Anja Silja Regina Langwagen is a Germansoprano who is known for her great abilities as a singing-actress and for the vastness of her repertoire.
Biography
Silja began her operatic career at a very early age, with her grandfather, Egon Friedrich Maria Anders van Rijn, as her voice teacher. She sang Rosina in Rossini's The Barber of Seville at Braunschweig in 1956, following this with Micaëla in Carmen and Zerbinetta in Ariadne auf Naxos. The important part of her career began in 1959, when she sang the Queen of Night in Mozart's Die Zauberflöte at the Vienna State Opera and at the Aix-en-Provence Festival. France-Soir dubbed her "a second Callas." Other early roles included Leonora in Il trovatore, Santuzza in Cavalleria rusticana, the four heroines of Les contes d'Hoffmann, Konstanze in Die Entführung aus dem Serail, and Fiordiligi in Così fan tutte. She made her debut in 1960 at the Bayreuth Festival, as Senta in Der fliegende Holländer. At Bayreuth, she also sang Elsa von Brabant in Lohengrin, Elisabeth in Tannhäuser, Eva in Die Meistersinger, Venus in Tannhäuser, Freia in Das Rheingold, the Waldvogel in Siegfried, etc. Outside Bayreuth, the soprano appeared in Wieland Wagner's productions of Salome, Tristan und Isolde, Die Walküre and Siegfried, Elektra, Fidelio, Otello, Lulu, Wozzeck, and other operas. Of her Salome, Harold Rosenthal wrote in Opera, in 1968:
Anja Silja's performance was a tour-de-force. Her voice is not beautiful by any stretch of the imagination, but it is clearly projected, and every phrase carries its overtones—psychological not musical—which suggest the child-like degenerate, over-sexed princess in all too clear a manner. Her nervous, almost thin body is never still; she rolls on her stomach and on her back; she crawls, she slithers, she leaps, she kneels…. There is no denying that this is one of the great performances of our time.
Additional new roles in the 1960s were Sieglinde, Ariadne, Jenny Smith, Lady Macbeth, Violetta Valéry, Turandot, Lucy, Cassandre and Renata in The Fiery Angel. She was seen in Frankfurt, Toulouse, Paris, Turin, Naples, Stuttgart, Zurich, Barcelona, Geneva, the Netherlands, Budapest, London, San Francisco, and Chicago. That first Lady Macbeth, in 1967, was conducted by Christoph von Dohnányi, with whom she had a long relationship, including a marriage that produced three children. They divorced in the 1990s, during Dohnányi's tenure with the Cleveland Orchestra. Silja continued her career with appearances at Trieste, the Edinburgh Festival, the Salzburg Festival, Barcelona, Metropolitan Opera, Paris, Berlin, Cologne, Vienna and Brussels. Other new roles in this period were Emilia Marty in The Makropoulos Case, Leonora in La forza del destino, Médée, Die lustige Witwe, Carmen, La juive, Katya Kabanova, Tosca, Tatiana in Eugene Onegin, and Die Königin von Saba. In the 1980s, Silja added Lady Macbeth of the Mtsensk District, La Cubana, Regan in Lear, Prinz Orlofsky in Die Fledermaus, the Kostelnička in Jenůfa, Grete in Der ferne Klang, and the Nurse in Die Frau ohne Schatten. Silja made her debut as a stage director in 1990 at Brussels with Lohengrin. She then assumed the roles of Agave in The Bassarids, Ortrud in Lohengrin, Herodias in Salome, Anna I in Die sieben Todsünden, Klytämnestra in Elektra, Jocasta in Œdipus rex, Mother Marie of the Incarnation in Dialogues des Carmélites, Pierrot lunaire, Judith in Bluebeard's Castle, Countess Geschwitz in Lulu, Madame de Croissy in Dialogues des Carmélites, La voix humaine, Míla's Mother in Osud, the Comtesse in Pique-dame, and the Witch in Hänsel und Gretel. She was first heard in Cleveland, Boston, Madrid, Leipzig, Prague, and Rio de Janeiro in these recent seasons. Her 2001 recording of Jenůfa, from Covent Garden, won a Grammy Award. Silja now resides in Paris, having purchased the former home of the conductor André Cluytens. In January 2013, she sang the role of the Grandmother in The Gambler, in Frankfurt, in the production by Harry Kupfer, and, in 2017, she was the Narrator in Schoenberg's Gurre-Lieder, in Hamburg, conducted by Kent Nagano.
