| Music Encyclopedia: Kathleen Battle |
(b Portsmouth, oh, 13 Aug 1948). American soprano. She studied with Franklin Bens at the Cincinnati College-Conservatory and made her professional début in 1972 in Brahms's German Requiem at the Spoleto festival. Shortly afterwards she was engaged by James Levine at the Met, appearing in such roles at Mozart's Blonde, Despina and Pamina and Strauss's Zdenka and Sophie.
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| Biography: Kathleen Battle |
American soprano Kathleen Battle (born 1948) divided her career between the opera and concert singing. Her light, sweet voice and charming stage presence were especially suited to operatic ingénue roles.
Lyric coloratura soprano Kathleen Battle was born on August 13, 1948, in Portsmouth, Ohio. The youngest of seven children whose father was a steel worker, she attended public schools in a segregated school system. She remained relatively unexposed to opera until her teens and, no doubt aware of the limited opportunities afforded to African Americans, steered a practical course for herself, studying typing and shorthand in high school. Although she took the advice of a high school music teacher to study music at the University of Cincinnati College Conservatory, she opted not for the performance curriculum but for an education degree, which would enable her to teach. Her voice teacher during her college years was Franklin Bens.
Having received a bachelor's degree in 1970 and a master's in 1971, Battle taught grades four through six for the next two years in the Cincinnati public school system. Meanwhile, she continued to take voice lessons and also to study German and acting while taking singing jobs in and around Cincinnati.
In 1972 she auditioned successfully for Thomas Shippers, then the director of both the Cincinnati Symphony Orchestra and the Spoleto Festival. He arranged for her professional debut that year in a performance of the Brahms Requiem in Spoleto. Her American debut followed as a repeat performance of the piece with the Cincinnati Orchestra later that year.
The following year Battle came to the attention of James Levine while singing at the Cincinnati May Festival. He immediately engaged her in his guest-conducting tour around the United States. Included in this tour was the Ravinia Festival, to which she returned for several summers as an artist in residence. She moved to New York in 1975 after an engagement in a Broadway production of Scott Joplin's Treemonisha.
She made her professional operatic debut as Rosina in Rossini's Barber of Seville with the Michigan Opera Theater, and her New York debut followed in 1976 with the City Opera as Susanna in Mozart's The Marriage of Figaro. But it was again Levine who brought her rapidly to stardom. In 1977 he offered her the role of the shepherdess in Wagner's Tannhauser at the Metropolitan Opera, where her debut took place on December 22, 1977. Battle's physical beauty, captivating stage presence, and a seemingly effortless virtuosity quickly made her a favorite there; and the following years secured her reputation.
Possessing a light, sweet voice of extreme agility, Battle wisely avoided the heavier operatic roles. Among composers she favored Mozart for his precision and clarity of line, his rhythmic vitality, and the appropriateness of the color and weight of his music to her voice. Mozart roles included Pamina in The Magic Flute, Susanna in The Marriage of Figaro, Despina in Cosi fan tutte, and Blonde in The Abduction from the Seraglio. Other important parts were Zerbinetta in Ariadne auf Naxos and Zdenka in Arabella, both by Richard Strauss, another favorite composer; Oskar in Verdi's Un ballo in maschera; and Norina in Donizetti's Don Pasquale.
Battle did not limit her career to the opera, but divided appearances rather equally between opera, song recitals, and performances of vocal works involving larger ensembles. She achieved much commercial success for recordings of her song recitals, which were additionally attractive in that they frequently offered music other than the standard fare. Among her most popular song recordings are those with the guitarist Christopher Parkening (The Pleasure of Their Company), the violinist Itzhak Perlman (The Bach Album), and the trumpeter Winton Marsalis (Baroque Duet). In 1990 she presented a concert of spirituals, also recorded, with Jessye Norman (Spirituals in Concert). Although the concert received some criticism for its "pseudo-Gershwin" arrangements, both singers triumphed over what could have been an inappropriate artificiality. Battle often closed song recitals with a group of spirituals.
Other popular recordings are Kathleen Battle Sings Mozart, Salzburg Recital, and At Carnegie Hall. In June 1986 she gave a command performance, nationally televised, for President Reagan at the White House. She was awarded an honorary Doctorate from the University of Cincinnati in 1983.
Battle's reputation as a temperamental singer was wellknown and was documented along with her rise to fame. In February 1994 she was dismissed from the Met's production of Donizetti's Fille du Régiment for what officials cited as her "unprofessional actions during rehearsals." At the same time the company withdrew all other offers for future engagements.
Battle has been pursuing other avenues through a variety of professional performances. In 1995, Battle's voice was heard on four albums, and she appeared on the television special An Evening with Kathleen Battle and Thomas Hampson. She opened Lincoln Center's 1995-96 jazz season with a concert, and has appeared on tour throughout the United States. With Christopher Parkening she released Angels Glory, a compilation of Christmas songs for the 1996 season. A Christmas Celebration was released in 1997, and also includes music for the holidays.
Further Reading
One of the few opera singers to achieve commercial success, Kathleen Battle continued to be charted by all of the music magazines and journals, including Billboard, Stereo Review, and Opera News. Among the most substantial articles on Battle's career are "Fortune's Favorite: A Conversation with Kathleen Battle" in Opera News (March 13, 1982) and "The Sweet Song of Kathleen Battle" in Fanfare (1986). The circumstances surrounding her dismissal from the Met are detailed in The New York Times (February 8, 1994).
| Columbia Encyclopedia: Kathleen Battle |
| Artist: Kathleen Battle |
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Kathleen Battle at Carnegie Hall Buy this CD |
Kathleen Battle at Carnegie Hall Buy this CD |
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Mozart: Exsultate, Jubilate; Arias Buy this CD |
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Kathleen Battle & Placido Domingo: Live in Tokyo 1988 Buy this CD |
| Wikipedia: Kathleen Battle |
Kathleen Battle (born August 13, 1948, Portsmouth, Ohio, USA) is an American soprano known for her agile and light voice and her silvery, pure tone.[1][2] Battle initially became known for her work within the concert repertoire through performances with major orchestras during the early and mid 1970s. She made her opera debut in 1975. Battle expanded her repertoire into light lyric soprano and lyric coloratura soprano roles during the 1980s and early 1990s. Although she no longer appears in operas, Battle remains active in concert and recital performances.[3]
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Battle is the youngest of seven children. Her father was a steelworker, and her mother was an active participant in the gospel music of the family's African Methodist Episcopal church. Battle attended Portsmouth High School where her music teacher and mentor was Charles P. (Phil) Varney. In a Time Magazine interview with music critic Michael Walsh, he recalled first hearing the eight-year old Battle sing, describing her as "this tiny little thing singing so beautifully." "I went to her later", Varney recalled, "and told her God had blessed her, and she must always sing."[4]
Battle was a good student and was awarded a scholarship to the University of Cincinnati College-Conservatory of Music where she studied voice with Franklin Bens and also worked with Italo Tajo.[5] She majored in music education rather than performance in undergraduate school and went on to get a master's degree in Music Education as well. In 1971 Battle embarked on a teaching career in Cincinnati, taking a position at a Cincinnati inner-city public school. While teaching 5th and 6th grade music, she continued to study voice privately.
In 1972, her second year as a teacher, a friend and fellow church choir member phoned her and informed her that the conductor Thomas Schippers was holding auditions in Cincinnati. At her audition Schippers engaged her to sing as the soprano soloist in Brahms' Ein deutsches Requiem at the 1972 Festival dei Due Mondi in Spoleto, Italy. Her performance there on July 9, 1972 marked the beginning of her professional career.[6][7] During the next several years, Battle would go on to sing in several more orchestral concerts in New York, Los Angeles, and Cleveland.[5] In 1973 she was awarded a grant from the Martha Baird Rockefeller Fund for Music to support her career. William Mullen, managing director of the Santa Fe Concert Association was on the panel of judges who made the award. In 2004 he recalled:
"We would meet monthly, listen to up-and-coming concert artists and give money to deserving artists for further study. A very young Kathleen Battle sang for us. The other judges thought her voice was too small, but I thought she had an incredible ability to communicate through music. I talked the other judges into giving her a grant."[8]
Thomas Schippers introduced Kathleen Battle to his fellow conductor James Levine who selected Battle to sing the Mater Glorioso in Mahler's Symphony No. 8 at the Cincinnati Symphony's May Festival in 1974. This was the beginning of a friendship and close professional association between Battle and Levine[9] that would last for years and resulted in several recordings and performances in recital and concert performances, including engagements in Salzburg, Ravinia, and Carnegie Hall. Battle made her professional operatic debut in 1975 as Rosina in Rossini's Il barbiere di Siviglia with the Michigan Opera Theatre. She made her New York City Opera debut the following year as Susanna in Mozart's Le nozze di Figaro, and in 1977 made both her San Francisco Opera debut as Oscar in Verdi's Un ballo in maschera and her Metropolitan Opera debut as the Shepherd in Wagner's Tannhäuser. The latter performance was conducted by James Levine.[10] Battle made her Glyndebourne Festival debut (and UK debut) singing Nerina in Haydn's La fedeltà premiata in 1979.[11]
Throughout the 1980s, Battle performed in recitals, choral works and opera. Her work continued to take her to performance venues around the world. In 1980 she made her Zürich Opera debut as Adina in Donizetti's L'elisir d'amore.[12] In 1982, she made her Salzburg Festival debut in Così fan tutte, followed three days later by an appearance in one of the Festival's Mozart Matinee concerts.[13] In 1985, she was the soprano soloist in Mozart's Coronation Mass at St. Peter's Basilica in the Vatican, conducted by Herbert von Karajan. That same year she made her Royal Opera debut as Zerbinetta in Ariadne auf Naxos. In 1987 Karajan invited Battle to sing Johann Strauss' Voices of Spring for the Vienna New Year's Day concert, the only time Karajan conducted the internationally televised annual event, and the first time a singer had been engaged for such a contribution[citation needed]. In opera she sang a variety of roles including Oscar at Chicago Lyric Opera and a highly acclaimed Semele at Carnegie Hall.[14] She returned to Salzburg various times to sing Susanna, Zerlina, and Despina, Mozart roles which she also sang at several other opera houses during that period. Battle became an established artist at the Metropolitan Opera in the 1980s, singing over 150 performances with the company in 13 different operas,[15] including the Met's first ever production of Handel's Giulio Cesare.[16] Other opera houses where she performed included San Francisco Opera, English National Opera, Grand Théâtre de Genève, Vienna State Opera, and Deutsche Oper Berlin.
During this period, she received three Grammy awards for her recordings: Kathleen Battle Sings Mozart (1986), Salzburg Recital (1987), and Ariadne auf Naxos (1987). She also received the Laurence Olivier Award (1985) for her stage performance as Zerbinetta in Ariadne auf Naxos at the Royal Opera House, London. Critical response to Battle's performances had rarely varied throughout the years following her debut. In 1985, Time Magazine, pronounced her "the best lyric coloratura soprano in the world".[4]
The 1990s saw projects ranging from a concert program and a CD devoted to spirituals to a recording of baroque music, from performances of complete operas to recitals and recordings with jazz musicians.
In 1990, Battle and Jessye Norman performed a program of spirituals at Carnegie Hall with James Levine conducting.[17] In the same year, she returned to Covent Garden to sing Norina in Don Pasquale and performed in a series of solo recitals in California, as well as appearing at the Hollywood Bowl with the Los Angeles Philharmonic".[12][18] Battle's Carnegie Hall solo recital debut came on April 27, 1991 as part of the hall's Centennial Festival. Accompanied by pianist Margo Garrett, she sang arias and songs by Handel, Mozart, Liszt, Rachmaninoff, Gershwin and Richard Strauss as well as several traditional spirituals. The contralto, Marian Anderson, who had ended her farewell tour with a recital at Carnegie Hall in April 1965, was in the audience that night as Battle dedicated Rachmaninoff's "In the Silence of the Secret Night" to her.[19] The recording of the recital earned Battle her fourth Grammy award. Another first came in January 1992 when Battle premiered André Previn's song cycle Honey and Rue with lyrics by Nobel Laureate in Literature Toni Morrison. The work was commissioned by Carnegie Hall and composed specifically for Battle.[20]
In December 1993 she was joined by Martin Katz and Kenny Barron on piano and Grady Tate (drums), Grover Washington, Jr. (saxophone) and David Williams (bass) at Carnegie Hall for a concert featuring the music of Handel, Haydn, and Duke Ellington as well as Christmas spirituals.[21] During this time she also collaborated with other musicians including trumpeter Wynton Marsalis in a recording of baroque arias entitled, Baroque Duet; violinist Itzhak Perlman on an album of Bach arias; and flautist Jean-Pierre Rampal for a recital at Alice Tully Hall (also released on CD). In May 1993 Battle added pop music to her repertoire with the release of Janet Jackson's album janet lending her vocals to the song, This Time. An album of Japanese melodies, First Love, followed in November 1993.
On the opera stage, she performed in a variety of Mozart, Rossini, and Donizetti operas, and made her role debut as Marie in Donizetti's La fille du régiment at San Francisco Opera (1993).[22] Between 1990 and 1993, she performed in several productions at the Metropolitan Opera: Rosina in Il barbiere di Siviglia (1990), Pamina in Die Zauberflöte (1991 and 1993), and Adina (with Pavarotti as Nemorino) in L'elisir d'amore (1991, 1992, and the Met's 1993 Japan Tour).[15] She also won her fifth Grammy Award in 1993, singing the title role of Semele on the Deutsche Grammophon recording conducted by John Nelson.[23]
Although Battle gave several critically praised performances at the Metropolitan Opera during the early 1990s, her relationship with the company's management showed increasing signs of strain during those years.[24] As Battle's status grew, so did her reputation for being difficult and demanding.[25] In October of 1992 "when Miss Battle opened the Boston Symphony Orchestra season, she reportedly banned an assistant conductor and other musicians from her rehearsals, changed hotels several times, and left behind what a report in The Boston Globe called 'a froth of ill will.'"[26] In February 1994, during rehearsals for an upcoming production of La fille du régiment, Battle was said to have subjected her fellow performers to "withering criticism" and made "almost paranoid demands that they not look at her."[27] General Manager Joseph Volpe responded by dismissing Battle from the production for "unprofessional actions" during rehearsals. Volpe called Battle's conduct "profoundly detrimental to the artistic collaboration among all the cast members" and indicated that he had "canceled all offers that have been made for the future."[28] Battle was replaced in La fille du régiment by Harolyn Blackwell.[29] At the time of her termination from the Met, Michael Walsh of Time magazine reported that "the cast of The Daughter of the Regiment applauded when it was told during rehearsal that Battle had been fired."[30]
In a statement released by her management company, Columbia Artists, Battle said: "I was not told by anyone at the Met about any unprofessional actions. To my knowledge, we were working out all of the artistic problems in the rehearsals, and I don't know the reason behind this unexpected dismissal. All I can say is I am saddened by this decision."[28] Since then, Battle has not performed in opera.
For the remainder of the decade, she worked extensively in the recording studio and on the concert stage. She was a featured guest artist on the May 1994 album Tenderness, singing a duet, My Favorite Things, with Grammy-winning jazz vocalist Al Jarreau. In 1995 she presented a program of opera arias and popular songs at Lincoln Center with baritone Thomas Hampson, conductor John Nelson, and the Orchestra of St. Lukes.[31] She also released two albums in 1995: So Many Stars a collection of folk songs, lullabies, and spirituals (with accompanying live concert performances) with Christian McBride and Grover Washington, Jr. (with whom she had performed in Carnegie Hall the previous year;[32] and Angels' Glory, a Christmas album with guitarist Christopher Parkening, a frequent collaborator.[33] In 1997 came the release of the albums Mozart Opera Arias and Grace, a collection of sacred songs. In October 1998, she joined jazz pianist Herbie Hancock on his album Gershwin's World in the Ravel's Prelude In C# Minor. December 1999 saw the release of Fantasia 2000 where she is the featured soprano in Elgar's Pomp and Circumstance performed by the Chicago Symphony Orchestra and conducted by long-time collaborator James Levine. In solo recitals she performed in cities including Los Angeles, New York, Cincinnati, and Chicago in programs that featured art songs from a variety of eras and regions, opera arias, and spirituals.
Battle has continued to pursue a number of diverse projects including the works of composers who are not associated with traditional classical music, performing the works of Vangelis, Stevie Wonder, and George Gershwin.
In August 2000, she performed an all-Schubert program at Ravinia.[34] In June 2001, she and frequent collaborator soprano Jessye Norman, performed Vangelis' Mythodea at the Temple of Olympian Zeus in Athens, Greece. In July 2003 she performed at the Ravinia Chicago Symphony Orchestra Gala with Bobby McFerrin and Denyce Graves. In 2006 she and James Ingram sang the song They Won't Go When I Go in a Tribute to Stevie Wonder[35] and she began including Wonder's music in her recitals.[36] In July 2007 she debuted at the Aspen Music Festival performing an all-Gershwin program as part of a season benefit.[37] In October 2007, at a fundraiser for the Keep a Child Alive Charity, Kathleen Battle and Alicia Keys performed the song Miss Sarajevo written by U2's Bono.[38]
On April 16, 2008, she sang an arrangement of The Lord's Prayer for Pope Benedict XVI on the occasion of his Papal State visit to the White House. This marks the second time she sang for a pope. (She first sang for Pope John Paul II in 1985 as soprano soloist in Mozart's Coronation Mass.)[39]
On November 23, 2008, she performed "Superwoman" on the American Music Awards with Alicia Keys and Queen Latifah.
Major oratorio, choral, and symphonic works in which Battle has performed as a soloist:
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Battle has portrayed the following roles on stage:
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Battle's concert and recital repertoire encompasses a wide array of music including classical, jazz, and crossover works. Within classical music literature Battle has performed and recorded works by Johann Sebastian Bach, Vincenzo Bellini, Johannes Brahms, Henry Bishop, Gaetano Donizetti, John Dowland, Gustave Charpentier, Manuel de Falla, Gabriel Fauré, Charles Gounod, Enrique Granados, George Frideric Handel, Michael Head, Valdemar Henrique, Franz Liszt, Gustav Mahler, Bohuslav Martinů, Felix Mendelssohn, Federico Mompou, Wolfgang Amadeus Mozart, Fernando Obradors, Jaime Ovalle, Francis Poulenc, Henry Purcell, Sergei Rachmaninoff, Jean-Philippe Rameau, Albert Roussel, Camille Saint-Saëns, Franz Schubert, Robert Schumann, Johann Strauss II, Richard Strauss, Joaquín Turina, Hugo Wolf, and Heitor Villa-Lobos among others.
Battle's jazz and crossover repertoire includes the compositions of Sergio Barroso, Duke Ellington, George Gershwin, Leonard Bernstein, André Previn, Rodgers and Hammerstein, and Stevie Wonder among others.
She is also known for her performances of African-American spirituals.
Among the conductors with whom Battle has worked are Herbert von Karajan, Riccardo Muti, Zubin Mehta, Seiji Ozawa, Claudio Abbado, Georg Solti, Carlo Maria Giulini, and Battle's fellow Ohioan James Levine, music director at New York's Metropolitan Opera. She has performed with many orchestras, including the New York Philharmonic, the Chicago Symphony Orchestra, the Boston Symphony Orchestra, the Philadelphia Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic Orchestra, the Berlin Philharmonic, the Vienna Philharmonic, and the Orchestre de Paris. She has also appeared at the Salzburg Festival, Ravinia Festival, Tanglewood Festival, Blossom Festival, the Hollywood Bowl, Mann Music Centre Festival and the Caramoor Festival, and at Cincinnati May Festival.[43]
In recital, she has been accompanied on the piano by various accompanists including Margo Garrett, Martin Katz, Warren Jones, James Levine, Joel Martin, Ken Noda, Howard Watkins, Dennis Helmrich, JJ Penna, and Ted Taylor. Collaborations with other classical artists include flautist Jean-Pierre Rampal, sopranos Jessye Norman, Frederica von Stade, and Florence Quivar, violinist Itzhak Perlman, baritone Thomas Hampson, tenors Luciano Pavarotti and Plácido Domingo, trumpeter Wynton Marsalis and guitarist Christopher Parkening.
On the less classical side, she has worked with vocalists Al Jarreau, Bobby McFerrin, Alicia Keys, and James Ingram, jazz saxophonist Grover Washington, Jr., jazz pianists Cyrus Chestnut and Herbie Hancock. Battle also lent voice to the song "This Time" on Janet Jackson's album janet. and sang the title song, "Lovers", for the 2004 Chinese action movie, House of Flying Daggers.[44] She also performs the music of Stevie Wonder.[36]
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 | Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved. Read more |
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| Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/. Read more |
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