Biography
/ docs /图书馆/ PalmBeachAtlanticUniversity2015 / MediaCenter /音频/ Marilyn_Mims_Mozart-Per_Pieta_from_Cosi_Fan_tutte.mp3Ms. 米姆斯在1987-88演出季首次亮相，在纽约市歌剧院的《拼搏体育》中担任女主角, 在卡耐基音乐厅与纽约歌剧乐团合作，演奏梅耶比尔的《拼搏体育》, and with the Metropolitan Opera in Die Fledermaus. 在接下来的七个演出季中，她在大都会歌剧院(维奥莱塔)担任了七个主要角色, Fiordiligi, Konstanze, Gilda, Lucia, Rosalinde, 和唐娜·安娜)，包括周六下午的两次现场直播，分别饰演维奥莱塔和菲奥里基, with James Levine conducting.
她在莱文录制的瓦格纳的《拼搏体育官网》(Die walkre)中演奏的奥特林德(Ortlinde)为她赢得了格莱美奖. 作为一名专业的歌剧女高音，她的职业生涯包括在五大洲的主要歌剧公司和管弦乐队演出，其中包括在旧金山歌剧院的主要演出, Santa Fe Opera, Grand Theatre of Geneva, Teatro Colon of Buenos Aires, Canadian Opera, and the New Israeli Opera. In 1995 she retired from full-time professional stage pursuits to start a family; and prior to coming to PBA she taught voice at The Southern Baptist Theological Seminary in Louisville, Kentucky.
She is a member of Mu Phi Epsilon, 全国歌唱教师协会和全国歌剧协会. She is a judge and master class clinician for numerous vocal events; she presently serves as a master teacher for Intermezzo Opera and presented a Master Class at the Classical Singer Convention in New York City in 2008.
At Palm Beach Atlantic she teaches voice and is producing director of the Opera Workshop program; recent productions include Gianni Schicchi, Amahl and the Night Visitors, and Hansel and Gretel. She has students who perform with New York City Opera, the Metropolitan Opera, and numerous other companies.
以前的学生都去了茱莉亚音乐学院和其他著名学府的研究生院. She and her husband, Lloyd, along with their daughter, Virginia, 是拼搏体育皇家波因恰纳教堂音乐节目的参与者吗.
Marilyn Mims’ Career Performance History
Abduction from the Seraglio: Konstanze; Hawaii Opera TheatreFebruary 1988, 4 performances
Abduction from the Seraglio: Konstanze; Metropolitan OperaMarch 1989, 4 performances
Abduction from the Seraglio: Konstanze; Metropolitan Opera February 1990, 4 performances
Abduction from the Seraglio: Konstanze; Metropolitan Opera December 1991, 2 performances
Anna Bolena: Anna Bolena; Virginia Opera January 1989, 6 performances
Anna Bolena: Anna Bolena; New York City Opera August 1989, 4 performances
Anna Bolena: Anna Bolena; Santiago, Chile June 1992, 4 performances
Cosi fan Tutte: Fiordiligi; Santa Fe Opera August 1988, 3 performances
Cosi fan Tutte: Fiordiligi; Metropolitan Opera January 1990, 4 performances
Die Fledermaus: Rosalinde; Metropolitan Opera January 1988, 2 performances
Die Fledermaus: Rosalinde; Michigan Opera Theatre May 1988, 4 performances
Die Walküre: Ortlinde; Metropolitan Opera April 1987, 1 recording for Deutsch Gramophone
Don Giovanni: Donna Anna; Virginia Opera October 1987, 6 performances
Don Giovanni: Donna Anna; Metropolitan Opera March 1988, 8 performances
Don Giovanni: Donna Anna; Canadian Opera April 1988, 6 performances
Don Giovanni: Donna Anna; Metropolitan Opera March 1989, 8 performances
Don Giovanni: Donna Anna; Orlando Opera April 1989, 3 performances
Don Giovanni: Donna Anna; Metropolitan Opera March 1990, 8 performances
Don Giovanni: Donna Anna; Metropolitan Opera April 1990, 4 performances
Don Giovanni: Donna Anna; Geneva, Switzerland March 1991, 8 performances
Don Giovanni: Donna Anna; Metropolitan Opera June 1991, 4 performances
Don Giovanni: Donna Anna; San Francisco Opera October 1991, 6 performances
Don Giovanni: Donna Anna; Metropolitan Opera January 1992, 5 performances
Don Giovanni: Donna Anna; New Israeli Opera January 1995, 5 performances
La Traviata: Violetta; Wolftrap June 1987, 2 performances
La Traviata: Violetta; New York City Opera July 1987, 4 performances
La Traviata: Violetta; New York City Opera September 1987, 4 performances
La Traviata: Violetta; Chattanooga Opera October 1987, 2 performances
La Traviata: Violetta; New York City Opera June 1988, 6 performances
La Traviata: Violetta; New York City Opera June 1989, 2 performances
La Traviata: Violetta; New York City Opera September 1989, 4 performances
La Traviata: Violetta; Kentucky Opera October 1989, 3 performances
La Traviata: Violetta; Metropolitan Opera January 1990, 4 performances
La Traviata: Violetta; Metropolitan Opera June 1990, 4 performances
La Traviata: Violetta; Avignon, France October 1990, 3 performances
La Traviata: Violetta; New Orleans Opera December 1990, 3 performances
La Traviata: Violetta; Monterrey, Mexico May 1991, 1 performance
La Traviata: Violetta; Metropolitan Opera November 1991, 8 performances
La Traviata: Violetta; Spokane Symphony April 1992, 2 performances
La Traviata: Violetta; Greater Miami Opera January 1993, 6 performances
La Traviata: Violetta; Metropolitan Opera November 1990 – January 1991, 8 performances
Lucia di Lammermoor: Lucia; Virginia Opera January 1987, 6 performances
Lucia di Lammermoor: Lucia; Metropolitan Opera October 1988, 4 performances
Lucia di Lammermoor: Lucia; Metropolitan Opera June 1989, 4 performances
Lucia di Lammermoor: Lucia; Chicago – Lake Forest Symphony December 1989, 1 performance
Lucia di Lammermoor: Lucia; Kentucky Opera May 1992, 3 performances
Lucia di Lammermoor: Lucia; Teatro Colon–Buenos Aires, Argentina October 1992, 3 performances
Otello: Desdemona; Louisville Orchestra October 1991, 2 performances
Pagliacci: Nedda; San Francisco Opera September 1990, 6 performances
Pagliacci: Nedda; Opera Grand Rapids, Michigan October 1994, 3 performances
Rigoletto: Gilda; Metropolitan Opera March 1992, 2 performances
Rigoletto: Gilda; Kentucky Opera May 1994, 3 performances
Robert Le Diable: Isabelle; Carnegie Hall – Opera Orchestra of New York January 1988, 1 performance
Verdi Requiem: Soprano; Virginia Symphony April 1993, 1 performance
Excerpts of Critical Reviews for Marilyn Mims
在路易斯维尔的南方浸信会神学院听到并看到玛丽莲·米姆斯(和黛安·比什), Ky.
Allan Kozinn, New York Times Saturday, June 23, 1990年:“米姆斯的表演巧妙地展现了这个角色的极端. She handled the acrobatics in Sempre Libera electrifyingly, 但在第二幕更为温柔热情的音乐中，她表现得最为出色.——大都会歌剧院与阿尔弗雷多·克劳斯和谢里尔·米尔内斯共同演出的《拼搏体育》.
Gary Schmidgall in Opera News, 1988年3月:“托马斯·艾伦笔下机智古怪的爱森斯坦和玛丽莲·米姆斯的罗莎琳德, a Met Auditions winner two years ago. 她在大都会的首秀中泰然自若地出演了喜剧角色，并展示了一种直率、敏捷的声音.” –Metropolitan Opera performance of Die Fledermaus.
Allan Kozinn, New York Times Monday, August 1, 1988: “Ms. 米姆斯不仅可以展示她的高音，而且还可以展示她的漂浮能力, beautifully shaded pianissimo line. 在第一幕结束时她的长独白中(E strano到Sempre Libera), and again in the last act’s Addio del passato, she shaped her phrases thoughtfully and expressively, and used a rich array of vocal colors to excellent effect.” –New York City Opera performance of La Traviata.
Michael Kimmelman, New York Times, Friday, July 17, 1987年:“纽约市歌剧院的《拼搏体育》将一位杰出的年轻女高音Violetta带到了舞台上. Marilyn Mims, making her City Opera debut, sang in a strong, fresh, flexible, pleasing voice, 她的表演赢得了长时间的掌声. She handled easily the vocal demands of the part, gaining in confidence and conviction as the evening went on. Her first-act aria, Sempre Libera, established Ms. Mims as a singer of unusual technical accomplishment, and she provided a moving Addio del passato in the final act. Throughout, Ms. Mims shaped, 阴影和措辞注重长线条和对细节的非同寻常的关注, 即使在她音域的极端，也能保持充满活力的钢琴低音，并准确地击中音符, clarity and purpose.” –New York City Opera performance of La Traviata.
海蒂·沃森，纽约邮报，1987年7月16日，星期四:标题:在歌剧圈，米姆斯世界. “维奥莱塔，女高音玛丽莲·米姆斯，首次亮相，我们应该看到更多的她. Mims, who is from Mississippi, 去年赢得了大都会歌剧院的全国海选，并将在下一季在大都会歌剧院的《拼搏体育官网》中演唱罗莎琳德. 她有一种难得的特质——洪亮的嗓音，又流畅、敏感、可控. 她从第一幕咏叹调的戏剧性演唱到最后一幕濒于死亡时的动人的脆弱，并将《拼搏体育官网》的华丽演唱处理得淋漓尽致.—New York City Opera performance of La Traviata.
Charles Passy, New York Newsday, Saturday, August 12, 1989: “The real vocal fireworks, however, came from soprano Marilyn Mims in the title role. 这位密西西比人表现出的敏捷和抒情性，即使在当今最知名的艺术家中也是罕见的. She was especially captivating in the final act’s ‘mad’ scene, 在她充满激情的渲染中涵盖了人类情感的全部范围. Mims could prove to be an overwhelming talent.” –New York City Opera performance of Anna Bolena.
Shirley Fleming, New York Post, Friday, August 11, 1989: “New York City Opera has such a soprano, 正如玛丽莲·米姆斯在周三晚的歌剧重播中所证明的那样. 是她在第二幕开始时激发了表演的激情，并把我们的怜悯集中在最后疯狂的一幕上. The voice is clear and shining, never slips into edginess, and Mims colors her phrases beautifully, mastering the vocal perils with no sense of strain.” –New York City Opera performance of Anna Bolena.
Manuella Hoelterhoff, The Wall Street Journal, Thursday, February 12, 1987年:“玛丽莲·米姆斯(Marilyn Mims)的高音e平底鞋的声音足以唤醒整个苏格兰. 得知她主演了《拼搏体育官网》，两周前我去了诺福克的弗吉尼亚歌剧院. She does indeed have a healthy, very pretty voice, though the somewhat disconnected, 蓬勃发展的顶部表明，在所有花腔糖衣下形成了抒情女高音.”—Virginia Opera performance of Lucia di Lammermoor.
Joan T. Kretschmer, New York Post, Tuesday, February 23, 1988: “Marilyn Mims, as Isabelle, sang with lyricism and a pure, glowing sound which was especially moving in soft passages.——纽约歌剧院管弦乐团在卡内基音乐厅演出梅耶比尔的《拼搏体育》.
Will Crutchfield, New York Times, Tuesday, February 23, 1988: “The best piece of singing, 也是唯一一个能激起观众广泛热情的人, 幸运的是，正好赶上了最好的音乐:伊莎贝拉著名的咏叹调, Robert, toi que j’aime. 玛丽莲·米姆斯周日用美丽的抒情语气演唱了这首歌，并融入了一些感情. (整个晚上，几乎所有其他的东西都缺乏后一种品质.——纽约歌剧院管弦乐团在卡内基音乐厅演出梅耶比尔的《拼搏体育》.
Manuella Hoelterhoff, The Wall Street Journal, Wednesday, February 24, 1988年:“Maestra Queler用一支大型管弦乐队填满了这个大空间, a big chorus and many singers, including a big bass: Samuel Ramey. Mr. 雷米和一些声音更高、名气也越来越大的歌手同台演出:男高音克里斯·梅里特(Chris Merritt)、罗伯特(Robert)和两位女高音, Marilyn Mims as Isabelle, the princess Robert loves, and Frances Ginsberg as Alice. Ms. Mims gave an account of Robert, toi que j’aime that was so ravishingly sung and sophisticated, 我们这些一年前还记得她的人不禁感到惊讶. The transformation is astonishing.——纽约歌剧院管弦乐团在卡内基音乐厅演出梅耶比尔的《拼搏体育》.
Robert Commanday, San Francisco Chronicle, Tuesday, September 18, 1990: “Mims soprano was full, sensuous and rich in tone. 她的歌声和她活泼的表演传达了一种独立、活泼和坚定的精神.” –San Francisco Opera performance of Pagliacci.
Robert Commanday, San Francisco Chronicle, Thursday, October 4, 1990年:“玛丽莲·米姆斯在狂想曲般的独唱咏叹调中令人神魂颠倒, the Ballatella, 从那以后，她的女高音演奏继续精彩.” –San Francisco Opera performance of Pagliacci.
蒂姆·史密斯，歌剧新闻，1989年8月:“谢里尔·米尔内斯出色地演唱了这个角色. 玛丽莲·米姆斯(Marilyn Mims)为唐娜·安娜(Donna Anna)提供了扎实而又震撼人心的演唱.”–Orlando Opera performance of Don Giovanni.
Degrees
南密西西比大学应用音乐-声音硕士