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Ecosocialist Manifesto

by leonora @ 18/09/06 - 16:48:04

Introduction The idea for this ecosocialist manifesto was jointly launched by Joel Kovel and Michael Lowy, at a September, 2001, workshop on ecology and socialism held at Vincennes, near Paris. We all suffer from a chronic case of Gramsci's paradox, of living in a time whose old order is dying (and taking civilization with it) while the new one does not seem able to be born. But at least it can be announced. The deepest shadow that hangs over us is neither terror, environmental collapse, nor global recession. It is the internalized fatalism that holds there is no possible alternative to capital’s world order. And so we wished to set an example of a kind of speech that deliberately negates the current mood of anxious compromise and passive acquiescence. This manifesto nevertheless lacks the audacity of that of 1848, for ecosocialism is not yet a spectre, nor is it grounded in any concrete party or movement. It is only a line of reasoning, based on a reading of the present crisis and the necessary conditions for overcoming it. We make no claims of omniscience. Far from it, our goal is to invite dialogue, debate, emendation, above all, a sense of how this notion can be further realized. Innumerable points of resistance arise spontaneously across the chaotic ecumene of global capital. Many are immanently ecosocialist in content. How can these be gathered? Can we envision an "ecosocialist international?" Can the spectre be brought into being?

Manifesto

The twenty-first century opens on a catastrophic note, with an unprecedented degree of ecological breakdown and a chaotic world order beset with terror and clusters of low-grade, disintegrative warfare that spread like gangrene across great swathes of the planet--viz., central Africa, the Middle East, Northwestern South America--and reverberate throughout the nations. In our view, the crises of ecology and those of societal breakdown are profoundly interrelated and should be seen as different manifestations of the same structural forces.

The former broadly stems from rampant industrialization that overwhelms the earth's capacity to buffer and contain ecological destabilization. The latter stems from the form of imperialism known as globalization, with its disintegrative effects on societies that stand in its path. Moreover, these underlying forces are essentially different aspects of the same drive, which must be identified as the central dynamic that moves the whole: the expansion of the world capitalist system.

We reject all euphemisms or propagandistic softening of the brutality of this regime: all greenwashing of its ecological costs, all mystification of the human costs under the names of democracy and human rights. We insist instead upon looking at capital from the standpoint of what it has really done. Acting on nature and its ecological balance, the regime, with its imperative to constantly expand profitability, exposes ecosystems to destabilizing pollutants, fragments habitats that have evolved over aeons to allow the flourishing of organisms, squanders resources, and reduces the sensuous vitality of nature to the cold exchangeability required for the accumulation of capital. From the side of humanity, with its requirements for self-determination, community, and a meaningful existence, capital reduces the majority of the world's people to a mere reservoir of labor power while discarding much of the remainder as useless nuisances. It has invaded and undermined the integrity of communities through its global mass culture of consumerism and depoliticization. It has expanded disparities in wealth and power to levels unprecedented in human history. It has worked hand in glove with a network of corrupt and subservient client states whose local elites carry out the work of repression while sparing the center of its opprobrium. And it has set going a network of transtatal organizations under the overall supervision of the Western powers and the superpower United States, to undermine the autonomy of the periphery and bind it into indebtedness while maintaining a huge military apparatus to enforce compliance to the capitalist center We believe that the present capitalist system cannot regulate, much less overcome, the crises it has set going. It cannot solve the ecological crisis because to do so requires setting limits upon accumulation—an unacceptable option for a system predicated upon the rule: Grow or Die! And it cannot solve the crisis posed by terror and other forms of violent rebellion because to do so would mean abandoning the logic of empire, which would impose unacceptable limits on growth and the whole “way of life” sustained by empire. Its only remaining option is to resort to brutal force, thereby increasing alienation and sowing the seed of further terrorism . . . and further counter-terrorism, evolving into a new and malignant variation of fascism. In sum, the capitalist world system is historically bankrupt. It has become an empire unable to adapt, whose very gigantism exposes its underlying weakness. It is, in the language of ecology, profoundly unsustainable, and must be changed fundamentally, nay, replaced, if there is to be a future worth living. Thus the stark choice once posed by Rosa Luxemburg returns: Socialism or Barbarism!, where the face of the latter now reflects the imprint of the intervening century and assumes the countenance of ecocatastrophe, terror counterterror, and their fascist degeneration.

But why socialism, why revive this word seemingly consigned to the rubbish-heap of history by the failings of its twentieth century interpretations? For this reason only: that however beaten down and unrealized, the notion of socialism still stands for the supersession of capital. If capital is to be overcome, a task now given the urgency of the survival of civilization itself, the outcome will perforce be “socialist, for that is the term which signifies the breakthrough into a post-capitalist society. If we say that capital is radically unsustainable and breaks down into the barbarism outlined above, then we are also saying that we need to build a “socialism” capable of overcoming the crises capital has set going. And if socialisms past have failed to do so, then it is our obligation, if we choose against submitting to a barbarous end, to struggle for one that succeeds. And just as barbarism has changed in a manner reflective of the century since Luxemburg enunciated her fateful alternative, so too, must the name, and the reality, of a socialism become adequate for this time.

It is for these reasons that we choose to name our interpretation of socialism as an ecosocialism, and dedicate ourselves to its realization.
Why Ecosocialism?
We see ecosocialism not as the denial but as the realization of the “first-epoch” socialisms of the twentieth century, in the context of the ecological crisis. Like them, it builds on the insight that capital is objectified past labor, and grounds itself in the free development of all producers, or to use another way of saying this, an undoing of the separation of the producers from the means of production. We understand that this goal was not able to be implemented by first-epoch socialism, for reasons too complex to take up here, except to summarize as various effects of underdevelopment in the context of hostility by existing capitalist powers. This conjuncture had numerous deleterious effects on existing socialisms, chiefly, the denial of internal democracy along with an emulation of capitalist productivism, and led eventually to the collapse of these societies and the ruin of their natural environments. Ecosocialism retains the emancipatory goals of first-epoch socialism, and rejects both the attenuated, reformist aims of social democracy and the the productivist structures of the bureaucratic variations of socialism. It insists, rather, upon redefining both the path and the goal of socialist production in an ecological framework. It does so specifically in respect to the “limits on growth” essential for the sustainability of society. These are embraced, not however, in the sense of imposing scarcity, hardship and repression. The goal, rather, is a transformation of needs, and a profound shift toward the qualitative dimension and away from the quantitative. From the standpoint of commodity production, this translates into a valorization of use-values over exchange-values—a project of far-reaching significance grounded in immediate economic activity.

The generalization of ecological production under socialist conditions can provide the ground for the overcoming of the present crises. A society of freely associated producers does not stop at its own democratization. It must, rather, insist on the freeing of all beings as its ground and goal. It overcomes thereby the imperialist impulse both subjectively and objectively. In realizing such a goal, it struggles to overcome all forms of domination, including, especially, those of gender and race. And it surpasses the conditions leading to fundamentalist distortions and their terrorist manifestions. In sum, a world society is posited in a degree of ecological harmony with nature unthinkable under present conditions. A practical outcome of these tendencies would be expressed, for example, in a withering away of the dependency upon fossil fuels integral to industrial capitalism. And this in turn can provide the material point of release of the lands subjugated by oil imperialism, while enabling the containment of global warming, along with other afflictions of the ecological crisis.

No one can read these prescriptions without thinking, first, of how many practical and theoretical questions they raise, and second and more dishearteningly, of how remote they are from the present configuration of the world, both as this is anchored in institutions and as it is registered in consciousness. We need not elaborate these points, which should be instantly recognizable to all. But we would insist that they be taken in their proper perspective. Our project is neither to lay out every step of this way nor to yield to the adversary because of the preponderance of power he holds. It is, rather, to develop the logic of a sufficient and necessary transformation of the current order, and to begin developing the intermediate steps towards this goal. We do so in order to think more deeply into these possibilities, and at the same moment, begin the work of drawing together with all those of like mind. If there is any merit in these arguments, then it must be the case that similar thoughts, and practices to realize these thoughts, will be coordinatively germinating at innumerable points around the world. Ecosocialism will be international, and universal, or it will be nothing. The crises of our time can and must be seen as revolutionary opportunities, which it is our obligation to affirm and bring into existence.

Joel Kovel and Michael Lowy

Paris, Sept 2001


 
 

GADAFFI - A LIVING MYTH

by leonora @ 11/09/06 - 14:53:45

GADAFFI: A LIVING MYTH
English National Opera, Saturday, 9th September 2006

Music: Steve Chandra Savale/Asian Dub Foundation
Text: Shan Khan
Director: David Freeman
Designer: Es Devlin
Lighting Director: Wolfgang Goebbel

CHARACTERS
Muammar Al-Gaddafi             Ramon Tikaram
Fatima                         Sharon Duncan-Brewster
Salah Al-Bouziad               Riz Ahmed
King Sayyid Idris Al-Senussi/  Abdi Gouhad
  Revolutionary Committee Chairman
Mr.Mister                      Ben Bishop
Ronald Reagan                  Martin Turner
News reporter                  David Cardy
Major Abdulsalam Jalloud       Nicholas Khan
Omar Al-Mukhtar                Geoffrey Burton
Gaddafi's mother/Bedouin woman/ Bridgitta Roy
Megaphone woman
Politician                     Nigel Cooke

Chorus/dancers

Musicians
Asian Dub Foundation (Steve Chandra Savale, Babu Stormz, Sanjay Taylor)
Orchestra of English National Opera

Conductor/Music Supervisor
James Morgan
****************

I didn't know what to expect when I bought the tickets for this, but I knew it would at least be interesting. (Fatal word, which has connotations of damning with faint praise, but I meant that I was curious to know what it was about - I had no idea what 'Asian Dub' meant, AND I have to explain it on a German-language message board!!!)

It isn't an opera in any accepted sense of the term, more a play with continuous sound track - nearly all the dialogue (rhyming text by Shan Khan) is spoken - and about 99% of it is clearly audible over the soundtrack!! The structure is perhaps more that of a musical, especially with the finales (First Act and final ensemble) with the entire ensemble dancing and singing.
I still haven't quite worked out how to describe Asian Dub, but the opening music resembled film scores by Bernard Hermann and/or Korngold - so not completely alien to the audience. It was overlaid with sounds of Arabic instruments - or perhaps what Westerners tend to think of as Arabic instruments. I believe that 'Asian Dub' originated in Britain rather than on the Indian sub-continent, it's a type of music invented - or at least
developed - by young British Asians.(Young British people of Asian descent?)
I was especially impressed by the music at the  beginning of the
second act (or second part, anyway, after the interval), with ominous drum beats (if anyone knows anything about rock music, perhaps they could tell me whether this is 'drum and bass'?)
The drama attempts to tell the story of Gadaffi - how he
perceived/perceives himself, how the perception of him in the West has shifted from being seen as a monster to a certain rapprochement (this in spite of the Lockerbie bombing, which most of us still vividly remember). In other words, there is no attempt to glamourise Gadaffi or portray him as a hero (except in his own eyes...); the tyranny he exercised (and continues to exercise) over his people is far from being glossed over. There is reference to what he has done to improve the status of women,
illustrated by his bodyguard of 'Revolutionary Nuns' (this IS what they are called, apparently!) The staging is a mixture of dialogue, video projections, singing and dancing....very like a musical, in fact.

Inevitably it has been compared with EVITA (and with NIXON IN CHINA)- to my mind, the music at least is considerably better than anything Andrew Lloyd Webber could produce - whatever criticisms can be made of the score, it can't be accused of being syrupy and insipid!

There is a certain air of Edinburgh Fringe about the project - worthy, well-intentioned, had its good points, which I have attempted to delineate. I also attended the pre-performance discussion, at which the point was made that the work was an attempt to attract audience that would not usually go to the opera. They certainly succeeded in that aim! But will all these young Asians come back for LA TRAVIATA at the end of
September? I certainly hope so.
It works the other way too, as an audience member observed during the discussion - 'normal' opera-lovers (are any opera-lovers normal??) would probably never have thought of going to GADAFFI had it been performed at an 'ordinary' theatre (though I might have gone if it had been in Edinburgh), and we did have to leave some of our pre-conceptions at the
door.
Dr. Jane Susanna ENNIS
http://members.fortunecity.co.uk/leonora/opera.html

Elderly woman starves to death

by leonora @ 08/09/06 - 13:21:17

This is a terrible story...she must have had a really bad relationship with her family, if not one of her 10 children and 30 grandchildren had stayed in touch.....

Inquiry into starved woman's care

Ivy Allen had refused offers of help
A review is under way into the care of vulnerable people after a 79-year-old grandmother starved to death.

Mother-of-ten Ivy Allen was found emaciated on her sofa, with no food in her Warrington home, an inquest heard.

Ms Allen's pension had been returned because her front door did not have a letterbox, the coroner was told. He criticised the "lack of mindfulness" by the authorities. Warrington Council said lessons could be learned by the "sad, tragic and complicated case".

Ms Allen died from gross malnutrition as result of natural causes, including self-neglect, the coroner ruled. Recording his verdict, coroner Nicholas Rheinberg said: "It is a summation of a lack of mindfulness of those undertaking their duties as they saw fit."

He added: "The biggest single failing was one of communication." It was a combination of lapses and no intervention that led to this tragedy
Nicholas Rheinberg
coroner

Ms Allen, who has 30 grandchildren, had told hospital doctors she could not afford to feed herself, but social services were not told this when she was discharged.

Pension cheques had been returned because the council had replaced Ms Allen's broken front door with a back door, which did not have a post box. But no-one was sent round to check on her, the coroner heard, and her pension was eventually suspended.

The court heard Ms Allen had a history of psychiatric problems and was often confused and resentful of offers of help. But no community psychiatric nurse had checked on her health.

'Working together'

The coroner concluded: "It was a combination of lapses and no intervention that led to this tragedy."

Ms Allen rarely cooked for herself, leaving her bungalow each morning for the cafes and pubs of Warrington town centre, and not returning until night.

The council had tried to install a post-box at her home, but gave up because she was never in.

Coroner Rheinberg said the agencies had "perhaps not gone as far as they could have done or should have done in discharging their duties".

Warrington Council spokesman Bob Williams said: "This has been a very sad, tragic and complicated case, one from which all those involved can learn.

"In the light of the coroner's comments, the council, the primary care trust, the Five Boroughs Partnership, Warrington Hospital, Golden Gates Housing and the Department for Work and Pensions will be working together to review the procedures currently in place to address the needs of vulnerable people in our community."

The Thinker

by leonora @ 07/09/06 - 17:51:09

Thinker

Just LOVE this pose!
http://www.flickr.com/photos/el_fer/229897553/

Latest news from Covent Garden

by leonora @ 07/09/06 - 17:46:21

Just forwarded this from THE GUARDIAN - what an amazing story!!!

JohnEG

Director vanishes after spat with conductor at the Royal Opera House
Charlotte Higgins, arts correspondent
Wednesday September 6, 2006
The Guardian

Opera has a distinguished history of strops, hissy fits, temper tantrums - a whole spectrum of diva-ish behaviours and hostility covered by the wonderfully euphemistic phrase "artistic differences".
It remains unusual, however, for a director to walk out on the first day of rehearsals and go to ground - which is what has happened at the Royal Opera House.

A new production of La Finta Giardiniera, written by Mozart when he was aged 18, is due to open there on September 21, directed by the German-born Christof Loy and conducted by Sir John Eliot Gardiner. It is a problematic opera, very long in its original form, and usually requires cuts to make it workable.

Article continues

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According to Sir John Eliot - who has had a reputation for a sometimes abrasive manner - "Christof Loy was not willing to discuss any of the cuts. I was certainly prepared to discuss them, but at the end of the first day of rehearsals he walked out, disappeared, went awol, and no one could find him."
Loy's agent in Austria was unavailable to comment on this version of the disagreement. Sir John Eliot said the dispute turned on the fact that Loy had expected the cuts to be the same as those he had worked on directing the production in Germany. As conductor, however, Sir John Eliot expected that he would, in consultation with the singers and director, suggest the cuts. "It is the music director's job," he said.

"On the first day of music rehearsals I suggested to him that we should look at the cuts, saying that I had new ideas and I didn't want to solidify them until I had worked with the singers. Then we had two rehearsals, which he sat in on. At the end, I said to the singers, 'These are provisional cuts, if you have any comments let me know.' At which point Loy leaped up and said, 'Are you cutting me out completely?' I said, 'Can we discuss it afterwards?' He walked out; I assumed he'd wait outside and we'd have a beer and talk about it. But he had dropped off the ends of the earth ... it's not very edifying."

The opera will now be directed by Loy's assistant Annika Haller, who, said Sir John Eliot, has not worked on the production before.

He said there was now "an excellent cast and a good working atmosphere".

It was from Loy's 2004 revival of Ariadne Auf Naxos that soprano Deborah Voigt was famously sacked by the Opera House, for being too overweight to fit into the little black dress required.

Death of Astrid Varnay

by leonora @ 05/09/06 - 13:48:24

Varnay3

Singer Astrid Varnay died on 4th. September 2006. The montage photo shows her in some of her greatest roles.
Astrid Varnay. I have downloaded a biography of her.

Biography

Astrid Varnay was born on April 25, 1918 in Stockholm. Her parents, the tenor Alexander Várnay (1889-1924) and the coloratura soprano Mária Jávor (1889-1976) met while working at the Népopera in Budapest and were married in 1914. When Ibolyka Astrid Mária was born they were living in Stockholm while waiting for hostilities to abate so that they could take up a promised job in Buenos Aires. As Varnay says in her memoirs, opera was the family business.
Later that year Alexander was invited to establish a music theatre in Norway, and the family moved to Kristiania. Alexander retired from singing and concentrated on building the Opéra Comique, doing everything from hiring the artists to making the costumes. One member of the company was a young soprano named Kirsten Flagstad, who became a family friend and later a supporter and colleague as Varnay's career progressed. When the Opéra closed in 1921 due to financial problems, the Varnays sailed for Buenos Aires, where Mária sang and Alexander directed. They then sailed to New York in November 1923 for what was thought would be a stopover on the journey back to Europe, however Alexander fell ill and died in June 1923.

Mária stayed in New York with her daughter and supported them by singing. She married the tenor Fortunato de Angelis, and with him opened a studio in Jersey City (they later separated). Astrid studied the piano in Jersey City, but after she came to the realization that she would not become a concert-standard players started to study singing with her mother. Looking to expand Astrid's abilities, they consulted Flagstad, who recommended that she study with Hermann Weigert, head Korrepetitur for the German wing at the Metropolitan Opera. Weigert taught Astrid how to build an interpretation, and coached her in most of the Wagner soprano roles and several Verdi roles. Their relationship extended beyond the studio, and they married in 1944.
Varnay auditioned for the Met in June 1940, the following November, and again in May 1941, when she was offered a three-year contract. Her scheduled debut was to be as Elsa in Lohengrin in early 1942, however she started a little earlier than planned. On December 6, 1941 Varnay had to substitute for an ill Lotte Lehmann in the role of Sieglinde in Die Walküre. Her success was heard all around the United States, as it was a Saturday afternoon matinee broadcast. Six days later she replaced Helen Traubel as Brünnhilde in the same opera – a debut that has never been equalled at the Met. It also foreshadowed the “switch-hitter” role she was to play in coming years, as a regular substitute for Traubel at the Met and Martha Mödl at Bayreuth.

In the new year Varnay sang her scheduled roles of Elsa, Elisabeth (Tannhäuser) and Telea in the world premiere of Menotti's The Island God. Later she sang Venus (Tannhäuser), Isolde, Ortrud (Lohengrin), and Eva in Die Meistersinger von Nürnberg. In the mid '40s she suffered vocal problems, stemming from a still-growing body tackling heavy repertoire (she was in her mid 20s); however she worked through these with Paul Althouse, a tenor who retired from the Met in 1941.

At the Met Varnay primarily sang Wagner, and had to go elsewhere to expand her repertoire. She took on Strauss: Salome in Cincinnatti in 1948, Elektra under Mitropoulos in 1949. She also sang Italian roles outside the Met: Aida, Leonora (Il Trovatore), and Gioconda. Apart from singing "Pace, pace mio Dio" (La forza del destino) and "Ritorna vincitor" (Aida) twice each at concerts, she sang no Italian repertoire at the Met until Simon Boccanegra in the 1949/50 season. Then she was given Santuzza (Cavalleria Rusticana), and sang Lady Macbeth in Florence and later Germany. As well as Brünnhilde, she sang Aida and Leonora at Covent Garden in 1951. It would have been interesting to hear her develop in more of these roles.

Varnay and Weigert

But the greatest chapter of her career now opened. In 1951 the Bayreuth Festival was due to reopen for the first time after the war. Initially Wieland Wagner had approached Kirsten Flagstad to appear, but she declined, suggesting Varnay instead. After recommendations from a total of twenty-seven people the Wagners invited Varnay to sing at the Festival without an audition. That year she sang Brünnhilde in the Ring under the baton of Herbert von Karajan. For most of the 1950s Varnay was the major soprano artist at Bayreuth, appearing as Brünnhilde, Isolde, Ortrud, Kundry (Parsifal), and Senta (Der fliegende Holländer). As a singing actress she had few peers: when reproached for the apparent blandness of his stage settings, Wieland Wagner riposted with, "Why do I need a tree when I have Astrid Varnay?"

Meanwhile Rudolf Bing had become Manager of the Met, and Wagner and his singers did not fare well under Bing’s reign. Varnay knew she was not appreciated when she was all but ignored after she rescued a performance of Götterdämmerung after a marathon flight across the country, with her husband seriously ill in Texas. Bing's bizarre casting decisions did not help: in 1954 he had the world's then-greatest Brünnhilde and Wotan, Astrid Varnay and Hans Hotter, singing Sieglinde and Hunding in Die Walküre. After Weigert's death in 1955 Varnay decided to leave the Met and base herself in Europe. Settling in Munich, she became a regular guest artist in several houses, principally the Bayerischer Staatsoper in Munich and Deutsche Oper am Rhein (Düsseldorf and Duisberg). She also sang in Salzburg, Vienna, Berlin, Barcelona and Paris, among many other places.

In the 1960s John Culshaw of Decca asked Varnay if she would be willing to sing Waltraute in the recording of Götterdämmerung in the Ring cycle he was making with Georg Solti, but she turned it down because she did not feel she was ready to abandon her soprano roles. (Wieland Wagner also asked her to sing Fricka in a Ring production that never eventuated due to his untimely death in 1966.) While she had already started singing Herodias (Salome) in 1962, she did not start taking on mezzo-soprano roles until later in the '60s, as she began to phase out her dramatic soprano roles.
Having made her final Bayreuth appearance in 1967, Varnay sang her last Elektra and Siegfried Brünnhilde in 1969, her last Santuzza and Walküre Brünnhilde in 1970, and her final Götterdämmerung Brünnhilde in 1971. But she added the Kostelnicka (Jenufa) and the Mother in Hänsel und Gretel to her repertoire in 1968, Klytämnestra (Elektra) in 1972, Kabanicha (Kata Kabanova) in 1974 and Mamma Lucia (Cavalleria Rusticana, 1977, which she recorded with Riccardo Muti). She also had success as Claire Zachanassian in Gottfried von Einem's Der Besuch des alten Dame (1972). In these roles Varnay never tried to make herself sound like a mezzo, but sang in the same soprano voice she already used, without any attempt to darken the colouring.

Varnay returned to the Met in late 1974 as the Kostelnicka and sang in several seasons until her final Met appearance on December 22, 1979 as Leokadja Begbick in The Rise and Fall of the City of Mahagonny. Her Herodias and Klytämnestra were filmed by Götz Friedrich (Salome in 1974 and Elektra in 1981), the latter being the last time she sang under the baton of Karl Böhm.

Gradually the major roles were retired and Varnay performed in character role such as Filippyevna in Eugene Onegin, the Countess de Coigny in Andrea Chenier (which she recorded for Decca under Riccardo Chailly), Komorna in Vec Makropoulos, the Countess in Pique Dame, and the Nurse in Boris Godunov, in which she made her final stage appearance in Munich in 1995.

Varnay’s autobiography, written with Donald Arthur, appeared in German as Hab mir's gelobt (Berlin: Henschel Verlag, 1997) and in English as Fifty-five Years in Five Acts (Lebanon, NH: Northeastern University Press/University Press of New England, 2000). With the advent of the compact disc (and internet retail) her recordings are more widely available than ever. Testament issued the 1951 Bayreuth Götterdämmerung in 1999, and will issue the 1955 Bayreuth Ring in 2006. Deutsche Grammophon released a 3-disc retrospective in 2003, and many live performances and radio broadcasts are available on boutique labels. Her reputation is assured for future generations.

Astrid Varnay passed away in Munich on September 4, 2006.

Honours and Awards
Bayerischer Kammersängerin (1963)

Member of the Bayerischen Maximiliansordens für Wissenschaft und Kunst (1981)

Wilhelm-Pitz-Preis (1988) (awarded by die Vereinigung deutscher Opernchöre und Bühnentänzer in der Deutschen Angestellten-Gewerkschaft on the recommendation of the Bayreuth Festival Chorus)

Meistersinger-Medaille for services to the Bayerische Staatsoper (2003)


 
 

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