Opera Singer. A contralto possibly best known for her Germanic performances, she shall be remembered for her varied career on both sides of the Atlantic. Born Ann Reynolds, she was raised in Kent, studied piano as a young girl, switched her concentration to voice while a student at London's Royal Academy of Music, and traveled to Rome for further training, at that point taking the name Anna. After making her 1960 operatic debut at Parma as Cio-Cio-San's servant Suzuki in Puccini's "Madame Butterfly" she refined her skills in the major theatres of Italy before bowing at La Scala Milano in 1967. Anna was first heard in her native England at Glyndebourne in 1962 as Genevieve from Claude Debussy's "Peleas et Melisande", gave acclaimed performances the following year as the Angel in Sir Edward Elgar's "The Dream of Gerontius", and made her 1967 Covent Garden debut as Adelaide of Richard Strauss' "Arabella". Over the years her repertoire included well known pieces, among them Annina of Richard Strauss' "Der Rosenkavalier", Charlotte from Jules Massenet's "Werther", Dido of Purcell's "Dido and Aeneas", and Elizabeth I in Donizetti's "Maria Stuarda", along with such lesser known fare as Andromache of Sir Michael Tippett's "King Priam". She made her November 22, 1968 Metropolitan Opera bow as Flosshilde from Wagner's "Das Rheingold", was first heard at Wagner's Bayreuth Festspielhaus in 1970 as Fricka in "Die Walkure", and that same year made her Salzburg Festival debut in Herbert von Karajan's legendary presentation of Wagner's "Ring Cycle". A noted recital and oratorio artist, she performed and recorded a number of compositions including Handel's "Messiah", Bach's "Magnificat", "Mass in B-minor", "Jesus sleeps, What shall I hope for?", and "Easter Oratorio", Mahler's "Das Lied von der Erde" and symphonies, and John Tavener's 1970 "The Whale", the recording of which was the only classical work ever released on the Beatles' Apple label. Honored as Kammersangerin (KS), Anna bade farewell to the stage in 1976 and thereafter lived in Bayreuth where she partnered with her husband, Wagnerian tenor Jean Cox, teaching voice while serving as respected master class presenters and competition judges. At her demise a number of her recordings, both studio sessions and archived live performances, remained available.