LEVANTO, WITH ANTONIO BALLISTA, “…THE DAZZLINGLY FLEXIBLE VOICE OF PURE SILVERY TONE OF LORNA WINDSOR, OUTSTANDING IN STRAUSS’ MORGEN”.
The English soprano Lorna Windsor has always explored many vocal fields, from contemporary to classical recitals and recordings, and also solo performance with top artists, actors, sculpture, visual arts, and light design, creating an original and exciting dimension to vocal performance. Among her forthcoming engagements are Walton’s Façade, and she will be the reciter in Lecture on Nothing from John Cage’s famous Silences.
She began singing as a solist on the BBC Radio children’s programmes, then following her piano and viola studies, studied voice at the Guildhall School of Music and Drama, was followed by specialization in Vienna and Paris, studying with Elisabeth Schwarzkopf, Hans Hotter and Gérard Souzay.
Her brilliant stage temperament led her first to operetta. She made her début as Rosalinde (in Strauss’ Die Fledermaus) and Valencienne (Die lustige Witwe) singing at Sadlers Wells, Tours, Marseilles, Paris. She performed roles in Orphée aux enfers, and La Perichole by Offenbach, directed by Jérôme Savary, at the Théâtre des Champs Elysées in Paris, and at Radio France. She also interpreted various roles in 18th century neapolitan opere buffe at the Teatro Massimo di Palermo, directed by Graziella Sciutti. Her early music career includes 14th century Troubadour songs in their original Occitan language and the operas and works of Monteverdi in Mantua, Vienna, Prague, Budapest Italy and Germany, directed by C. Gallico.
Among her Mozart roles are those of Venus (Ascanio in Alba), Donna Anna (Don Giovanni) at Glyndebourne, Despina (Così fan tutte) directed by Claudio Abbado, and also in the Giorgio Strehler production for the Piccolo Teatro di Milano, in Roma, Beijing, Saint Petersburg and Moscow. She has sung opera by Salieri with Frans Bruggen, Bach cantatas with Gustav Leonhardt and among her recordings, Les Motets de Versailles by Blanchard.
Her opera roles also include Euridice (Euridice) (Peri) at the Théâtre du Châtelet, Paris, Oscar (Verdi’s Il ballo in maschera) Sophie (Der Rosenkavalier) in Paris, Norina (Don Pasquale) at Verona, West Side Story and Trouble in Tahiti by Bernstein in Paris, and Ravel’s L’Enfant et les sortilèges with producer Daniele Abbado in Ancona and Bari, and has worked with directors Graham Vick and Deborah Warner.
Esteemed as a refined and passionate interpreter of Lieder and song, Lorna Windsor frequently appears in romantic and contemporary chamber music, in works by Berio (Sequenza, Folksongs), Cage, Feldman, Castiglioni, Hindemith, Crumb, Schoenberg (Pierrot Lunaire at the ROH Covent Garden, Streichquartett II), Bussotti (La Passion selon Sade), Walton (Façade), Satie (Socrate), Denissov, Ives, Boulez, Messiaen, Kurtág (Kafka Fragments), Togni, Dallapiccola, Feldmann, Corghi, Adams, in leading international festivals. She has premiered many works by today’s composers who have dedicated their works to her.
She collaborates with numerous soloists, prestigious international ensembles and individual artists, such as Duccio and Vittorio Ceccanti, Bruno Canino, Quartetto di Cremona, Alfonso Alberti, Mario Brunello, Trio Magritte, Trio Brahms, Trio des Alpes, Freon Ensemble, Raffaele Cortesi, Elena Casoli, Maria Grazia Bellocchio, Gian Francesco Amoroso, and writer, Davide Tortorella. For over twenty years she has worked in duo with the pianist Antonio Ballista, both in traditional repertoire, and in shows where music and theater cross paths.
Lorna collaborates with numerous institutions, including the International Centre for American Music (ICAMUS), and is involved in projects of research and promotion.
Lorna Windsor holds masterclasses and teaches at the Conservatorio Giuseppe Verdi in Milan, and in other Italian conservatoires. She also teaches privately, and works as a language coach for opera houses/recordings.
“LORNA WINDSOR, WITH EXTREME ARTISTIC FLEXIBILITY AND A WINNING AND LIMPID TONE, KNOWS HOW TO APPROACH THIS REPERTOIRE WITH INTELLIGENCE AND SINCERITY OF EXPRESSION, STYLISTICALLY RENOVATING THE MODELS OF LOTTE LENYA AND EDITH PIAF, WITH A PERSONAL AND MODERN TOUCH OF HER OWN. “
LA GAZZETTA DEL MEZZOGIORNO, BARI
19.3.2024, Teatro Comunale di Ferrara
W. Walton, Façade – Poulenc, Sextet for piano and winds
I solisti dell’Orchestra Città di Ferrara
Stefano Cardi, conductor
Antonio Ballista, piano
LW sings Poulenc melodies and recites in Walton’s Façade.
Spazio Lambrate per le Arti Performative, Milano
Festival 5 Giornate
John Cage – Lecture on nothing
Duomo di Milano
Franco Battiato: Messa Arcaica
2019 and 2020 Teatro Verdi, Milan
I.U.C. La Sapienza, Rome
with Antonio Ballista piano
Gianluca Massiotta video
RITRATTO DI DONNE
13.4.2022 Festival Le Note Romantiche, Verbania
with Antonio Ballista
Pleyel piano 1923.
Songs to poetry by EMILY DICKINSON
16.5.2022 Florence (ICAMUS)
with Nicole Panizza, piano
LOVE SONGS FROM AMERICA
16.6.2022 Festival PlayOut, Accademia Belle Arti, Florence,
with Gian Francesco Amoroso, piano
LA MILANESIANA – SONGS by FRANCO BATTIATO
18.6.2022 Sala Verdi, Conservatorio Verdi, Milan
with Antonio Ballista, piano
Presentazione-Concerto del cd LOVESONGS FROM THE AMERICAN SONGBOOK
20.4.2023, Museo della Scala, Milan
with Luca Ciammarughi, presenter and musicologist
Gian Francesco Amoroso, piano
13.5.2023, Villa La Pietra, FLORENCE
New York University, FLORENCE
Talk and Concert CULTURAL CONNECTIONS with various première performances
with Dr. Larry Wolff
Scott Wheeler, composer, piano
Sharan Leventhal, violin
1.7.2023, Basilica di San Giacomo, Bellagio
9.8.2023, Chiesa di SS.Vito e Modesto
Festival di Bellagio e del Lago di Como 2023
Beethoven Irish Songs
Ch.Villiers Stanford Irish melodies
Orchestra di Bellagio
16.9.2023, SIMC (Società Italiana Musica Contemporanea) Centenary Celebration, CORTONA
Recital songs by early 20thC Italian composers
with Raffaele Cortesi
“WITH SEARING MUSICAL INTELLIGENCE AND CLARION, PLIABLE AND FORMIDABLE INSTRUMENT… WINDSOR LEANS INTO THE AMBIGUITY AND HAZE OF MEANING, THE STRANGENESS AND PLAYFULNESS, ETCHING EACH WORK’S INDIVIDUALITY WITH MUSICAL CARE AND INTERPRETIVE INTEGRITY.”
[MÉLODIES DE DEBUSSY] “LORNA WINDSOR A LE GRAND MÉRITE DE LES RESTITUER SANS LA MOINDRE ANICROCHE, DANS DES INTONATIONS PARFAITEMENT DEBUSSYSTES… L’EXCELLENCE DE SON INTERPRÉTATION, NOTAMMENT DANS SOUPIR, PLACET FUTILE ET ÉVENTAIL, POÈMES SYMBOLISTES DE STÉPHANE MALLARMÉ, AUXQUELS LE COMPOSITEUR, CONFÈRE UN EXTRÊME RAFFINEMENT MUSICAL ET QUE LA BELLE VOIX DE LORNA WINDSOR REND SUAVES ET PRESQUE ÉVANESCENTS.”
“BY THE COMPOSER AZIO CORGHI, HER DEATH FOR VOICE AND ORCHESTRA, WITH THE ECCELLENT ACTRESS-SNGER, LORNA WINDSOR, PROFOUNDLY INSPIRED IN THE ROLE OF OPHELIA…”
CORRIERE DELLA SERA
“LA VIE EN ROSE, EDITH PIAF’S DESPERATE CRY, TRANSFORMED BY LORNA WINDSOR IN A FASCINATING AND INTIMATE MURMUR, PROVING THAT LOVE AND PASSIONS ARE LIVED INTENSELY BY EACH ARTIST ACCORDING TO THEIR PARTICULAR SENTIMENTAL CHARACTER.”
LA GAZZETTA DEL MEZZOGIORNO, BARI
“OUR ATTENTION SHIFTS TO THE VOICE OF LORNA WINDSOR, AND HERE WE SHOULD FORGET THAT OF CATHY BERBERIAN AND ABANDON OURSELVES TO LORNA’S FUNCTIONAL AND SEDUCTIVE SINGING. THIS ‘CHANTEUSE’ HAS THE MERIT OF HAVING FORGOTTEN ALL THE HEAVY ‘TOOLS’ OF THE ACADEMIA OF VOICE TRAINING, REGISTERS AND APPROACH.”
MARIO GAMBA – IL MANIFESTO
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