BW Voice Professor Timothy Mussard Wins International Award
Baldwin Wallace voice professor Timothy Mussard received the 2009 Prix Lauritz Melchior in Paris, Monday, April 27. The prestigious, international award recognizes a helden tenor (a large and dramatic voice in the tenor range). Tim received the award for his role as Siegfried in the Melba recording of Richard Wagner’s Götterdämmerung, with the orchestra of the State Opera of South Australia conducted by Asher Fisch. He was the only American in the cast. The Australian Foreign Minister, Sally Mansfield was there on behalf of the Australian Ambassador to honor his work on the recording.
Mussard related that the president of the Academie Du Disque Lyrique, a well-known music critic in France, presented the award and announced to the audience that Mussard’s voice was "a force of nature." The Academie is funded by the Foundation of Pierre Berge and Yves Saint Laurent and the jury was comprised of a panel of 17 music critics and music scholars.
Mussard has a lengthy operatic repertory which includes Siegfried in both Siegfried and Götterdämmerung, for the Marseille Opera and the title role in Siegfried for the Stuttgart Opera. He has frequently sung the role of Herod in Salome including Opera Cleveland’s 2007 production of the Strauss opera. Other operatic roles include those in Stiffelio, Lohengrin, Der Fliegende Holländer, Aida and Tannhäuser, among others. He also has appeared as a recitalist and as a soloist with orchestras throughout the U.S.
Before coming to Baldwin Wallace five years ago, he was a professor and chair of the voice department at the University of California, Los Angeles.
Timothy Mussard’s Siegfried in Götterdämmerung was admired by critics around the world.
“The scale of the role is honoured… the heroic character is there, too… he conveys a shining memory of his love. The final notes of this Siegfried here are magnificent” Anacluse (France)
“Mussard gets through the role admirably. He’s full of swagger in the early scenes, suitably naïve in the Second Act and is urgent and moving in his death scene” Musical Criticism (UK)
“Lyrical and ardent… a glorious end to the first Australian recording of Der Ring des Niebelungen” The Age (Australia)