Ana Quintans, soprano

soprano voice
biography

After finishing her studies in sculpture in 1998, portugese soprano Ana Quintans started studying singing at the Conservatory of Lisbon with José Manuel Araujo. She graduated from the Workshop La Musique des Mémoires with the French composer Claire Renard at the Calouste Gulbenkian Foundation and attended masterclasses by Jill Feldman, Mercè Obiol, Sarah Walker, Ketil Haugsand, Tom Krause, Verena Wachter, Chiara Banchini, Graham Johnson, Elisabete Matos and Ameral Gunson.
From 2002 to 2004 Ana Quintans visited the Summer School for Young Singers OPERAPLUS in Belgium where she won the Vera Rozna Scholarship Award (2003) and the Temple Square Concert Award (2004). In 2005/2006 she graduated from the Calouste Gulbenkian Foundation and studied at the Flanders Opera Studio in Gent. 

Her operatic repertoire includes Amore (L′Incoronazione di Poppea), Argie (Les Paladins), Belinda and Second Witch in Dido and Aeneas, Atalanta (Serse), Pamina and First Lady in Die Zauberflöte, Lisetta in Il mondo della Luna (Avondano), Scoiattolo in Il scoiattolo in gamba (Nino Rota), Lion and Bird in Fables (Ned Rorem). She worked with opera directors such as Andreas Homoki, Barry Kosky, Bernard Sobel, Carlos Wagner and Deborah Warner. 
Among the conductors she worked with count Ivor Bolton, William Christie, Michel Corboz, Alan Curtis, Cesario Costa, Leopold Hager and Marc Minkowski.
She sang at the Opéra de Lyon, the Festival Musicatlantico, Festival Culturel Européen de Rouen, Wiener Festwochen, Teatro Sao Luiz, Festival Ambronay, Teatro Lethes, Centro Cultural de Belém, the Flanders Opera, Festival de Musique Ancienne de Lyon, Leighton House Museum, Auditorium Stravinsky, Fundacao Calouste Gulbenkian and the Cité de la Musique. She sang the role of Peaseblossom in a production of Purcell′s The Fairy Queen at the Landestheater Bregenz and the role of Second Witch with Les Arts Florissants under William Christie in Vienna, Amsterdam and Paris as well as the title role in L´Incoronazione di Poppea at the Stadttheater Klagenfurt.

As concert soloist she sang in Te Deum and Judicium Salomonis (Charpentier), Salve Regina (Pergolesi) Stabat Mater (Scarlatti),Gloria (Vivaldi), Messiah(Händel/Mozart), Mass in c-minor, Exsultate Jubilate and Requiem by Mozart, Requiem by Fauré, Choral Fantasy by Beethoven. She appeared regularly in recitals with the pianists José Brandao and Hein Boterberg. 

Engagements during the last seasons included a tour of Dido and Aeneas with Les Arts Florissants in the U.S.A., Russia and Spain, Drusilla in L´Incoronazione di Poppea at the Teatro Real, the Salle Pleyel and the Maggio Musicale Fiorentino, Clizia in Händel´s Teseo at the Théâtre des Champs Elysées, Mendelssohn´s Lobgesang with the RTVE Orchestra in Madrid and various recitals. Furthermore she sang in Dalina in Ariodante with Il complesso barocco under Alan Curtis in Bucarest and Turin and in a production of Cavalli´s L´Egisto with Le Poème Harmonique at the Opéra Comique and Opéra Rouen. She made a highly acclaimed debut at the Festival d´Aix-en-Provence in the role of Jonathas in Charpentiers David et Jonathas with Les Arts Florissants under William Christie, a production also presented at the Edinburgh International Festival, the Théâtre de Caen, Opéra Comique in Paris and the BAM in New York. She sang the title role in De Almeida´s Ippolito at the Festival d´Ambronay and the Casa da Musica in Porto and in concerts with Les Musiciens du Louvre under Marc Minkowski. Last summer she made her debut at the Glyndebourne Festival in Rameau´s Hippolyte et Aricie. 

Projects this season include Gluck´s Armide under Ivor Bolton at the Netherlands Opera and the role of Amor in Orfeo ed Euridice with Les Musiciens du Louvre Grenoble under Marc Minkowski at the Mozartwoche in Salzburg and at the MC2 in Grenoble, as well as in concert in Madrid. With the same orchestra she also sang Bach´s b-minor mass. Under Vincent Dumestre and Le Poème Harmonique she performed the role of Belinda in Dido and Aeneas at the Opéra de Rouen and the Opera Royal de Versailles. 

CD Recordings include Charpentiers Judicium Salomonis (Vera Mater) and Motet pour une longue offrande with William Christie and Les Arts Florissants for EMI/Virgin Classics, Faurés Requiem with the Sinfonia Varsovia conducted by Michel Corboz, issued by the label Mirare. Furthermore she recorded the title role of De Almeida´s La Spinalba and Luis Tinoco´s Round Time, both for the Naxos Label. Her performances of Drusilla in L´Incoronazione di Poppea from Madrid and Jonathas in David et Jonathas at the Festival d´Aix-en-Provence can be seen on DVD

 

May 2014


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Short Profile

NameQuintans, Ana
Born inPortugal, Europe
Home LocationLisbon, Portugal
Main languagePortuguese
Additional languages English,  French 
Reviews
Ana Quintans's stylish singing...
2015-09-01 The Gramophone,
"Ana Quintans's brilliant singing proves a match for the splendid trumpet obbligato and rattling timpani. (...) Concerto de' Cavalieri's boldly committed playing, Di Lisa's energetic conducting and Quintans's stylish singing reveal Albinoni's talents for musical invention and tunefulness."
(David Vickers)
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Scene Stealing Amore
2015-04-01 Opera Magazine (UK), London
""Ana Quintans (was) a scene-stealing Amore - not just because of her blonde wig and glamorous pink polka-dot dress (apparently a reference to 1950s Hollywood) but because of her imposing presence, full-bodied soprano and intelligent diction"
Andrew Clark - Opera Magazine - April 2015
"
(Andrew Clark)
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Voice of an angel?
2014-10-16 Toutelaculture.com, FR
"La soprano portugaise Ana Quintans déploie un timbre clair, une voix lumineuse et souple, sans trop d'effets. Celle d'un d'ange?"
(Victorine de Oliveira)
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Spectacular Amor in Madrid
 Operaworld,
"La portuguesa Ana Quintans ha sabido rodearse en su meteórica carrera de tres de las más destacadas  orquestas –puristas, ¿por qué no reconocerlo?– que tanto y tan significativamente han contribuido a la recuperación del repertorio barroco europeo: Les Arts Florissants, Il complesso barocco y en esta ocasión, Les Musiciens du Louvre. ¿Alguien daría más?. Su experiencia en estas lides quedó manifiesta durante su brillante actuación en El Auditorio Nacional. Su arrolladora expresividad, su voz gigantesca que inundó el espacio escénico y su jovial sentido musical –Gluck vs. Mozart– convirtieron su recitativos ariosos en un placer para los sentidos. Quintans fue capaz de cantar dirigiéndose a los protagonistas mientras parecía dirigirse a todos y cada uno de los que allí estábamos presente, apoyando su mano en nuestro hombro y haciéndonos partícipes de la trama nupcial. Pocos cantantes poseen la capacidad de subir al público al escenario, de arrastrar al espectador al centro mismo de la trama con una voz rotunda, muy bien cincelada y cómplice donde las haya. Su registro, no menos lucido que el resto de personajes, redunda en la mejor elección posible por parte de Minkowsky de una intérprete inquieta –evocando la inquietud de su amplio repertorio–  para este papel ¿secundario? cuya presencia en el escenario nos supo a poco."
(DiĆ³genes Granada)
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Ana Quintans as Belinda
2014-03-13 Forum Opera,
"Ana Quintans, charmante Belinda à la voix fraîche et cristalline."
( Brigitte Cormier)
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Ana Quintans as Amor
 Oe24,
"Die portugiesische Sopranistin verfügt über Witz, Beweglichkeit, Anmut und vor allem über eine wunderbar schlanke Stimme, die man sich sofort für Mozart wünscht - ein erstklassiges Salzburg-Debüt."
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Ana Quintans as Jonathas
 The Telegraph,
"The part of Jonathas (played, in male costume, by the outstanding Portuguese soprano Ana Quintans).
The scene in which Quintans's Jonathas laments what he foresees as the death of David in battle has a heartbreaking power...
"
(Mark Brown)
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Ana Quintans as Jonathas
 Le Monde,
"La jeune Ana Quintans est bouleversante, parfaitement crédible dans ce rôle tenu à la création en 1688 par un garconnet."
(Marie-Aude Roux)
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