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 Liu in Puccini’s Turandot at the San Francisco Opera under Giuseppe Patane
Mastery requires a constancy of focused vision.
Intellectual learning is the automatic pilot; combined with intuition, this can lead to artistic flight.
The limpid voiced Jane Marsh sings Puccini reminiscent of Tebaldi.
THE LOS ANGELES TIMES |
Born in San Francisco. Graduate of Oberlin College/Conservatory. Described as a "UNIVERSALLY BRILLIANT SINGER." Invited by "White House" to represent U.S. in International Tchaikovsky Competition in Moscow. First singer to win the Gold Medal in that competition. Debut in opera in Europe: Spoleto, Italy (Desdemona in Verdi's "Otello") at the FESTIVAL OF TWO WORLDS, under Thomas Schippers (conductor-director). Debut in opera in the USA: Pamina in Mozart's "Zauberflöte" with the San Francisco Opera. Many further roles sung in Italy and San Francisco. Operas and concerts sung in the USA and Europe with conductors, such as: Leinsdorf, Ormandy, Maazel, Pritchard, Patané, Kubelik, Matacic, Aronowitch, Karajan, Blomstedt, Klobucar, Böhm, Albrecht, Ozawa, Plasson, Bernstein, Schippers, Slatkin, Gui, Molinari-Pradelli, Khaikin, Erede, Zinman, Frübeck de Burgos, Zagrosek, Stein. Recipient of the New York Handel - Medaille (Leontyne Price and Maria Callas were awarded this) for special and exceptional contribution to the world of music: Presidential Award from White House, Washington, D.C.; Mademoiselle Magazine's Special Achievement Award; 4-H High Achievement Award, Time/Life Award, Keys to cities of San Francisco/New York. Engagement at the opera house in Düsseldorf. Guest appearances at La Fenice (Venice), San Carlo (Naples), Trieste, Parma, Palermo, Turin, Rome, Florence, Milano, and all the major opera centers of Italy, the Munich, Hamburg and Vienna State Opera Companies, West and East Berlin opera houses, Dresden, Amsterdam, Madrid... in well known roles, such as Mozart's Fiordiligi ("Cosi fan tutte"), the Countess ("Figaro"), Donna Elvira and Donna Anna ("Don Giovanni"), Elettra ("Idomeneo"), Vitellia in ("Clemenza di Tito"); Verdi roles, such as: Violetta ("Traviata"), Elisabetta ("Don Carlo"), Amelia and Desdemona ("Simon Boccanegra" and "Otello") Leonora, Abigaille, Lady Macbeth ("Forza", "Nabucco", "Macbeth"; Wagner and Strauss roles, such as: Sieglinde ("Walküre"), Daphne, Liebe der Danae ("Danae"), Rosenkavalier ("Marschallin"), Tchaikovsky's: "Eugene Onegin," "Pique Dame," "Maid of Orleans," Rimsky Korsakov's "Invisible City of Kitisch," Norma (Bellini), not to mention the numerous unknown roles created, many for radio. Guest at international festivals in London, Perugia (Sagra Umbra), Florence (Maggio Musicale), USA (New York, Detroit, Worchester Festival) Ossiach (Carinthischer Sommer Festival),Steirischer Herbst (Graz), Bruckner Festival in Linz. In Salzburg, at the Salzburg Festival, Mozart's "Zauberflöte", under Herbert von Karajan, as well as Carl Orff's World Premiere of "De Temporum Fine Comoedia", also under Karajan, "Missa Solemnis" (Beethoven) and Britten's "War Requiem", Otmar Schoeck's "Pentisilea", under Gerd Albrecht. Appeared on television in the USA: with satirist Art Buchwald in Washington D.C., Ed Sullivan in New York. Variety shows from Hollywood with Bing Crosby, Andy Williams, George Burns, Danny Kaye. Live from Tanglewood Festival, a concert with Boston Symphony and conductor Erich Leinsdorf-excerpts from "Eugene Onegin" (Tchaikovsky) and "Aida" (Verdi). International European TV and radio - appearances and recordings: Italy( RAI), Austria (ORF), Germany (WDR, NDR, Bayerischer Rundfunk), London (BBC), Dutch, Spanish and Scandinavian radio and TV – Networks… as Guest Artist and Show – Moderator. Records with RCA Victor, Deutsche Grammophon, Melodia, Stil, ORF, Opera D’Oro, Orfeus. World Premieres: Rorem song cycle – NY Philharmonic (Neumann); von Einem song cycles – Erich Werba, Gerd Ohlssen (accompanists), ORF Orchestra, Vienna Symphony (Wahlberg); Orff Opera – WDR Symphony Orchestra, Bayerische Rundfunk (Karajan, Kubelik). Overwhelming success as Handel stylist in such roles as: Cleopatra (Giulio Cesare), Semele, Alcina, Deidamia, in Great Britain, Germany, Italy, U.S.A. Also much success as Lieder singer and Lied coach: Miss Marsh has sung international Lieder recitals throughout Europe, South Africa and parts of the USA. Such programs as: Rossini/Poulenc/DeFalla, Tchaikovsky/Rachmaninoff, Schubert/Schumann, complete Strauss and complete Wolf programs, Hindemith' s "Marienleben", "Popouri of Delicacies" (20 songs/20 composers), "American Songs & Encores"; programs using themes, such as: "Great Women in History", "Theme of Goethe", "Christmas Theme" (from famous composers); Miss Marsh also introduced "Super Titles" for the first time into the concert hall, and she will introduce the lush Joseph Marx “Italienisches Liederbuch” to New York audiences for the first time (December of 2006). These, the remaining poems from Paul von Heyse not used by Hugo Wolf for his “Italienisches Liederbuch.” A particularly wide range of Opera, Concert, Oratorio, and Lieder is covered by this artist, in which she also conducts Master Classes, a result of which has led to much success as an Interpretation Coach and Advisor to singers launching new careers and/or new images to their careers. Miss Marsh is also a Lecturer and a Judge for vocal competitions, and is often Mistress of Ceremonies and takes part on advisory committees for international competitions. She translates program texts, has written a book of anecdotes and an opera cookbook- involving divas, colors, food categories and poetry (all of which were focus’ in her college years), and two musical anthologies on the themes of “Advent & Christmas Songs” and “Encores”, the first of which is to be published in May of 2008, by Oxford University Press. Ms. Marsh begins lectures for the Metropolitan Opera Guild on October 3 & 10 of the 2007/08 season, in New York, on the theme of “bel canto.” |
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 Alcina in Handel’s Alcina at the Deutsche Oper am Rhein under Edward Downes
Part of establishing a career house is to think, at the foundation, of the goals involved, and understand when to commence planning.
In the middle of an aria, applause is often ones greatest soul mate, in that it enables one to rest and oxygenate oneself, in order to sail to the end.
The beautiful voiced Jane Marsh sang with elegance and powerful agility.
WASHINGTON POST |
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TELEVISION IN USA |
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 On February 23, 2006, at the Austrian Cultural Forum in NYC, Jane put together an innovative Master Class Showcase of Mozart & Salieri works, showcasing Opera Index Vocal Competition singer quality. Left to right:
Pianist Linda Hall, Master Class Coordinator & Mistress of Ceremonies Jane Marsh, Tenor Michael Szczesniak, Mezzo Kate Lindsey, Soprano Yana Eminova.
Each vocal category has it’s own longevity, with few exceptions.
Left to right: Soprano Jane Marsh, Stage Director Dona Vaughn, Soprano Martina Arroyo.
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Master Classes, in Opera & Song Repertoire, given in: “Master Classes are quantity and quality in a very short time, so cutting to the chase is important. I enjoy the challenge of getting results quickly, without trespassing on vocal technical territory-not requested in a normal Master Class, which encompasses many aspects-unless it’s a Master Class solely in Vocal Technique.”
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 Steve De Maio, Jane Marsh, Licia Albanese at Licia Albanese-Puccini Foundation Gala Dinner.
Index Vice President and composer Philip Hagemann, Jane Marsh, and Opera Index President and periodontist Murray Rosenthal.
It would be wise to consider the asset of age in dramatic voices, such as needed for Verdi and Wagner, when deciding age limits in competitions.
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Jury Panelist or Head of Jury: Jane has judged the Opera Index Vocal Competition in New York and is now launching a new, yearly lecture series for Opera Index. |
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 Jane was invited to begin a lecture series for the Opera Index Vocal Competition in New York.
(left to right): Baritone-Sherrill Milnes, Soprano-Jane Marsh, Los Angeles Opera Board of Directors-Sherwin Sloan
Short pre-Master Class lectures are small "donkey bridges" of information for listeners and participants.
 Jordan Shanahan and Jane Marsh (OPERA INDEX winner, who attended Jane's 2005 Opera Index lecture, "Reinventing Your Career")
Part of establishing a career house is to think, at the foundation, of the goals involved, and understand when to commence planning.
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lectures
Lecturer & Lectures given at:
"Understanding the Learning Tempo and the Automatic Pilot Through Practice” "Presentation of Artist & Program” "Architecture Importance in Style & Color” "Bel Canto & Verdi” "Mahler, Natur Bursch-The Nature Boy“ "Courage to Create Ones Own Podium & Thumbprint via Adapting the Rules” “Understanding Preparation for an Opera Career” “Presenting Yourself & Your Program” “Recital Preparation” “Reinventing your Career” “Finding a Voice Teacher, Coach, Accompanist, Manager, & Press Agent” “Bel Canto Spanned the 17th to 19th Centuries” “Bel Canto Operas: Le Fille du Regiment & Il Barbiere di Siviglia” |
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 Donna Elvira in Mozart’s Don Giovanni at the Teatro alla Scala under Francesco Molinari-Pradelli
The idea of hosting a media vehicle as a communication source for stars and new talents, to say nothing of giving me opportunity to talk with some of these people in their own languages, has gala and globally informative overtones.
Super titles should be placed in every hall where text is sung. I sang a recital using super
titles at the Santa Rosa State College, in 1990. This lifts the language barrier and builds publics.
It is evident that Ms. Marsh possesses a vocal timbre of unusual beauty.
THE GUARDIAN |
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Jane Marsh and Martina Arroyo with singers from the Martina Arroyo Foundation Master Class Summer Series inauguration, conducted by Jane Marsh, July 2, 2005, at the CUNY Graduate Center NYC
