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 Liu in Puccini’s Turandot at the San Francisco Opera under Giuseppe Patane
Mastery requires a constancy of focused vision.
Intellectual learning is the automatic pilot; combined with intuition, this can lead to artistic flight.
The limpid voiced Jane Marsh sings Puccini reminiscent of Tebaldi.
THE LOS ANGELES TIMES |
Jane Marsh has been described as a "Universally Brilliant Singer". Born in San Francisco and a Graduate of Oberlin College/Conservatory, having studied with Ellen Repp and Ludwig Weber while at Oberlin, Jane Marsh was invited by the White House to represent the U.S. in the legendary International Tchaikovsky Competition in Moscow. This was the initial year that the Vocal Category was added to the International Tchaikovsky Competition. Ms. Marsh was the first singer in history to win the Gold Medal. Debut in opera in Europe: Spoleto, Italy (Desdemona in Verdi's Otello) at the FESTIVAL OF TWO WORLDS, under Thomas Schippers (conductor-director). Debut in opera in the USA: Pamina in Mozart's Die Zauberflöte with the San Francisco Opera. Many further roles sung in Italy and San Francisco. Operas and concerts sung in the USA and Europe with conductors, such as: Leinsdorf, Ormandy, Maazel, Pritchard, Patané, Kubelik, Matacic, Aronowitch, von Karajan, Blomstedt, Klobucar, Böhm, Albrecht, Ozawa, Plasson, Bernstein, Schippers, Slatkin, Gui, Molinari-Pradelli, Khaikin, Erede, Zinman, Frübeck de Burgos, Zagrosek, Stein, Kubelik, Ancerl, Neumann Segerstam, von Matacic. Recipient of the New York Handel - Medaille (Leontyne Price and Maria Callas were awarded this) for special and exceptional contribution to the world of music: Additionally, a White House Presidential Honor, Washington, D.C.; U.S. News and World Reports Achievement Award; Mademoiselle Magazine's Special Achievement Award; 4-H National Achievement Award, Time/Life Magazine Awards, Keys to cities of San Francisco and New York. Engagement at the opera house in Düsseldorf. Guest appearances at La Fenice (Venice), San Carlo (Naples), Trieste, Parma, Palermo, Turin, Rome, Florence, Milano, Bologna, and all the major opera centers of Italy; the Munich, Cologne, Hamburg and Vienna State Opera Companies; West and East Berlin opera houses, Dresden, Amsterdam, Madrid in well known roles, has such as Mozart's Fiordiligi (Così fan tutte), the Countess (Figaro), Donna Elvira and Donna Anna (Don Giovanni), Elettra (Idomeneo), Vitellia in (Clemenza di Tito); Bellini's Norma; Verdi roles, such as: Violetta (La Traviata), Elisabetta (Don Carlo), Amelia (Simon Boccanegra), Desdemona (Otello), Leonora (Il Trovatore), Leonora (La Forza del Destino), Abigaille (Nabucco), Lady Macbeth (Macbeth); Wagner and Strauss roles, such as: Sieglinde (Die Walküre), Daphne (Daphne), Liebe der Danae (Danae), Marschallin (Der Rosenkavalier); Tchaikovsky's Tatyana (Eugene Onegin), Lisa (Pique Dame), Johanna (Maid of Orleans), title role in Rimsky Korsakov's Invisible City of Kitisch and the Maiden Fevronia; not to mention the numerous unknown roles Ms. Marsh has created, many for international radio. Guest at international festivals in London (The Proms & BBC Orchestra, with John Pritchard), Perugia (Sagra Umbra), Florence (Maggio Musicale), Verona (Verdi Requiem, Liu Turandot), USA (New York, Detroit, Worchester Festivals) Ossiach (Carinthischer Sommer Festival), Steirischer Herbst (Graz), Bruckner Festival in Linz. In Salzburg, at the Salzburg Festival, Mozart's Die Zauberflöte and Don Giovanni, Verdi's Requiem, under Herbert von Karajan, as well as Carl Orff's World Premiere of De Temporum Fine Comoedia, also under von Karajan, Missa Solemnis (Beethoven) and Britten's War Requiem, under Leif Segerstam, Otmar Schoeck's Pentisilea, under Gerd Albrecht. Appeared on television in the USA: with satirist Art Buchwald in Washington D.C., Mike Douglas Show in Philadelphia, Ed Sullivan in New York. Variety shows from Hollywood with Bing Crosby, Andy Williams, Red Skelton, Danny Kaye. Live from Tanglewood Festival, a concert with Boston Symphony and conductor Erich Leinsdorf- Eugene Onegin (Tchaikovsky) and Aida (Verdi). International European TV and radio - appearances and recordings: Italy (RAI), Austria (ORF), Germany (WDR, NDR, Bayerischer Rundfunk), London (BBC), Dutch, Spanish and Scandinavian radio and TV – Networks as Guest Artist and Show – Moderator. Recordings with RCA Victor, Deutsche Grammophon, Melodia, Stil, ORF, Opera D'Oro, Orfeus, iTunes, Atlantic, ItunesAmazon, Rhapsody. World Premieres: Rorem song cycle – NY Philharmonic (Neumann); von Einem song cycles – Erich Werba, Gerd Ohlssen (accompanists), ORF Orchestra (Zagrosek, Stein), Vienna Symphony (Wahlberg, Gerd Albrecht); Orff Opera – WDR Symphony Orchestra and Dűsseldorf Symphony Orchestra (Frűbeck de Burgos), Bayerische Rundfunk (von Karajan, Kubelik). Overwhelming success as Handel stylist in such roles as: Cleopatra (Giulio Cesare), Semele, Alcina, Deidamia and Achilles (Deidamia), in Great Britain, Germany, Austria, Italy, U.S.A. Also much success as Lieder singer and Lied coach: Ms. Marsh has sung international Lieder recitals throughout Europe, South Africa and parts of the USA. Such programs as: Rossini/Poulenc/DeFalla, Tchaikovsky/Rachmaninoff, Schubert/Schumann, complete Strauss and complete Wolf programs, Hindemith's Marienleben, Potpourri of Delicacies (20 songs/20 composers), American Songs & Encores; programs using themes, such as: "Great Women in History", "Goethe", "Christmas" (from famous composers); Ms. Marsh also introduced "Super Titles" for the first time into the concert hall. She introduced the lush Joseph Marx Italienisches Liederbuch to New York audiences for the first time in December of 2006. These included the remaining poems from Paul von Heyse not used by Hugo Wolf for his Italienisches Liederbuch. A particularly wide range of Opera, Concert, Oratorio, and Lieder is covered by this artist. She also conducts Master Classes, a result of which has led to much success as an Interpretation Coach and Advisor to singers launching new careers and/or new images to their careers. Ms. Marsh is also a Lecturer as well as a Judge for vocal competitions, and often Mistress of Ceremonies, and she takes part in advisory committees for international competitions. She translates program texts, speaks languages and transliterates. She has written a book of anecdotes and three musical anthologies on the themes of Advent & Christmas Songs, and Funerals and Sacred Music, and Easter and Lent, the first of which was published in September of 2008 by Oxford University Press, entitled Spirit be joyful. Ms. Marsh was added to the Metropolitan Opera Guild's Lectures and Community Programs Lecturer and Master Teacher Roster in 2007, and has lectured on diverse themes including, Mozart's Women and the Classical Era; Bel Canto Composers; Works and Style; Verdi Works and Style; Puccini and Versimo Style; Wagner Works and Style; and Strauss' Women and Singing the Strauss Roles. In addition to her lectures, she has given master classes focusing on themes of Verdi, Strauss, Bel Canto, and she presented a Russian Operatic Repertoire class and a Recital Programming class in the 2011-2023 seasons. She also launched the Metropolitan Opera Guild's Summer Series, with a four a part series on Puccini Death Scenes, which was repeated in subsequent seasons. Ms. Marsh offered an interestingly themed showcase-master class at the Metropolitan Opera Guild, in March 2013, titled Creating the Role of Lady Macbeth. Ms. Marsh also recently lectured for the Metropolitan Opera, regarding its HD productions, including the unconventional opera Comte Ory (Rossini). Also, in March, 2016, Ms. Marsh branched out in New York's CUNY Graduate Center, with a recital and master class titled, Opera Composers in Song. In addition to her lecture and master class facilitation, Ms. Marsh is Artistic Consultant for the Metropolitan Opera Guild's Masterly Singing Series, Mock Audition and Panel discussions, and professional development workshops and classes for young and emerging singers. In the season of 2016, Ms. Marsh was honored by the Metropolitan Opera Guild, where she presented a diverse recital, in Lincoln Center, in honor of having be the first singer in history to win the Gold Medal in the renowned International Tchaikovsky Competition; the same competition that Van Cliburn won several years earlier, when the competition was only a piano competition. Visit www.janemarsh.com, Facebook, and Linkedin for information and insight. |
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 Alcina in Handel’s Alcina at the Deutsche Oper am Rhein under Edward Downes
Part of establishing a career house is to think, at the foundation, of the goals involved, and understand when to commence planning.
In the middle of an aria, applause is often ones greatest soul mate, in that it enables one to rest and oxygenate oneself, in order to sail to the end.
The beautiful voiced Jane Marsh sang with elegance and powerful agility.
WASHINGTON POST |
resume 
TELEVISION IN USA |
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 On February 23, 2006, at the Austrian Cultural Forum in NYC, Jane put together an innovative Master Class Showcase of Mozart & Salieri works, showcasing Opera Index Vocal Competition singer quality. Left to right:
Pianist Linda Hall, Master Class Coordinator & Mistress of Ceremonies Jane Marsh, Tenor Michael Szczesniak, Mezzo Kate Lindsey, Soprano Yana Eminova.
Each vocal category has it’s own longevity, with few exceptions.
Left to right: Soprano Jane Marsh, Stage Director Dona Vaughn, Soprano Martina Arroyo.
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Master Classes, in Opera & Song Repertoire, given in: “Master Classes are quantity and quality in a very short time, so cutting to the chase is important. I enjoy the challenge of getting results quickly, without trespassing on vocal technical territory-not requested in a normal Master Class, which encompasses many aspects-unless it’s a Master Class solely in Vocal Technique.”
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 Puccini Foundation Vocal Competition’s Board of Directors, Cesare Santaremo and Soprano Jane Marsh
Seated, Dr. Robert Campbell and Soprano Anna Moffo
Index Vice President and composer Philip Hagemann, Jane Marsh, and Opera Index President and periodontist Murray Rosenthal.
It would be wise to consider the asset of age in dramatic voices, such as needed for Verdi and Wagner, when deciding age limits in competitions.
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Jury Panelist or Head of Jury: Jane has judged the Opera Index Vocal Competition in New York and is now launching a new, yearly lecture series for Opera Index. |
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 Jane was invited to begin a lecture series for the Opera Index Vocal Competition in New York.
(left to right): Baritone-Sherrill Milnes, Soprano-Jane Marsh, Los Angeles Opera Board of Directors-Sherwin Sloan
Short pre-Master Class lectures are small "donkey bridges" of information for listeners and participants.
 Jordan Shanahan and Jane Marsh (OPERA INDEX winner, who attended Jane's 2005 Opera Index lecture, "Reinventing Your Career")
Part of establishing a career house is to think, at the foundation, of the goals involved, and understand when to commence planning.
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lectures
Lecturer & Lectures given at:
"Understanding the Learning Tempo and the Automatic Pilot Through Practice” "Presentation of Artist & Program” "Architecture Importance in Style & Color” "Bel Canto & Verdi” "Mahler, Natur Bursch-The Nature Boy“ "Courage to Create Ones Own Podium & Thumbprint via Adapting the Rules” “Understanding Preparation for an Opera Career” “Presenting Yourself & Your Program” “Recital Preparation” “Reinventing your Career” “Finding a Voice Teacher, Coach, Accompanist, Manager, & Press Agent” “Bel Canto Spanned the 17th to 19th Centuries” “Bel Canto Operas: Le Fille du Regiment & Il Barbiere di Siviglia” |
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 Donna Elvira in Mozart’s Don Giovanni at the Teatro alla Scala under Francesco Molinari-Pradelli
The idea of hosting a media vehicle as a communication source for stars and new talents, to say nothing of giving me opportunity to talk with some of these people in their own languages, has gala and globally informative overtones.
Super titles should be placed in every hall where text is sung. I sang a recital using super
titles at the Santa Rosa State College, in 1990. This lifts the language barrier and builds publics.
It is evident that Ms. Marsh possesses a vocal timbre of unusual beauty.
THE GUARDIAN |
Met Guild Classes
Soprano - Claire Coolen- Bellini's "Per pietá bel idol mio
"Cutting up" with Claire Coolen
Soprano - Elizabeth Beers-Kataria - Strauss' "Kling"
Mezzo - Amber Smoke - Massenet's "Elégie"
Abridged, five minute interview with Jane Marsh and TV hostess Lina del Tinto (Lina del Tinto Show, 2006), explaining Marsh career highlight of first Metropolitan Opera offer, “Met’s” interest and introduction to major conductors, Italy’s Festivale dei due Mondi and singing Desdemona in Italy, languages, career attitudes and more… Hosting & Some Practical Panel Themes: 
home bio repertoire archive audio publications Jane's blog contact |
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Jane Marsh and Martina Arroyo with singers from the Martina Arroyo Foundation Master Class Summer Series inauguration, conducted by Jane Marsh, July 2, 2005, at the CUNY Graduate Center NYC
