Aukje Karsemeyer-De Jong

‘Among finalists I was touched by the beautiful, warm, and very nuanced soprano Aukje Karsemeyer who also proved a most artistic personality.’ (Leo Hanekroot, ‘Vocalistenconcours in Den Bosch,’ Unidentified Newspaper utting, September 1954)

‘Aukje Karsemeyer-de Jong was at an advantage given her extensive experience in performing. Where others still appeared in search fof their natural stage presence, Karsemeyer was wholly at ease before the audience.’ (Piet Pijnenborg, ‘Concert van bekroonde vocalisten,’ Unidentified newspaper clipping, September 27, 1954)

'Aukje Karsemeyer-de Jong sings with ample technique and a superior knowledge of the music arias from Weber’s Der Freischütz, and Borodin’s Prince Igor.’ (‘Slotconcert van het Benelux-Vocalistenconcours,’ Unidentified Newspaper cutting, September 27, 1954)

‘Aukje Karsemeyer-de Jong, concluded the pre and post pause parts of the concert and thus had a hard task to live up to her talented colleague soloists. Naturally, she fought for what she was worth. With temperament and rapture she excelled in Agathe’s aria from Der Freischütz. The Prince Igor aria gave her less options to stand out, but with some inborn Hilversum chauvinism we mention here her lyrical sound.’ (‘Prijswinnaarsconcert,’ Gooi & Ommeland, September 27, 1954)

Aukje Karsemeyer-de Jong (Hilversum, March 26, 1921), studied with Aaltje Noordewier-Reddingius. When she participated in the first IVC contest, she already had a career in lighter music with the Dutch Radio broadcasters. She announced to move toward greater goals, but onwards her name continues to appear mostly as a singer of the lighter muse. A Dutch television fragment of 'Reich mir die hand mein leben' from Le nozze di Figaro shows her merits in classical music:

Aukje Karsemeyer-de Jong (Hilversum, March 26, 1921),studied with Aaltje Noordewier-Reddingius. By September 1954, when she participated in the first IVC contest, she already had a career in lighter music with the Dutch Radio broadcasters. She announced to move toward greater goals, but onwards her name continues to appear mostly as a singer of the lighter muse. A Dutch television fragment of 'Reich mir die hand mein leben' from Le nozze di Figaro shows her merits in classical music:

Mozart: Le nozze di Figaro
'Reich mir die hand mein leben'
Aukje Karsemeyer-de Jong (Zerlina), Herman Emmink (Don Giovanni), Orchestra – Gerard Van Krevele
(From NCRV Show 'Herman joh, daar ga je...', May 18, 1961/broadcast May 26)