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Soprano Isabel REY, Soprano

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Soprano Isabel REY, Soprano Isabel Rey soprano OUTUMURO © Fidelio Artist Isabel REY, soprano Dedicated body and soul to her vocation: singing, music and theatre, the soprano Isabel Rey, who hails from Valencia, Spain, is internationally recognized for her exquisite vocal technique and her sensitive acting skills. She is one of the few Spanish artists to have had the honour of performing regularly in the Salzburg Festival and her distinguished career has taken her to the most important opera capitals, performing in Vienna, Munich, Hamburg, Berlin, Zurich, London, Edinburg, Madrid, Barcelona, Valencia, Paris, Los Angeles, Washington, Stockholm, New York, Brussels, Moscow, Tokyo, Osaka, Kobe, Rome, Venice and Amsterdam. Having mastered a wide repertoire, ranging from Monteverdi to Stravinsky, this very versatile singer and actress has sung the lead roles in more than 55 different operas over the last three decades, the most notable being Le nozze di Figaro, Die Zauberflöte, Cosi fan tutte, Idomeneo, Don Giovanni, La Finta Giardiniera, Lucia di Lammermoor, Don Pasquale, L'Elisir d'amore, La Fille du Règiment, King Arthur, Alcina, Die Fledermaus, Die Königskinder, Rigoletto, Falstaff, Simone Boccanegra, Otello, Faust, Les Contes de Hoffmann, Les pêcheurs de perles, Carmen, Der Rosenkavalier, La Bohème, Dialogues des carmelites, Pelléas et Mélisande and The Rake’s Progress, always working with conductors of the importance of Nikolaus Harnoncourt, Gianandrea Noseda, Nello Santi, Jesús López Cobos, Ramón Tebar, Franz Welser-Möst, Ton Koopman, Rafael Frühbeck de Burgos, Michel Plasson, Marcello Viotti, Adam Fischer, Neville Marriner, Alain Lombard, Alberto Zedda, Leopold Hager, Michel Corboz, William Christie, Marc Minkowski, Fabio Biondi, Fabio Luisi and Lorin Maazel. As Susanna in Le nozze di Figaro / Teatro Real de Madrid . Born in Valencia, she began her musical training at the age of six with Pepe Doménech Part, going on to join the “Pequeños Cantores de Valencia” (Little Singers of Valencia) group two years later. She began to study singing at the conservatoire of her home city with Ana Luisa Chova, graduating with honours for exceptional ability. She continued her training with Tatiana Menotti and Juan Oncina, as well as taking master classes with Alfredo Kraus, Montserrat Caballé, Renata Scotto and Ileana Cotrubas. After winning the Bilbao International Singing Competition – among other competitions – Rey debuted in the lead role of La Sonnambula (Bellini) in 1987, beginning a career which has established her as one of the most important performers of her generation. Her international debut came in 1988 with Les contes d’Hoffmann (Olympia) in the Lieja Opera House, Belgium, and the production then toured Russia. In 1988 she went on stage at the Vienna Konzerthaus for the first time, appearing in Mozart’s Exsultate, Jubilate, and she returned to Vienna the year after to sing in the rarely performed Ascanio in Alba, also by Mozart. It was then that she appeared in the Teatro de La Zarzuela, Madrid in Ilia’s Idomeneo, returning immediately to Vienna to sing in Handel’s oratorio, Saul. It was her Susanna in Mozart’s Le nozze di Figaro in the Amsterdam Opera House in 1993, conducted by Nikolaus Harnoncourt, which brought her to the attention of the media. She was hailed as one of the “young stars of the international opera scene”, which opened up the doors of the principal opera houses in Europe to her. In 1991, she started a cllaboration as soloist in the Zurich Opera House, and she remained loyal to the company for two decades. A big part of her repertoire starts there: Susanna (Le nozze di Figaro), Gilda ©OUTUMURO/Fidelio Artist (Rigoletto), Servilia (La clemenza di Tito), Rosina (Il Barbiere di Siviglia), Nannetta (Falstaff), Morgana (Alcina), Adina (L’elisir d’amore), Zerlina and Donna Anna (Don Giovanni), Juliette (Roméo et Juliette), Adele (Die Fledermaus), Marie (La Fille du régiment), Carolina (Il matrimonio segreto), Norina (Don Pasquale), Pamina (Die Zauberflöte), Lucia (Lucia di Lammermoor) and Amelia (Simon Boccanegra), always alternating her performances of opera with numerous recitals, concerts and oratorios around the world. In 1993 she debuted in the Alfredo Kraus Opera Festival in Las Palmas, Gran Canaria (her city of residence) with L’elisir d’amore, alongside Roberto Alagna and Carlos Alvarez. She now habitually performs in this event in operas such as Les contes d’Hoffmann (Olympia and Antonia), Don Pasquale, Falstaff, Die Zauberflöte, Les pêcheurs de perles, Idomeneo and The Rake’s Progress. A new production of Nozze di Figaro in the Lausanne Opera House and a new debut as Marie in La Fille du régiment, took up part of 1995, finishing with two concerts of Beethoven’s Ninth Symphony in the Auditorio Nacional, Madrid and a Christmas concert in Vienna as well as a New Year’s concert in Germany with José Carreras, with whom she has collaborated regularly since 1993. In 1996 Isabel Rey took the lead in new productions of Le nozze de Figaro and Il matrimonio segreto, as well as opening the Salzburg Festival with the oratorio Jephta by Händel. That same year she debuted in the Amsterdam Concertgebouw alongside Ton Koopman and after that came her first performances in Don Pasquale, Così fan tutte, Il Mondo della luna (Haydn), Der Schauspieldirektor (on tour in Europe with Harnoncourt) and Alcina, as well as giving a recital of Spanish songs in the Lausanne Opera House and in a Gala in Hamburg alongside Agnes Baltsa and José Carreras. As Antonia in Les contes d’Hoffmann / Teatro Real de Madrid 1998 began with her debuts in the Teatro Real, Madrid and in the Staatsoper, Vienna, wowing both theatres with her unparalleled Susanna. She then returned to Las Palmas and, after two performances of Mozart’s Requiem in Lausanne (conducted by López Cobos), in May she sang her first Lucia di Lammermoor alongside the legendary Alfredo Kraus. After performing in Le Roi David (Honegger) and Armida in the Graz Festival, She sang Mahler’s Fourth Symphony with the Galicia Symphony Orchestra and Víctor Pablo Pérez. In the same year she appeared twice in the Salzburg Festival, in Il Martirio di San Lorenzo and in Exsultate, Jubilate, before playing Musetta to great acclaim in the Teatro Real (Madrid) and Ilia in A Coruña. In 1999 she appeared as Adele in Fledermaus in the opening of the Wiener Festwochen, Vienna, which was recorded live by the ORF (Austrian Broadcasting Company), before . returning to sing her exemplary Susanna in the Mozart Festival in A Coruña. The following year she added the role of Sophie from Der Rosenkavalier and Leïla from Les pêcheurs de perles to her repertoire. She returned to Bilbao with Idomeneo, gave a concert with Carreras and Jaime Aragall in the Castell de Peralada Festival, sang in Le nozze di Figaro again in the Staatsoper, Vienna and finished the year with three Christmas concerts with the Gran Canaria Philharmonic. She performed the role of Donna Anna for the first time in Zurich in 2001, conducted by Harnoncourt in an acclaimed production of Don Giovanni. She returned to the Teatro Real with Rigoletto, she debuted in La Finta Giardiniera in the Nice Opera House, sang Così fan tutte in Vicenza and performed in the Edinburgh Festival accompanied by Andras Schiff, as well as singing Die Schöpfung conducted by Josep Pons. As Marguerite, in Faust by Gounod / Zürich Opernhaus In 2002 she played Pamina in Die Zauberflöte, debuted as Micaëla in Carmen, performed in a new production of Il ritorno d’Ulisse in patria and toured in Japan giving recitals. The following year she had one of the biggest successes of her career with Händel’s Il trionfo del tempo e il disinganno, in the regie of J.Flimm; she gave a recital in Las Palmas for the Philharmonic Society and another in London, she sang Rameau’s Les Indes Galantes, debuted in Montecarlo with Don Pasquale, she returned to Japan to give various recitals and ended the year with two galas in the Teatro Real. In 2004 she added four new roles to her repertoire: Tigrane from Radamisto (Händel), Blanche from Dialogues des carmélites (Poulenc), Mélisande from Pelléas et Mélisande (Debussy) and King Arthur (Purcell), which was performed in the Salzburg Festival and is also on DVD. And in September, she made her debut in the role of Dori from La grotta di Trofonio (Salieri). In 2005, two very special debut take place, Ann Truelove in The Rake’s Progress, one of the most difficult operas in the repertoire and the role of Rosina in La Finta Semplice at the Teather an der Wien, conducted by Fabio Luisi. In the following years many new roles keep her very busy: Le Cid by Massenet, Königskinder by Humperdinck (alongside Jonas Kauffmann) in Zurich, Händel’s Semele (with Cecilia Bartoli and brought out on DVD by Decca) as well as a triumph with her first Amelia (Simon Boccanegra) sharing emotion and joy with legendary Leo Nucci. More recently Mrs. Rey has had the opportunity to sing a good number of Verdi heroines, being one of her best caracters in her repertoire, Otello's Desdemona as well as Amelia from Masnadieri. As Morgana, in Alcina by Handel/ Theater an der Wien - Vienna As well as her unstoppable opera career she also performs recital, a discipline which she took up from at the age of 16 and which has led her to take part in some of the most prestigious events dedicated to the genre in Europe. Her magnetic personality on stage makes her be one of the most interesting Liederist of her generation. Her interest in poetry has resulted in the publication of a book of her writings, some of which have been set to music by the composers Antoni Parera and Antón García Abril.
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