Archive Menu 1983

1983 THE WINNERS

GRAND PRIZE OF THE CITY OF DEN BOSCH
Judith Malafronte Mezzo-soprano USA
SOPRANO PRIZE
1st prize Not awarded Soprano  PO
2nd prize Mila Krustnikova Soprano  BGR
2nd prize Alison Pearce Soprano  UK
2nd prize Nellie van der Sijde Soprano  NL
MEZZO/ALTO PRIZE
1st prize Judith Malafronte Mezzo-soprano USA
2nd prize Elizabeth Campbell Mezzo-soprano AUS
TENOR PRIZE
Not awarded
BARITONE/BASS PRIZE
1st prize Not awarded    
2nd prize Harald Bjørkøy Baritone NOR
2nd prize John Hancorn Baritone UK
COUNTERTENOR PRIZE
No candidates
HONORARY DIPLOMA (THIRD PRIZE)
Tamás Csurja Bass-baritone HUN
Suzanne Rodas Soprano USA
TOONKUNST ENCOURAGEMENT PRIZE
Andrea Poddighe Baritone ITA/NL
FRIENDS OF SONG PRIZE
Jorine Samson Baritone NL
BUMA FOUNDATION PRIZE
1st prize Not awarded  
2nd prize Chieko Okazaki Mezzo-soprano JPN
JANINE MICHEAU FRENCH REPERTOIRE PRIZE
Marga Melerna Mezzo-soprano NL
GRÉ BROUWENSTIJN DUTCH OPERA TALENT PRIZE
Not awarded
ELLY AMELING SONG PRIZE
Elizabeth Campbell Mezzo-soprano AUS
ERNA SPOORENBERG PRIZE
Judith Malafronte Mezzo-soprano USA
TROS BROADCASTING PRIZE
John Hancorn, Judith Malafronte

 

Judi th Malafronte

 

  • IVC 1983 Judith Malafronte 13
  • IVC 1983 Judith Malafronte 13malafronte

“The ‘Day of the Mezzos’ became a veritable triumph for the overwhelming American mezzo Judith Malafronte, whose reputation is already established. Malafronte, age 32, has a bell-like voice and fabulous technique, especially in coloratura. The only one to receive a curtain call during the finals, she triumphed even before the jury had a chance to honor her.” (Ferd op de Coul, “Sensationeel optreden Malafronte,” September 1973)

American mezzo-soprano Judith Malafronte (b. August 20, 1951, New Haven, Connecticut) told critic Ferd op de Coul that she had to overcome some fears in order to return to Den Bosch, where in 1982 she had lost in the semifinals. Said Malafronte:

“A little voice inside my head kept bugging me to try again. So many things happened that year, so many people gave all sorts of advice, and I got confused. … I am glad I got the chance to show the people here what I have been doing for the past year. … I learned my trade from Giulietta Simionato, an amazing, indestructible and energetic living legend who taught me to approach each role in any given language individually. … More theoretical and technical things I studied with Nadia Boulanger. I prefer tragic roles to comic opera because in my heart I am a serious person and then, well, comic roles are much more difficult because timing is crucial for the effect. … The IVC was not my Dutch debut: in Utrecht, some years back, I performed in the world premiere of a Steve Reich composition.”

Malafronte had an impressive career in opera, oratorio, and recital. Her operatic roles include major mezzo parts in Serse, Scarlatti’sL’Aldimiro, Dido and Aeneas (singing both Dido and the Sorceress), Tamerlano, L’incoronazione di Poppea and Il ritorno d’Ulisse in patria. She recorded for BMG, DHM, EMI, and Koch in a wide range of repertoire, from the 12th-century chant of Hildegard von Bingen to Richard Strauss, as well as Handel operas, Bach cantatas, medieval music and 17th-century Spanish music.

Eliz‹abeth Campbell

  • Campbell-Elizabeth-01
  • Elisabeth CAmpbell
  • Elisabeth Campbell 2
  • Liliane Bizineche 4

“Malafronte may be the star of this IVC, yet one should not overlook the excellent competition from considerable talents such as Elizabeth Campbell whose rendition of a song cycle by De Falla was a first-class achievement.” (Ferd op de Coul, “Vier Prijzen,” September 1983)

“The Australian Elizabeth Campbell made a tremendous impact with some Schoenberg songs, rendered with great dramatic power, rich coloring and an enormous compass.” (Ferd op de Coul, “Slotconcert Imponerend,” September 1983)

Australian mezzo-soprano Elizabeth Campbell graduated from the Sydney Conservatorium of Music and completed her studies in London and Europe. Apart from winning Second Prize and the Elly Ameling Song Prize in Den Bosch, she represented Australia in the Cardiff Singer of the World Competition. She made her operatic debut as Carmen with West Australia Opera. Her operatic repertoire includes leading roles in Così fan tutte, Evgeni Onegin,Carmen, Serse, Giulio Cesare, Alcina, La clemenza di Tito,Boris Godunov, Die Meistersinger von Nürnberg, Les Troyens, Les contes d’Hoffmann, Werther, Hänsel und Gretel,La forza del destino, Il trovatore, Madama Butterfly, Lulu, Peter Grimes, Die Fledermaus,L’incoronazione di Poppea, Der Ring des Nibelungen, Capriccio, Rigoletto, Andrea Chénier, The Turn of the Screw and Dead Man Walking, as well as the world premieres of Richard Mills’s Summer of the Seventeenth Doll (1996), Batavia (2001) and The Love of the Nightingale (2002) and Moya Henderson’s Lindy (2002). Campbell is one of Australia’s leading concert artists and recitalists. Additionally, she has performed at Covent Garden, toured the United States with the Sydney Symphony and given recitals at Wigmore Hall and in The Hague and Antwerp. Currently she is shifting her repertoire to more mature roles. Her recordings include Mahler’s Symphony No. 2, Elgar’s Sea Pictures, Beethoven’s Symphony No. 9, Messiah, Giulio Cesare, Summer of the Seventeenth Doll and South Australia’s Ring cycle.

Nellie van der Sijde

IVC 1983 Nellie van der Sijde“The Brabant Orchestra under Jan Stulen accompanied Brabant-born Nellie van der Sijde with Mozartian charm in ‘Porgi amor’ from Le nozze di Figaro , and she sang it to perfection. Her light, agile voice and her musical understanding are magnificent not only in arias but also in lieder, as could be heard in Wolf and, even better, in Schubert’s ‘Gretchen am Spinnrade,’ very accurately accompanied from the piano by Frans van Ruth.” (Ferd op de Coul, Brabants Dagblad, September 8, 1983)

artists