Anna Steiger
Opera singer
Anna Steiger
Anna Justine Steiger is a British opera singer who has sung leading soprano and mezzo-soprano roles in British, and European, and North American opera houses . She is the daughter of Claire Bloom and Rod Steiger.
Biography
Anna Steiger's personal information overview.
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Opéra Nice Côte-d'Azur : saison 2011-2012 - Qobuz.com
Google News - over 5 years
Edita Gruberova (Norma), Sophie Koch (Adalgisa), Massimo Giordano (Pollione), Wojtech Smilek (Oroveso), Anna Steiger (Clotilda), Paul Cremazi (Flavius), Ron Daniels (mise en scène) le Chœur de l'Opéra de Nice, l'Orchestre Philharmonique de Nice,
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Google News article
Wo „leckt“ die Frauen-Karriereleitung an der TU Wien? - Studium.at
Google News - over 5 years
Anna Steiger, liefern die umfassenden Erkenntnisse über Studien-, Einstellungs- und Aufstiegsbedingungen für Frauen die Grundlage für nachhaltige Maßnahmen gegen die Leaky Pipeline an der TU Wien: „Die Ergebnisse aus dem Leaky Pipeline Projekt sind
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Google News article
Uni Wien: Engl präsentiert sein Rektoratsteam - DiePresse.com
Google News - almost 6 years
Neu ist das Ressort Personal und Gender, das die Juristin Anna Steiger übernimmt. Sie war seit 2003 Vizerektorin für Personal, Ressourcen und Frauenförderung an der Akademie der bildenden Künste Wien. Der technische Chemiker Johannes Fröhlich übernimmt
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Neues Rektorat an der TU Wien fixiert - Studium.at
Google News - almost 6 years
Anna Steiger studierte Rechtswissenschaften an der Uni Wien. Von 1995 bis 2001 war sie an der Akademie der bildenden Künste Wien für Personal- und Rechtsangelegenheiten zuständig. In der Zeit von 2001 bis 2003 fungierte sie als Bereichsleiterin für
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Goodbye, Connecticut
NYTimes - over 20 years
Leaving a Doll's House A Memoir. By Claire Bloom. Illustrated. 251 pp. Boston: Little, Brown & Company. $23.95. The possibility that many of us are fated to choose partners we need but don't necessarily want was brought home to me when I finished reading Claire Bloom's harrowing account of her relationship with the novelist Philip Roth in her
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NYTimes article
Review/Music; Dutch Opera in an Italian 'Ulysses'
NYTimes - over 23 years
In its unedited form, Monteverdi's "Return of Ulysses" looks at the Homeric tale of Ulysses's homecoming from a split perspective. Mostly, we see the story unfolding in mythologized but human terms. Yet there is also an otherworldly overlay, in which discussions between Jove and Neptune suggest the limits to which mortals determine their fates.
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NYTimes article
The Spoken Word
NYTimes - about 24 years
"A RUSSIAN WEEKEND WITH CLAIRE BLOOM," Symphony Space, Broadway and 95th Street. A weekend of readings of Russian literature by the actress and others, including the actor Fritz Weaver and the Russian actress Alla Demidova; and a performance of Russian poetry set to music by Prokofiev, by Anna Steiger, a soprano. Tonight at 8, Ms. Bloom and Mr.
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NYTimes article
THEATER; New Voices for Two Silenced Russian Poets
NYTimes - about 24 years
CLAIRE BLOOM, THE BRITISH actress, had just ended her solo show, "Shakespeare's Women," at the legendary Moscow Art Theater, where an audience of Russians had listened intently for an hour and a half to the intricate subtleties of Elizabethan English. Now, she was visiting Alla Demidova, a leading actress of the Moscow stage, who has more than once
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NYTimes article
RECORDINGS VIEW; In Mozart, Levine Remains a Romantic
NYTimes - almost 25 years
THE 1991 MOZART BIcentenary has occasioned innumerable recordings -- probably too many for his, or our, good. The conductor James Levine has not been exempt from this largess. For several years he has been embarked on Mozart projects, both symphonic and operatic, designed to bear fruit for the bicentenary, the most recent results of which are now
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NYTimes article
Review/Opera; Ravel and Sendak, Affectionately Paired
NYTimes - over 26 years
The double bill of Maurice Ravel's entire operatic output -- the witty "Heure Espagnol" of 1907 and the enchanting "Enfant et les Sortileges" of 1924, each about 50 minutes long -- finally made it on Saturday to the New York City Opera, where it will run with alternating casts through Sunday afternoon. Directed by Frank Corsaro and designed by
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NYTimes article
CLASSICAL MUSIC; The Operatic Art Redefined, Ravel's Way
NYTimes - over 26 years
HOW CAN YOU NOT LOVE AN opera, taking place "two steps from the Estramadure, in the land of the Guadalquivir," in which we learn that an appropriately affectionate diminutive of the name Torquemada would be "Totor"? Or one in which Arithmetic, in the form of a nasty little old tenor accompanied by a chorus of savage numerals, appears to torment a
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NYTimes article
Review/Opera; Brecht-Weill 'Mahagonny,' Set in 20's Hollywood
NYTimes - over 27 years
LEAD: The Los Angeles Music Center Opera, which in its first three seasons has brought home-grown, big-time opera to this city for the first time, has a penchant for splashy, flashy productions. The opening pair of fall operas consists of a ''Tosca'' with Maria Ewing, conducted by Placido Domingo, and a new staging of the Brecht-Weill ''Rise and
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Timeline
Learn about memorable moments in the evolution of Anna Steiger
    THIRTIES
  • 1991
    Age 31
    She has sung many times with Nicolaus Harnoncourt and in 1991 recorded with him the role of Despina with the Concertgebouw Orchestra for the Teldec/Warner Classics label.
    More Details Hide Details In the mid-1990's Steiger began concentrating on the mezzo-soprano repertoire and went on to sing:
  • TWENTIES
  • 1988
    Age 28
    From 1988, she sang at other opera houses in the UK, including, the Royal Opera House, Covent Garden, with roles in Parsifal, Jenůfa and The Knot Garden, and the English National Opera in The Makropulos Affair.
    More Details Hide Details Abroad, her roles have included Despina in Così fan tutte (Amsterdam, Stuttgart and Zurich), Zerlina in Don Giovanni (Seattle Opera, Stuttgart and Nancy), Governess in The Turn of the Screw (La Fenice), Jenny in Rise and Fall of the City of Mahagonny (Los Angeles Opera), the Composer in Ariadne auf Naxos (Opera Theatre of St. Louis), Concepcion (New York City Opera and Geneva), Serpetta in La finta giardiniera (Frankfurt and Lausanne), and Damigella in L'incoronazione di Poppea at the Salzburg Festival.
  • 1987
    Age 27
    With Glyndebourne Touring Opera, she sang the role of Sashka in the 1987 world premiere of Nigel Osborne's The Electrification of the Soviet Union.
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  • 1986
    Age 26
    In 1986 she sang the title role in Monteverdi’s L'incoronazione di Poppea at Glyndebourne, and she has since returned to sing in many productions there in roles such as Concepcion in L'heure espagnole.
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  • 1984
    Age 24
    Her professional debut was as Dorabella in Così fan tutte in 1984 with Opera 80.
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  • 1982
    Age 22
    She won the Sir Peter Pears Award in 1982, the Richard Tauber Prize in 1984, and the John Christie Award in 1985.
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  • TEENAGE
  • 1977
    Age 17
    Steiger was born in Los Angeles, California. She trained with Noelle Barker at the Guildhall School of Music in London from 1977 to 1983 and then with Vera Rozsa at the National Opera Studio from 1985 to 1986.
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  • CHILDHOOD
  • 1960
    Age 0
    Born in 1960.
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