Elias (/ɨˈlaɪ.əs/) is the Latin transliteration of the Greek name Ἠλίας, which in turn is the Hellenized form of the Hebrew: אליהו, Eliyahu, meaning "Yahweh is my God". Another form of Eliyahu in English is Elijah.
The name belonged most notably to Elijah ( /ɨˈlaɪdʒə/), the Hebrew prophet. In the King James Version of the Bible, "Elias" is used in the New Testament as the English translation of the Greek name for this prophet.
Theo Adam (born 1 August 1926) is a distinguished German classical bass-baritone who had an active international career in operas, concerts, and recitals from the 1940s through the 1990s. He particularly excelled in portraying roles from the operas of Richard Wagner. On the concert stage, he was a much admired Bach singer and also drew acclaim for his interpretation of the title character of Felix Mendelssohn's Elijah.
Born in Dresden, Adam sang with the Dresdner Kreuzchor as a boy. He studied singing with Rudolf Dietrich between 1946 and 1949. He made his professional opera debut in his native city as the Hermit in Der Freischütz at the Semperoper in 1949. In 1952 he joined the roster of singers at the Berlin State Opera. That same year he made his first appearance at the Bayreuth Festival in a small role. He returned annually to Bayreuth for many years, taking on the role of Heinrich der Vogler in Lohengrin in 1954, Titurel (and one of the Gralsritter) in Parsifal in the same year, Fasolt in Das Rheingold in 1958, and Wotan in Der Ring des Nibelungen in 1963. He eventually added Amfortas in Parsifal, Hans Sachs and Veit Pogner in Die Meistersinger von Nürnberg, and the title role in The Flying Dutchman to his Bayreuth performance credits.
Elisabeth Sara "Elly" Ameling (born 8 February 1933) is a Dutch soprano.
Ameling was born in Rotterdam. She studied with Bodi Rapp, Jo Bollekamp, Sem Dresden and Jacoba Dresden-Dhont and later French art song with Pierre Bernac. She won the first prize during the Vocal Concours in 's-Hertogenbosch in Holland (1956) and the Concours International de Musique in Geneva (1958).
After her professional début as a concert singer in Rotterdam in 1953, she performed for more than forty years in virtually every major cultural centre in the world. Her frequent appearances with the leading international orchestras and conductors (Bernard Haitink, Rafael Kubelík, Carlo Maria Giulini, Benjamin Britten, Seiji Ozawa, Wolfgang Sawallisch, Kurt Masur, Sir Neville Marriner, Karl Münchinger, André Previn, Edo de Waart among others) established her as one of the greatest singers of our age.
She made her career mainly as a concert and lieder singer with some excursions into opera (Mozart, Haydn) and became world-renowned for her recitals of French and German songs and for her superlative interpretive gifts. She is equally at home in chamber music, orchestral music, operas, and oratorios. She made her U.S. recital debut at New York's Lincoln Center in 1968 and her opera debut in 1974 as Ilia in Mozart's Idomeneo in Washington, D.C. In 1974, Ameling also performed for the Peabody Mason Concert series in Boston.
Peter Schreier (born 29 July 1935) is a German tenor and conductor.
Schreier was born in Meissen, Saxony, and spent his first years in the small village of Gauernitz, near Meissen, where his father was a teacher, cantor and organist. In June 1945, when Schreier was almost ten years old, and just a few months after the destruction of Dresden, he entered the boarding school of the famous Dresden boys' choir, the Dresdner Kreuzchor (Choir of the Kreuzkirche or Church of the Cross). The choir had just been re-established. The young Peter and the few other choir members and teachers lived in a cellar in the outskirts of Dresden.
The conductor of the Kreuzchor, Rudolf Mauersberger, soon recognized Peter Schreier's great talent. He let him sing many solo alto parts and also created compositions that perfectly fitted Peter's boy voice. Solo recordings of Peter Schreier were made at the time (1948-1951) and are obtainable on compact disc even today.
Schreier was 16 years old when his voice broke, and he became a tenor, as he had passionately wished, because of the several Evangelists - all tenors - in J.S. Bach's Passions and in his Christmas Oratorio. After he had decided to become a professional singer he took lessons, at first privately, then later on at the Dresden Academy of Music. He had enough time to also study choral and orchestral conducting.
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