacks". New York Magazine.
  42. ^ Robert Gordon, ed. (May 2014). The Oxford Handbook of Sondheim Studies. Oxford University Press. p. 236. ISBN 9780199909278.
  43. ^ "Soprano Greenawald Sings Weill's Seven Deadly Sins in L.A., Nov. 30-Dec. 3". Playbill. November 30, 2000.
  44. ^ Heidi Waleson (December 19, 2002). "Vocal Treats for the Windy City and New York".
  45. ^ Mark Swed (23 January 2018). "Candide's Spiritual Journey Westward". Los Angeles Times. p. E3.
  46. ^ "Sher Greenawald". San Francisco Symphony Performance Bio.
  47. ^ "Merola's 2021 Season Features BIPOC Recital, Digital Project and More". BroadwayWorld. April 29, 2019.

December 01, 2023
sheri, greenawald, born, november, 1947, american, soprano, music, educator, active, performance, career, concerts, operas, during, second, half, 20th, century, early, 21st, century, portrayed, principal, roles, world, premieres, several, operas, including, wo. Sheri Greenawald born November 12 1947 is an American soprano and music educator who had an active performance career in concerts and operas during the second half of the 20th century and early 21st century 1 She has portrayed principal roles in the world premieres of several operas including works by composers Leonard Bernstein Daniel Catan Carlisle Floyd Thomas Pasatieri and Stephen Paulus She has performed leading roles with opera companies in the US and abroad including the Metropolitan Opera Lyric Opera of Chicago Houston Grand Opera Bavarian State Opera La Fenice and Paris Opera 2 She was particularly active as a performer with the Santa Fe Opera and San Francisco Opera A former member of the voice faculty at the Boston Conservatory she served as director of the San Francisco Opera Center from 2002 through 2020 Music critic Michael Walsh wrote that Only partly in jest Greenawald has been described as a heroic soubrette Her lyric soprano voice is aptly suited to such Mozartian roles as Susanna Zerlina and Despina Norina Don Pasquale and Sophie Werther but it also has considerable power and range suitable for the heavier parts of Ellen Orford Mimi and Violetta 1 Contents 1 Early life and education 2 Performance career 3 Teaching career 4 ReferencesEarly life and education editBorn Sheri Kay Greenawald in Iowa City Iowa on November 12 1947 1 Greenawald grew up in Monticello Iowa 2 In 1965 she entered the University of Northern Iowa then known as State College of Iowa where she was a voice student of Charles Matheson and earned a bachelor s degree in music 2 While at UNI a visiting music teacher from New York Virginia Hutchins convinced Greenawald to come to New York to sing for Maria DeVarady with whom she began voice lessons 3 She worked briefly in advertising in New York City before entering the Professional Studies program at the Juilliard School where she was a pupil of voice teachers Hans Heinz and Daniel Ferro 2 4 She later studied with Audrey Langford in London 1 Performance career editGreenawald made her professional opera debut in 1974 as Theresa in the New York premiere of Francis Poulenc s Les mamelles de Tiresias which was staged by the Manhattan Theater Club MTC 1 5 She performed with the MTC again later that year as Celie in the New York premiere of Thomas Pasatieri s Signor Deluso 6 Two years later she created the role of Marian Harrington in the world premiere of Pasatieri s Washington Square 1976 at the Michigan Opera Theatre later taking on the lead role of Catherine in that opera for its staging by the New York Lyric Opera Company in 1977 7 Greenawald performed the title role in the original production of Carlisle Floyd s Bilby s Doll at the Houston Grand Opera in 1976 a production which was double cast with Catherine Malfitano who performed the role in the premiere as the other singer alternating in the part during the opera s initial run 8 She made her debut at the Santa Fe Opera SFO in 1976 as Susanna in Wolfgang Amadeus Mozart s The Marriage of Figaro 9 She returned to the SFO multiple times during her career performing the roles of Nannetta in Verdi s Falstaff 1977 10 Countess Almaviva in The Marriage of Figaro 1982 11 Pamina in The Magic Flute 1984 the Governess in Benjamin Britten s The Turn of the Screw 1983 12 Euridice in Jacques Offenbach s Orpheus in the Underworld 1983 13 Violetta in La traviata 1989 14 The Countess in Richard Strauss s Capriccio 1993 15 Christine Storch in Richard Strauss s Intermezzo 1994 16 and the title role in Emmerich Kalman s Countess Maritza 1999 17 Greenawald performed several roles with The Municipal Opera Association of St Louis including Mimi in Giacomo Puccini s La boheme with Vinson Cole as her Rodolfo in 1978 18 and Violetta in Verdi s La traviata in 1979 19 In 1978 she made her debut at the San Francisco Opera as Marzelline in Beethoven s Fidelio 20 She appeared with that company several more times portraying the roles of Lauretta in Puccini s Gianni Schicchi 1979 Mozart s Pamina 1980 the title role in Jules Massenet s Cendrillon 1982 21 Bella in the United States premiere of Michael Tippett s The Midsummer Marriage 1983 22 Cordelia in Aribert Reimann s Lear 1985 23 and the title role in Massenet s Manon 1986 24 Greenawald made her international debut at the Dutch National Opera as Susanna in Wolfgang Amadeus Mozart s The Marriage of Figaro in 1980 1 In 1981 she performed the role of Gilda in Giuseppe Verdi s Rigoletto at the Opera Theatre of Saint Louis 25 That same year she performed Puccini s Mimi with the Washington National Opera under conductor Gian Carlo Menotti with President Ronald Reagan and First Lady Nancy Regan attending the opening night performance 26 Later that season she performed again with the Washington National Opera s Anna Truelove in Stravinsky s The Rake s Progress 27 In 1983 she created the role of Dede in the world premiere of Leonard Bernstein s A Quiet Place at the Houston Grand Opera 28 and portrayed Hanna Glawari in Franz Lehar s The Merry Widow for her debut with the Canadian Opera Company 29 In 1987 she performed the role of Violetta in Verdi s La traviata with Opera North in Leeds England 30 She returned to the Canadian Opera Company in 1990 as Magda in Puccini s La Rondine At the Seattle Opera Greenawald appeared as Natasha in Prokofiev s War and Peace 1990 1 and Melisande in Claude Debussy s Pelleas et Melisande 1993 31 In 1991 she made her debut at the Lyric Opera of Chicago as Pauline in Prokofiev s The Gambler 32 In 1992 she performed the role of Donna Anna in Mozart s Don Giovanni with the Chicago Symphony Orchestra and conductor Daniel Barenboim 33 She performed the role of Birdie in Marc Blitzstein s Regina with the Scottish Opera and appears on that company s 1993 recording of the opera made for Decca Records 34 In 1994 she returned to the Houston Grand Opera as Anna Maurrant in Kurt Weill s Street Scene 35 She appeared at the Welsh National Opera as The Marschallin in Der Rosenkavalier 1994 36 and Countess Almaviva in The Marriage of Figaro 1995 the latter with conductor Carlo Rizzi 37 In 1995 Greenawald returned to the Opera Theatre of Saint Louis to create the role of Helen in the world premiere of Stephen Paulus s The Woman at Otowi Crossing 38 That same year she portrayed Marie Antoinette in John Corigliano s The Ghosts of Versailles at the Lyric Opera of Chicago 39 and made her debut at the Metropolitan Opera as Jenny in Weill s Rise and Fall of the City of Mahagonny 40 In 1996 she created the title role in the world premiere of Daniel Catan s Florencia en el Amazonas in Houston a work she also performed with the Los Angeles Opera and Seattle Opera That same year she portrayed Abigail in Jack Beeson s Lizzie Borden at the Glimmerglass Opera 41 In 1999 she returned to the Houston Grand Opera as Countess Charlotte Malcolm in Stephen Sondheim s A Little Night Music 42 In 2000 Greenawald sang Kurt Weil s Seven Deadly Sins with the Los Angeles Philharmonic 43 In 2002 she portrayed the Beggar Woman in the Lyric Opera of Chicago s production of Stephen Sondheim s Sweeney Todd with Bryn Terfel in the title role 44 In 2018 she portrayed the Old Lady in Leonard Bernstein s Candide with the San Francisco Symphony 45 Teaching career editGreenawald was a member of the voice faculty at the Boston Conservatory from 2000 to 2002 46 She served as director of the San Francisco Opera Center from 2002 through 2020 47 References edit a b c d e f g Walsh Michael 2002 Greenawald Sheri Kay Grove Music Online Oxford Music Online Oxford University Press doi 10 1093 gmo 9781561592630 article O007161 a b c d University of Northern Iowa Alumni Association Winter 2004 Remembering UNI Sheri Greenawald PDF Northern Iowa Today Vol v88n1 University of Northern Iowa Press Maria Cristina Necula 2009 Sher Greeenawald Life in Opera Truth Tempo and Soul Encounters with Stars Innovators and Leaders of Today s Opera World Amadeus Press p 97 ISBN 9781574671797 Greenawald Sheri International Who s who in Classical Music Routledge 2009 p 312 Allen Hughes 18 April 1974 Opera Mamelles de Tiresias Is at Theater Club The New York Times p 50 Donal Henahan 11 December 1974 Music One Act Operas Pasatieri s Signor Deluso Shares Bill With Holst Work at Theater Club Curtis Orchestra and Emanuel Ax Play The New York Times p 57 Margaret Ross Griffel 2013 Operas in English A Dictionary Scarecrow Press p 532 ISBN 9780810883253 Ken Wlaschin 2006 Bilby s Doll Encyclopedia of American opera McFarland amp Company p 41 ISBN 9780786421091 Peter G Davis 14 August 1976 Opera Figaro Egisto at Santa Fe The New York Times p 10 Peter G Davis August 22 1977 Putting the Festive Into Opera Festival The New York Times Bernheimer Martin 15 August 1982 Santa Fe An oasis in the desert Los Angeles Times p l1 Legitimate Santa Fe Spells Out Lineup Of New Operas On 3 5 Mil Budget Variety 311 5 73 June 1 1983 Holland Bernard July 31 1983 The Crosby System Artistic Health Through Containment The New York Times p 17 Donal Henahan 3 August 1989 New Traviata in Santa Fe The New York Times p C19 John von Rhein 8 Aug 1993 Weill in the Southwest Santa Fe offers two rare revivals by the German composer Chicago Tribune p N12 Bernard Holland 13 August 1994 Mozart s Abduction as a Sort of Musical Mozart as a Sort of Musical The New York Times p 11 Young Allen Aug 16 1999 Legit Nun Sense Strong at Santa Fe Fest Variety 375 13 33 35 Bernheimer Martin 9 June 1978 La Boheme in St Louis Martin Bernheimer The Pioneer Spirit in St Louis Los Angeles Times p h1 Blumenfeld Harold 24 June 1979 Cslendar Opera Mahler Joins the Opera In St Louis Los Angeles Times p n85 Bernheimer Martin 20 November 1978 Opera Review German Revivals in San Francisco Los Angeles Times p f1 Bernheimer Martin 13 November 1982 Cinderella Fantasy S F Opera Produces Cendrillon Los Angeles Times p f1 Bernheimer Martin 4 November 1983 Belated U S Premiere S F Opera Discovers Tippeit s Marriage Los Angeles Times p j1 Bernheimer Martin 14 September 1985 San Francisco Opera Revival of Reimann s Lear Los Angeles Times p d1 Bernheimer Martin 2 December 1986 Greenawald and Araiza Triumph in Manon Los Angeles Times p H1 Legitimate Actor s revenge Tennimore at St L Variety 302 8 171 March 25 1981 Bernard Holland 9 November 1981 The Washington Opera La Boheme The New York Times p C18 Paul Hume 1 December 1981 Masterful Rake Washington Opera Honors Stravinsky s Classic Washington Opera s Masterful Rake s Progress The Washington Post p B1 Trouble in Jones Hall August 1983 pp 154 155 a href Template Cite book html title Template Cite book cite book a work ignored help Ezra Schabas Carl Morey 2000 Opera Viva The Canadian Opera Company The First Fifty Years Dundurn Press p 269 ISBN 9781770700970 Theatre Week Saturday April 18 La Traviata The Stage and Television Today 5531 10 April 16 1987 Edward Rothstein 23 March 1993 Pelleas In Seattle Is Back In Fashion Pelleas et Melisande Back in Vogue The Seattle Opera gives an abstract look to a Debussy masterpiece The New York Times p C13 Edward Rothstein 11 Nov 1991 Prokofiev s Radical and Chilling Gambler in Chicago A Chilling Gambler by Prokofiev An extended modernist recitative with no arias The New York Times p C11 John von Rhein 5 February 1992 Mozart without a focus Staging hurts Giovanni Chicago Tribune p D14 Greenfield Edward 15 January 1993 American classics The Guardian p A6 Bernard Holland 31 Jan 1994 Kurt Weill Goes Back to the Hood In a Near Forgotten Street Scene Catfish Row is transplanted to New York energy intact Kurt Weill Returns to the American Hood The New York Times p C13 Tom Sutcliffe 26 May 1994 Rosy and cavalier The Guardian p A6 Holliday Jon March 16 1995 Opera Review Le Nozze di Figaro The Stage No 5944 p 15 John von Rhein 25 June 1995 Eclectic excellence Opera Theatre of St Louis delivers a solid season Chicago Tribune p M10 John von Rhein 8 October 1995 A spirited trip through time Ghosts of Versailles makes Chicago debut Chicago Tribune p G1 Bernard Holland 27 November 1995 Mahagonny an Apt Metaphor For Political Chaos in Any Era Mahagonny As Apt Metaphor The New York Times p C11 Peter G Davis July 29 1996 Classical Music House of Whacks New York Magazine Robert Gordon ed May 2014 The Oxford Handbook of Sondheim Studies Oxford University Press p 236 ISBN 9780199909278 Soprano Greenawald Sings Weill s Seven Deadly Sins in L A Nov 30 Dec 3 Playbill November 30 2000 Heidi Waleson December 19 2002 Vocal Treats for the Windy City and New York Mark Swed 23 January 2018 Candide s Spiritual Journey Westward Los Angeles Times p E3 Sher Greenawald San Francisco Symphony Performance Bio Merola s 2021 Season Features BIPOC Recital Digital Project and More BroadwayWorld April 29 2019 Retrieved from https en wikipedia org w index php title Sheri Greenawald amp oldid 1169527171, wikipedia, wiki, book, books, library,

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