Fiebig’s performances and recordings, an extremely popular and versatile artist, ranged from major operatic roles to musical theater to Celtic folk songs. She won two Helpmann Awards in 2010 and 2019 for her work.
She appeared frequently with the Pinchgut Opera, most recently in a film produced by the chamber opera during the lockdown. It was called A Delicate Fire and contained the compositions of the baroque composer Barbara Strozzi.
Taryn Fiebig was without question one of the greatest sopranos in Australia, and she will forever be remembered as an artist of superlatives, with her musicality, passion and her unconditional commitment to art lit every stage. on???? he said. She surpassed every medium and genre she worked in, from 17th century Italian opera to contemporary Australian works.
She was a pleasure to work with: frank, generous and wickedly funny. She made me laugh so often. She will be very much missed by everyone in the Australian art scene and especially by all of us at Pinchgut Opera. “????
» Taryn was an extremely talented artist and a wonderful person, « He wrote in a message to the OA staff. I saw her last week and was deeply moved by her grace and generosity as she stood before her final curtain. We all loved Taryn and we admired her strength and zest for life. “????
Fiebig originally studied cellist at the University of Western Australia before completing his training as a singer.
She joined Opera Australia in 2005. Roles for OA included Susanna in The Marriage of Figaro, Musetta in La Boheme, Zerlina in Don Giovanni and Rose in Lakme.
She underscored her versatility and sang the role of Eliza Doolittle on a national tour of 2008 and 2009 My Fair Lady.
In 2015 she was invited to perform for Prince Charles at Buckingham Palace. It is well known that her performance moved the future king to tears.
The untimely death of Taryn Fiebig is a great loss, not only because of the joy and enchantment that has brought her to thousands, but also because of her artistic growth over the past few years Years of struggling with illness, has opened up new horizons again and again.
Beyond the early comic roles, in which she shone so brilliantly, she was an excellent Mozart singer with her clear golden sound Roles like Zerlina in Don Giovanni and Susanna an ideal blend of warmth and clarity and an instinctive musical intelligence bestowed in David McVicar’s masterful production of The Marriage of Figaro.
With the high theatrical demands of popular musical theater, her ability to make the stage stand out to keep her a natural Eliza in My Fair Lady and her musetta in Puccini’s La Boheme to a triumph.
An artistic strength was ever but her resistance to typography and she continued to expand historically and artistically, with early baroque roles with Pinchgut and Opera Australia up to Richard Millsâ ???? Her love for the nightingale and her Helpmann Award-winning role as Lucy in Brett Deans Bliss.
In Neil Armfield’s production of Wagner’s Ring Cycle, her entry as a forest bird in Siegfried followed immediately after her husband Jud Arthur left as a slain dragon, spattered with blood and naked. Her role as Gutrune in Gotterdammerung promised exciting new vocal and artistic possibilities that have now been tragically shortened.
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