Schuman made her debut with the Houston Grand Opera in the title role of Florencia en el Amazonas by Daniel Catàn, which she also recorded for Albany Records. Preceding that, she appeared at the Glimmerglass Festival in a double bill as Estelle Oglethorpe in John Musto’s Later the Same Evening and as Carlotta O’Neill in a world premiere of A Blizzard at Marblehead Neck by Jeanine Tesori. Schuman made her role debut as The Duchess in Thomas Ades’ Powder her Face with the Opera Company of Philadelphia to great critical acclaim. She has sung the Puccini roles Liù in Turandot and Mimi in La Bohème in Zurich the title role in Handel’s Agrippina in, Cologne the title role in Monteverdi’s L’incoronazione di Poppeain, Cologne and Bologna and the role of The Commander in the world premiere of Philip Glass’ The Voyage at the Metropolitan Opera. Schuman debuted the role of Alice Ford in Verdi’s Falstaff at the Covent Garden Rezia in Weber’s Oberon at the Flemish Opera the title role in Schumann’s Genoveva with the Edinburgh Festival and Opera North Blanche in Poulenc’s Les Dialogues des Carmélites with Rome Opera and Seattle Opera Madeleine in Strauss’ Capriccio in Toulouse and the Marschallin in Der Rosenkavalier at the Pittsburgh Opera.
In a continually expanding repertoire, Ms. Since then, she has repeated the role at Covent Garden, Glyndebourne, Madrid, and Lyon. She made her debut at the Salzburg Festival as Vitellia in La Clemenza di Tito, to much critical and popular acclaim. Vivaldi’s Gloria (RV 589) enjoys well-founded popularity and has been recorded on almost one hundred CDs.Įnjoying a career at the highest international level, Patricia Schuman began her career specializing in the Mozart repertoire, singing Donna Elvira in Don Giovanni and Contessa Almaviva in Le nozze di Figaro at the Metropolitan Opera with James Levine conducting Ilia in Idomeneo at La Scala with Riccardo Muti and Ilia and Pamina at Vienna State Opera, under the baton of Nikolaus Harnencourt. The work remained relatively unknown, until its revival by Alfredo Casella during “Vivaldi Week” in Siena (1939). This piece was composed at the same time during Vivaldi’s employment at the Pieta. The two surviving settings were written at about the same time (it is disputed which came first) in the early 18th century. Only two survive (RV 588 and RV 589) whilst the other (RV 590) is presumably lost and is only mentioned in the Kreuzherren catalogue. Vivaldi’s Gloria (RV 589) is the most familiar and popular piece of sacred music by Vivaldi however, he was known to have written at least three Gloria settings.
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