Se l'augellin sen fugge

The International Vocal Competition’s “Mozart masterclass and More” course week reached its conclusion on 3rd December 2020. Under the motto ‘The world keeps on singing’, eight talented young singers worked intensively with the masters Vesselina Kasarova, Roberta Alexander and Thomas Oliemans on Mozart repertoire. In addition to the master classes, the participants also had online discussions with leading international professionals and the Presentation Concert on the programme.
"Mozart masterclass and more" was set up to provide a stage for young singing talent after the 54th edition of the International Vocal Competition had to be moved to 2022 due to COVID-19. General Director of the IVC Ivan van Kalmthout is delighted that the masterclasses have continued. “Our mission is to give young singing talent the opportunity to develop. The sharing of knowledge by the masters is essential for these vocalists. Just like performances: gaining experience is important for their young careers.”

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Melina Meschkat, Mezzo-soprano
Germany (*1991)

Studied classical singing and music theatre in Saarbrücken with IVC Laureate Ruth Ziesak - Completed her Master's degree in Opera at the Hochschule für Musik und Theater Hamburg last year - sang opera roles with a.o. Saarländisches Staatstheater and Oper in Starnberg - Annio in Mozart's La clemenza di Tito with Kammeroper Hamburg - Prizewinner Mozart Wettbewerb Absalom-Stiftung and Elise-Meyer Wettbewerb Hambug.

Course repertoire:
· Se l'augellin sen fugge (Ramiro) - La finta giardiniera
· Va pure ad altri in braccio (Ramiro) - La finta giardiniera
· Non so più cosa son, cosa faccio (Cherubino) - Le nozze di Figaro
· Voi, che sapete (Cherubino) - Le nozze di Figaro
· Ah scostati!... Smanie implacabili (Dorabella) - Così fan tutte
· Parto, ma tu ben mio (Sesto) - La clemenza di Tito
· Deh, per questo istante solo (Sesto) - La clemenza di Tito
· Il core vi dono (Dorabella, Gulielmo) - Così fan tutte
· Ah, perdona al primo affetto (Servilia, Annio) - La clemenza di Tito

Pianist: Ernst Munneke

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Roberta Alexander, Soprano
Among the most compelling singing actresses of our time, the admired black American soprano, Roberta Alexander, enjoys international renown for her riveting, incisive characterizations, miraculous vocal and dramatic range. She was reared in a musical family. She studied at the University of Michigan in Ann Arbor from 1969 to 1971, receiving M. Music in 1971, and with Herman Woltman at the Royal Conservatory of Music at The Hague.
Roberta Alexander appeared as Pamina at the Houston Grand Opera in 1980, as Daphne in Santa Fe in 1981, and as Elettra in Idomeneo in Zürich in 1982. Following a tour of Europe, she made a successful debut at the Metropolitan Opera in New York as Zerlina in November 1983. Among the operatic heroines she has unforgettably portrayed are the title role of Janacek's Jenufa (a Glyndebourne production), Mimì in Puccini's La Bohème, and especially the great Mozart heroines: Fiordiligi in Così fan tutte, Donna Elvira in Don Giovanni and Vitellia in Mozart's La Clemenza di Tito, the latter a major success with both the public and the press at the Glyndebourne Festival. In addition she has performed principal roles at New York's Metropolitan Opera, the Royal Opera House/Covent Garden, and the major Houses of Berlin, Hamburg, Vienna, Zurich and Venice. In January 1999, Roberta Alexander sang concert performances of Jenufa, Act 2 with Sir Simon Rattle and the Philadelphia Orchestra, in Philadelphia and at New York's Carnegie Hall. Other recent North American highlights includes a Washington, D.C. recital on the distinguished Vocal Arts Society series and Britten's War Requiem with the Utah Symphony under its Music Director Keith Lockhart, both receiving rapturous critical acclaim.
Equally esteemed as an orchestral soloist, Roberta Alexander recently enjoyed particular success performing Ravel's Shéhérazade with André Previn and the NDR Sinfonieorchester, telecast throughout Europe. She has also performed with the Vienna, London and Royal Philharmonics; Royal Concertgebouw, Philadelphia, Cleveland and Bavarian Radio Orchestras; Cincinnati, Atlanta and Dallas Symphonies; and collaborated with such distinguished conductors as Vladimir Ashkenazy, Andrew Litton, Bernard Haitink, Sir Colin Davis, Nikolaus Harnoncourt, James Levine, Zubin Mehta, Carlo Maria Giulini, Leonard Slatkin, Jesus Lopez-Cobos, Edo De Waart and David Zinman.
Roberta Alexander's voluminous discography on the Etcetera, Philips, Sony, Teldec and BMG reflects her astonishing mastery of varied vocal styles: songs by Barber, Mozart, Bernstein, Ives, Copland, Strauss, Handel's Giulio Cesare, Apollo e Daphne, Samson and Theodora; Mozart's Don Giovanni and Idomeneo; and such rarities as Goldschmidt's Der Gewaltige Hahnrei and Beatrice Cenci, Heppener's Four Songs of Ezra Pound and an Edison-winning recording of Andriessen's Songs with Orchestra.