Joo-Anne Bitter, "Einsam in trüben Tagen", (Elsa, Lohengrin 1. Akt)
Forestilling krediteringer
Tidligere forestillinger 2013 – i går
Die Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterGerhilde
Se medvirkende og produktionsholdLe nozze di Figaro (The Marriage of Figaro), Mozart
Theater LübeckLa Contessa di Almaviva (The Countess of Almaviva)
Se medvirkende og produktionsholdDie Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterHelmwige
Se medvirkende og produktionsholdDie Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterHelmwige
Se medvirkende og produktionsholdDer Vogelhändler (The Bird Seller), Zeller
Stadttheater KlagenfurtKurfürstin Marie (Electress Marie)
Se medvirkende og produktionshold-
Fremhævede tidligere præstationer
Die Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterGerhilde
Se medvirkende og produktionshold
Le nozze di Figaro (The Marriage of Figaro), Mozart
Theater LübeckLa Contessa di Almaviva (The Countess of Almaviva)
Se medvirkende og produktionshold
Die Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterHelmwige
Se medvirkende og produktionshold
Die Walküre (The Valkyrie), Wagner, Richard
Oldenburgisches StaatstheaterHelmwige
Se medvirkende og produktionshold
Kommende forestillinger
1Le nozze di Figaro (The Marriage of Figaro), Mozart
Theater LübeckLa Contessa di Almaviva (The Countess of Almaviva)
Se medvirkende og produktionshold
Biografi
The German soprano Joo-Anne Bitter is today considered to be the ideal cast in the lyric dramatic Wagnerian subject. Her role debuts as Elsa in Lohengrin and Eva in Die Meistersinger von Nürnberg at the Tyrolean Festival Erl in Austria and tours to China were rounded up with her very successful role debut as Elisabeth in Tannhäuser (Conductor Nicholas Carter) at the Stadttheater Klagenfurt this season. Joo-Anne Bitter has consistently developed these successes after completing her master's degree and her work as a PR consultant and communication coach. Encouraged by her Donna Anna debut in Mozart's Don Giovanni at the Hamburg Chamber Opera she fully devoted herself to her artistic talents. This followed game-changing and handpicked roles in the german repertoire like Pamina in Mozart's Zau
