Eunice Alberts
Subsequently, she studied singing with Cleora Wood and Rosalie Miller at the Longy School of Music, earning a certificate in vocal performance.
[1] Her first concert appearance in NYC was as the contralto soloist in Felix Mendelssohn's Elijah with the John Harms Chorus at Town Hall on April 30, 1950.
[5] She made her first appearance with the New York Philharmonic in a summer concert at Lewisohn Stadium on June 4, 1951 as the contralto soloist in Verdi's Requiem under conductor Dimitri Mitropoulos.
She accepted the offer and on October 4, 1951 Alberts made her professional opera debut as the Elderly Woman in the world premiere of David Tamkin's The Dybbuk at New York City Center.
That year she sang Bach's St. Matthew's Passion and the world premiere of Howard Hanson's Sinfonia Sacra with the Philadelphia Orchestra[11] and sang Beethoven's Missa Solemnis with the New York Philharmonic under conductor Leonard Bernstein at United Nations General Assembly Hall with soprano Adele Addison.
In the 1956-1957 Chicago season, Alberts portrayed Wowkle in La fanciulla del West with Eleanor Steber as Minnie, Madelon in Umberto Giordano's Andrea Chénier with Mario Del Monaco in the title role, the Page in Salome with Inge Borkh in the title role, and Grimgerde in Richard Wagner's Die Walküre with Ludwig Suthaus as Siegmund.
She sang regularly with the company over the next seventeen years, notably appearing in the United States premieres of Arnold Schoenberg's Moses und Aron (as the invalid woman, 1966), Roger Sessions's Montezuma (as Cuaximatl, 1976), Glinka’s Ruslan and Ludmilla (as Ratmir, 1977), Rodion Konstantinowitsch Schtschedrin's Tote Seelen (1988), and Rodion Shchedrin's Dead Souls (as Maslennilov, 1988).
[21] Her other Boston roles included Magdalena (1962), the voice of Antonia's mother in The Tales of Hoffmann (1965), Kseniya's nurse in Boris Godunov (1966), Mother Goose in The Rake's Progress (1967), Countess Geschwitz in Lulu (1968), Alice in Lucia di Lammermoor (1969), Mary in The Flying Dutchman (1970), The Good Soldier Švejk (1970), Suzuki (1974), Princess Marya Bolkonskay in War and Peace (1974), Beda Balanco in La vida breve (1979), Wessener's mother in Die Soldaten (1982), Junon in Orpheus in the Underworld (1982), and Alkonost in The Invisible City of Kitezh (1983).
