Joslyn Rechter was born in Melbourne and is a graduate of the SYDNEY CONSERVATORIUM OF MUSIC. She joined the YOUNG ARTIST PROGRAM of OPERA AUSTRALIA in 1998 and was a member of the OPERA STUDIO at the COLOGNE OPERA from 2001 to 2003. She was nominated as the BEST UP & COMING YOUNG SINGER by OPERNWELT MAGAZINE in 2005.
Joslyn Rechter has an extensive operatic experience. Her early roles included the title role in Handel’s ORLANDO, in 1999, for OPERA AUSTRALIA‘s OZ OPERA.
Since 1997, her roles in OPERA AUSTRALIA‘s mainstage productions have included The Fox in Janacek’s THE CUNNING LITTLE VIXEN, Siebel in Gounod’s FAUST, The Sandman in HANSEL & GRETEL, singing the roles of both Pallade and Nutrice in Monteverdi’s THE CORONATION OF POPPEA, Mercedes in CARMEN, Annina in LA TRAVIATA and Annio in LA CLEMENZA DI TITO. Most recently, for the company, she appeared as Cherubino in THE MARRIAGE OF FIGARO during 2006, performances of which the HERALD SUN wrote, Joslyn Rechter as Cherubino was charismatic., and THE WEEKEND AGE said, Joslyn Rechter delivers the finest moment in the opera with a truly convincing Voi che sapete.
Joslyn Rechter now makes her home-base in Germany.
From 2003 to 2005 she was on contract at COLOGNE OPERA and has since gone on to appear regularly as a guest principle with the company. Her first roles included Ino and Juno in Handel’s SEMELE, Linette in THE LOVE OF THREE ORANGES and The Third Lady in THE MAGIC FLUTE all during the 2001/2002 season. In the 2002/2003 season she sang Tisbe in LA CENERENTOLA and The Third Noble Orphan in DER ROSENKAVALIER and created the role of Gertrude in the world premiere season of Benes’ THE PLAYERS. The following season she appeared as Ramiro in Mozart’s DIE GÄRTNERIN AUS LIEBE, as Amastre in Handel’s XERXES, as Lola in CAVALLERIA RUSTICANA and as Sister Mathilde in DIALOGUES OF THE CARMELITES. Since 2005 she has twice been engaged to appear as The Fox in THE CUNNING LITTLE VIXEN and sang The Page in SALOME during 2009.
Also for COLOGNE OPERA she has sung the roles of Flosshilde in both DAS RHEINGOLD and GÖTTERDÄMMERUNG in 2003, 2004 and 2006 and Rossweisse in DIE WALKURE in both 2004 and 2006.
Of performances of Idamante in BUHNEN DER STADT KÖLN‘s 2005 production of IDOMENEO, OPERNWELT magazine wrote, Joslyn Rechter offered a feast of singing as Idamante: her mezzo voice is grandiose, agile and supple… she alone justifies this (production of) IDOMENEO, while DAS OPERNGLAS said, For the Australian mezzo-soprano… this opening night was a true triumph., and the reviewer for ONLINE MUSIC MAGAZINE said, Only seldom is a pants role so convincingly cast as here.
Other European operatic engagements include Flosshilde in GÖTTERDÄMMERUNG for BADISCHES STAATSTHEATER in 2007 and Cherubino in THE MARRIAGE OF FIGARO for THEATER BONN during 2008.
Since 2005, she has been on annual contract to WUPPERTALER BUHNEN. Since 2006 her roles for the company have included Antonia’s Mother in THE TALES OF HOFFMANN, solo roles in Sciarrino’s MACBETH, Emilia in Verdi’s OTELLO, the title role in Handel’s opera SIROE, Mercedes in CARMEN, The Mother in three separate seasons of HANSEL & GRETEL, The Second Lady in THE MAGIC FLUTE, and Malika in concert performances of LAKME. For the company, during 2010, she appeared as Bianca in Zemlinsky’s EINE FLORENTINISCHE TRAGEDIE, as Katerina in Martinu’s THE GREEK PASSION, and as Penelope in Monteverdi’s IL RITORNO D’ULISSE IN PATRIA. Of performances of Cherubino in the 2008 season of THE MARRIAGE OF FIGARO, DER NEUE MERKER wrote, …the splendid Joslyn Rechter… only rarely are the canzonettas so transfixing.
During the 2011/2012 season her roles at WUPPERTALER BUHNEN included Second Lady in THE MAGIC FLUTE, Ciesca in GIANNI SCHICCHI, Gianetta in L’ELISIR D’AMORE, Meg Page in FALSTAFF and further performances of HANSEL & GRETEL, IL RITORNO D’ULISSE IN PATRIA, THE GREEK PASSION and EIN FLORENTINISCHE TRAGODIE and, the following season included Mary in THE FLYING DUTCHMAN, the Fox in THE CUNNING LITTLE VIXEN, Berta in THE BARBER OF SEVILLE and Dulcinée in DON QUICHOTTE.
Her 2013/2014 season for the company included Orlovsky in DIE FLEDERMAUS and Ruggiero in ALCINA of which OMM wrote, Her mezzo-soprano has not only inner warmth… but extreme mobility in teh coloratorua aria., and OPERNETZ said, …she shines theatrically … her voice is of exceptional quality.
During the 2014/2015 season she appeared as Die Grafin de la Roche and Seine Mutter in SOLDATEN for STADTISCHE BUHNEN OSNABRUCK performances of which DIE DEUTSCHE BUHNE said she … delivered a performance with such skill that it was in a class of its own., while OMM wrote, Joslyn Rechter…dramatically shattering.
On the concert platform Joslyn Rechter‘s engagements include the 25TH ANNIVERSARY OF THE SYDNEY OPERA HOUSE, Mozart’s CORONATION MASS with the TASMANIAN SYMPHONY ORCHESTRA, Bach’s ST. JOHN PASSION for the SYDNEY CHAMBER CHOIR and MESSIAH for the AUSTRALIAN CHAMBER ORCHESTRA, In 2006 she appeared in the role of Idamante in concert performances of Mozart’s IDOMENEO with the ESTONIAN NATIONAL ORCHESTRA in Tallin, appeared as soloist in Beethoven’s MISSA SOLEMNIS for the KÖLNER PHILHARMONIE and in Saint Saens’ CHRISTMAS ORATORIO with the SYMPHONY ORCHESTRA WUPPERTAL and, during 2014, a series of concert performances of the role of Sylva in Kalman’s THE GYPSY PRINCESS in the OPERETTENSALON in Wuppertal. Most recently, during 2016, she has given performances of Pergolesi’s STABAT MATER with the KONZERTE DER JUNGEN STIFTUNG in Bayreuth.
Her appearances in Australia, during 2016, included the CITY OF STONNINGTON‘s OPERA IN THE PARK for which she returned in 2017.
During the 2016/2017 European season she will appear, as Marzellina, in an extensive series of performances of THE MARRIAGE OF FIGARO for THEATER HAGEN and appearances in the same role for THEATER KOBLENZ.
Concert engagements during 2017 will include two performances of MESSIAH with the MELBOURNE SYMPHONY ORCHESTRA.
© Weaver Artist Management 2017
Do not copy or reproduce. This material is provided for information only and is not intended for use as biographical material in performance programs and publicity materials. To arrange to receive program-ready biographical material suited to particular word-length and style requirements, please contact email@example.com