COMMANDOpera was researching the new season at the Cleveland Opera and found that Lucia di Lammermoor would be opening the season which begins in May. Most striking within the production was the Lucia whom COMMANDOpera had already been aware of and was watching having heard of her uniqueness in range combined with serious volume. The 28 year old Israeli Soprano,Miss Nili Reimer. COMMANDOpera often profiles Tenor’s and Baritones with a sprinkling of Mezzo Soprano’s, however rarely a soprano of any range. The reason is the distinct rarity of new voices within the vocal range. Miss Riemer owns an extraordinary instrument which easily runs up to A, however the artist is prepared to sing only up to G in public as a matter of good taste. The fashion today one might suggest, is the current use of engaging Lyric Soprano’s with a rather round ‘Russian’ tone with an extension to the upper register to cast in true coloratura roles. COMMANDOpera appreciates the necessity of this when the correct vocal range is not readily available. A true Coloratura owns a natural, unforced golden and crystalline tone in the upper register which any Lyric Soprano regardless of extension cannot manage. This particular coloratura owns a phenomenal vocal instrument which does not arrive all too often at this calibre. When listening to the performance clips offered within this article, note the fullness of tone and velvety quality to each and every register of this artist. Here is Miss Riemer as Rosina from Il Barbiere di Siviglia:
Miss Riemer sings a highly embellished ‘Una voce poco fa’.
COMMANDOpera spoke with Miss Riemer today from Germany where the artist is in Heidleberg and is currently performing the Queen of the Night. This is repertory theatre and the Zauberflote performances are so popular they keep selling out, which means her stay continues to get extended. This Queen of the Night has an alcohol problem which gives Miss Riemer a great deal of pleasure when it comes to playing her. There is always going to be some fresh and interesting nuance which can be found in each performance. COMMANDOpera wonders if this may have something to do with the audience craze for this show. Miss Riemer likened her to an aging Judy Garland who is locked out of seeing her daughter Liza Minelli perform and turns to booze for solace.
Miss Riemer sings ‘O Zittre Nicht’ Heidleberg. 2009.
Miss Riemer holds a Master of Music degree from the State University of New York-Binghamton and is a graduate of the dual-degree program at New England Conservatory of Music and Tufts University, where she earned a Bachelor of Music and a Bachelor of Arts with a concentration in International Relations. The artist has received a number of awards from the Gerda Lissner Foundation, Shoshannah Foundation, Career Bridges, Schubert Club Competition, Altamura-Caruso International Vocal Competition, Queens Opera Competition, and Nebraska district Metropolitan Opera National Council Auditions.
Given that Miss Riemer was currently living in the land of modern update Koncept productions, COMMANDOpera enquired as to her opinion of such updates. Although she would not confess to any particular leanings in any manner, she did make a nascent point. While Miss Riemer feels many works can be updated, it is essential that the full span of the entire work be properly thought out so every air, duet, trio, etc, makes sense. She then postulated on a number of different hypothesis for Lucia which would or would not work and why. Which lead to her own approach to the character of Lucia herself. And oh did COMMANDOpera like what this artist had to say when querying the artist on what newness she would bring to the role. Miss Riemer clearly did not see Lucia as imbalanced even slightly in the first air ‘Regnava’. Rather, she likened her to a happy modern day girl who would be fanatically into say, the Twilight Zone. Excellent opinion and thinking when one considers Lucia is first found with Alice out in the forest discussing strange, almost paranormal matters and occurrences in such vista’s. Given this set up to the character, one can eerily visualise Lucia’s descent into believable madness as such a girl as we would know her today in this scenario would raise an eyebrow at the office. Miss Riemer would not give away more than that however…. Just brilliant.
Miss Riemer sings Olympia’s aria ‘Les Oiseaux dans la charmille’. A virtual homage to Miss Sills.
COMMANDOpera enquired as to what Bellini roles Miss Riemer would be interested in essaying, and Amina stood large. Currently the artist is enjoying the challenges of Mozart and Strauss a great deal, with Donizetti evidenced now and again. Specific Italianate repertoire is coming into range, and Miss Riemer will look more into the Bel Canto works as they become suitable for her vocal instrument. COMMANDOpera was extremely impressed on all levels with what this artist had to say when obliged to speak pointedly on all topics. Miss Riemer has the assuring confidence of an artist who knows distinctly what her vocal instrument can do, and when she intends to do it. If COMMANDOpera were to consider a future dream pairing come true, it would have to be Miss Riemer and Mr. Fabiano appear together in Manon by Massenet.
The Stratospheric Miss Nili Riemer
Photo Credit: Mr. David Neuse.
COMMANDOpera was researching the new season at the Cleveland Opera and found that Lucia di Lammermoor would be opening the season which begins in May. Most striking within the production was the Lucia whom COMMANDOpera had already been aware of and was watching having heard of her uniqueness in range combined with serious volume. The 28 year old Israeli Soprano,Miss Nili Reimer. COMMANDOpera often profiles Tenor’s and Baritones with a sprinkling of Mezzo Soprano’s, however rarely a soprano of any range. The reason is the distinct rarity of new voices within the vocal range. Miss Riemer owns an extraordinary instrument which easily runs up to A, however the artist is prepared to sing only up to G in public as a matter of good taste. The fashion today one might suggest, is the current use of engaging Lyric Soprano’s with a rather round ‘Russian’ tone with an extension to the upper register to cast in true coloratura roles. COMMANDOpera appreciates the necessity of this when the correct vocal range is not readily available. A true Coloratura owns a natural, unforced golden and crystalline tone in the upper register which any Lyric Soprano regardless of extension cannot manage. This particular coloratura owns a phenomenal vocal instrument which does not arrive all too often at this calibre. When listening to the performance clips offered within this article, note the fullness of tone and velvety quality to each and every register of this artist. Here is Miss Riemer as Rosina from Il Barbiere di Siviglia:
Miss Riemer sings a highly embellished ‘Una voce poco fa’.
COMMANDOpera spoke with Miss Riemer today from Germany where the artist is in Heidleberg and is currently performing the Queen of the Night. This is repertory theatre and the Zauberflote performances are so popular they keep selling out, which means her stay continues to get extended. This Queen of the Night has an alcohol problem which gives Miss Riemer a great deal of pleasure when it comes to playing her. There is always going to be some fresh and interesting nuance which can be found in each performance. COMMANDOpera wonders if this may have something to do with the audience craze for this show. Miss Riemer likened her to an aging Judy Garland who is locked out of seeing her daughter Liza Minelli perform and turns to booze for solace.
Miss Riemer sings ‘O Zittre Nicht’ Heidleberg. 2009.
Miss Riemer holds a Master of Music degree from the State University of New York-Binghamton and is a graduate of the dual-degree program at New England Conservatory of Music and Tufts University, where she earned a Bachelor of Music and a Bachelor of Arts with a concentration in International Relations. The artist has received a number of awards from the Gerda Lissner Foundation, Shoshannah Foundation, Career Bridges, Schubert Club Competition, Altamura-Caruso International Vocal Competition, Queens Opera Competition, and Nebraska district Metropolitan Opera National Council Auditions.
Given that Miss Riemer was currently living in the land of modern update Koncept productions, COMMANDOpera enquired as to her opinion of such updates. Although she would not confess to any particular leanings in any manner, she did make a nascent point. While Miss Riemer feels many works can be updated, it is essential that the full span of the entire work be properly thought out so every air, duet, trio, etc, makes sense. She then postulated on a number of different hypothesis for Lucia which would or would not work and why. Which lead to her own approach to the character of Lucia herself. And oh did COMMANDOpera like what this artist had to say when querying the artist on what newness she would bring to the role. Miss Riemer clearly did not see Lucia as imbalanced even slightly in the first air ‘Regnava’. Rather, she likened her to a happy modern day girl who would be fanatically into say, the Twilight Zone. Excellent opinion and thinking when one considers Lucia is first found with Alice out in the forest discussing strange, almost paranormal matters and occurrences in such vista’s. Given this set up to the character, one can eerily visualise Lucia’s descent into believable madness as such a girl as we would know her today in this scenario would raise an eyebrow at the office. Miss Riemer would not give away more than that however…. Just brilliant.
Miss Riemer sings Olympia’s aria ‘Les Oiseaux dans la charmille’. A virtual homage to Miss Sills.
COMMANDOpera enquired as to what Bellini roles Miss Riemer would be interested in essaying, and Amina stood large. Currently the artist is enjoying the challenges of Mozart and Strauss a great deal, with Donizetti evidenced now and again. Specific Italianate repertoire is coming into range, and Miss Riemer will look more into the Bel Canto works as they become suitable for her vocal instrument. COMMANDOpera was extremely impressed on all levels with what this artist had to say when obliged to speak pointedly on all topics. Miss Riemer has the assuring confidence of an artist who knows distinctly what her vocal instrument can do, and when she intends to do it. If COMMANDOpera were to consider a future dream pairing come true, it would have to be Miss Riemer and Mr. Fabiano appear together in Manon by Massenet.