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2017 Brazilian Portuguese Lyric Diction for American Singers and Antônio Carlos Gomes: His Life and Musical Style within the Transitional Period from to Verismo Guilherme Coelho Godoi

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COLLEGE OF

BRAZILIAN PORTUGUESE LYRIC DICTION FOR AMERICAN SINGERS

AND ANTÔNIO CARLOS GOMES: HIS LIFE AND MUSICAL STYLE WITHIN THE

TRANSITIONAL PERIOD FROM BEL CANTO TO VERISMO

By

GUILHERME COELHO GODOI

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

2017

© 2017 Guilherme Coelho Godoi Guilherme Coelho Godoi defended this treatise on November 7, 2017. The members of the supervisory committee were:

Valerie M. Trujillo Professor Directing Treatise

Evan A. Jones University Representative

Douglas L. Fisher Committee Member

Joseph C. Kraus Committee Member

The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements.

ii

To my family

iii TABLE OF CONTENTS

List of Tables ...... v List of Figures ...... vi Abstract ...... vii

1. BRAZILIAN PORTUGUESE LYRIC DICTION FOR AMERICAN SINGERS ...... 1

Introduction ...... 1 Pure vowels in Brazilian Portuguese...... 3 Nasal Sounds ...... 6 Consonants ...... 8

2. ANTÔNIO CARLOS GOMES: HIS LIFE AND MUSICAL STYLE WITHIN THE TRANSITIONAL PERIOD FROM BEL CANTO TO VERISMO ...... 13

Life ...... 13 Musical Style ...... 20

CONCLUSION ...... 33

References ...... 34

Biographical Sketch ...... 38

iv LIST OF TABLES

1 Pure Vowels ...... 5

2 Nasal Sounds ...... 8

3 The articulation of the letter r ...... 10

4 Consonants ...... 12

5 , Act 1: Tonal Scheme ...... 29

v LIST OF FIGURES

1 Timeline of written in the second half of the 19th century...... 16

2 Performances by Italian composers in Italian theaters during the 1880s...... 18

3 , Act 2: Cecilia’s aria “O come è bello il ciel” ...... 21

4 Peri’s costume for the premiere of Il Guarany, designed by Luigi Zamperoni ...... 22

5 , Act 1: Corsairs’ theme, sung by the , p. 15...... 24

6 Fosca, Act 3: Corsairs’ theme in the cello and viola parts, p. 245 ...... 24

7 Fosca, Act 3: Corsairs’ theme in the , p. 265 ...... 24

8 Maria Tudor, Act 1: End of Giovanna and Fabiano’ duet ...... 25

9 Analysis of “Quando nascesti tu” ...... 27

10 , Act 1: aria “Mia piccirella”...... 31

11 , Act 4: Orchestral prelude...... 32

vi ABSTRACT

The purpose of this document is to make the reader aware of two areas of vocal Brazilian music that have long been neglected, and are now receiving the attention of researchers and performers:

Brazilian Portuguese lyric diction and the operas of Brazilian composer Antônio Carlos Gomes.

Many people are familiar with popular genres of Brazilian music. The samba, bossa nova, choro and the driving rhythms associated with carnival dances are widely popular among the general public. However, few are familiar with the classical vocal repertoire. The first section is dedicated to pedagogical tools for teaching Brazilian Portuguese diction. American singers will find the process of preparing Brazilian repertoire more accessible with this concise but objective guide. The second half is a discussion of the operatic works of Antônio Carlos Gomes, with focus on Gomes as a transitional figure from the bel canto to verismo in Italy in the second half the 19th century, as well as his contributions to the operatic repertoire.

vii CHAPTER 1

BRAZILIAN PORTUGUESE LYRIC DICTION FOR AMERICAN SINGERS

Introduction

In recent years, many publications about Brazilian Portuguese (referred to hereafter as

“BP”) vocal repertoire and lyric diction have been written. Authors have sought not only to improve the International Phonetic Alphabet (referred hereafter as “IPA”) for BP, by adding more accurate descriptions of sound production and more specific notation, but also to encourage non-native speakers to explore the art song repertoire by providing phonetic transcriptions of songs, performance guidance, biographies of song composers and the digitization and publication of music scores. Such research is invaluable, since it promotes the art song repertoire and provides singers and vocal coaches more accurate information on a subject that has been largely misunderstood by performers. Books by musicologists such as Mário de Andrade, Vasco

Mariz and Bruno Kiefer, discuss the development of the language and its relationship to art song.

Voice teachers, vocal coaches, linguists and researchers from and other countries have spent several years trying to find a common ground for a standard pronunciation of Brazilian

Portuguese. “The systematization and consolidation of norms for the pronunciation of Brazilian

Portuguese (…) is the fruit of collaboration by a group of Brazilian researchers and singers, and began in 2003 as a study group during the annual meeting of the National Association of

Research and Graduate Studies in Music.”1 These discussions culminated with the publication in

1 Martha Herr, Adriana Kayama and Wladimir Mattos, “Brazilian Portuguese: Norms for Lyric Diction,” Journal of Singing 65, no. 2 (November/December 2008): 195. 1 2007 of the Norms for Lyric Diction in Opus magazine2 as well as in the Journal of Singing in

2008. More recent articles and dissertations analyze select songs of various composers. These, combined with biographies and phonetic transcriptions of song texts, contribute to the growing body of available materials to the performer.

While recent publications on this topic are admirable, they still contain some misleading information on diction and phonetic transcription. Therefore, the performer must make sure that the source is reliable, accurate and consistent.3

Authors differ in their IPA notation when it comes to more complicated aspects of the language. For example, the nasal diphthongs or the use of shadow vowels in unaccented syllables are largely a matter of dialect or choice. This document is not another attempt at redefining the phonetic transcription of the language or decoding the process of sound formation in technical terms. While that type of research is invaluable in bringing awareness to the complexities of the language and the dissemination of lesser-known repertoire among singers, it is equally important that native speakers look for ways to bridge the gap between Brazilian Portuguese and American

English by finding similar patterns in both languages that serve as tools in building a new palette of sounds available to the American singer.

As this author worked with American singers on Brazilian art songs he discovered that all the sounds in Portuguese exist in English. One difficulty is in finding the appropriate sounds that will correspond to the correct pronunciation, which often times differ from the spelling. Because most voice students will have some experience singing German, French, Italian, or Spanish

2 Adriana Kayama, Flávio Carvalho, Luciana Monteiro de Castro, Martha Herr, Mirna Rubim, Mônica Pedrosa de Pádua, Wladimir Mattos, “PB Cantado: Normas para a Pronúncia do Português Brasileiro no Canto Erudito,” Opus 13, no. 2 (2007): 16-38. 3 See, for example, Melanie Ohm, “Brazilian Portuguese Lyric Diction of the American Singer”, (DMA diss., Arizona State University, 2009) and Marcía Porter, Singing in Brazilian Portuguese: A Guide to Lyric Diction and Vocal Repertoire. (Lanham: Rowman & Littlefield, 2017). The reference section is by no means definitive. It represents what is readily available to the music student at American universities. 2 repertoire before they have the opportunity to sing in Portuguese, the difficulty lies in seeing similar words on the page pronounced differently. The author has developed a pedagogical and practical approach to teaching lyric diction: to look for sounds that are common in the English language and find the equivalent sounds in Portuguese.

This document is largely based on a lecture recital presented by the author at Florida

State University on April 8, 2017, which is the result of months of experience working with

American singers. The IPA used for phonetic transcriptions comes from the article published by authors Martha Herr, Adriana Kayama and Wladimir Mattos in the Journal of Singing in

November of 2008: “Brazilian Portuguese: Norms for Lyric Diction.”

Pure Vowels in Brazilian Portuguese

Many sources of IPA for BP, including the “Norms for Lyric Diction” as well as recent dissertations, state that there are more pure vowel sounds in BP than those in Table 1 (see page five). The most significant, the reduced [ɐ], [ɪ], [ʊ], are used in unstressed syllables or monosyllabic words. One example is the word caro (expensive, dear): [ˈka.ɾʊ] as opposed to

[ˈka.ɾo]. As a native speaker, I recognize this aspect of speech largely differentiates BP from

European Portuguese or Spanish. However, spoken diction cannot be used in singing. There must be a clear distinction of sounds that facilitates intelligibility and clarity of text. Often times composers set texts in ways that emphasize final or unstressed syllables. This brings up a critical fact of standard speech: whenever Brazilians articulate every syllable of a word or sentence with long sustained tones, reduced vowels are pronounced as pure vowels, often to provide emphasis.

The process of the formation of vowels when singing is similar, i.e., the precision of articulation.

Text will be better understood by the listener when vowels are pure.

3 Diction classes teach singers that the inflection and flow of any language are determining factors in the shaping of vowels. That includes a basic knowledge of grammar and vocabulary

(focusing on word stress) paired with actively listening to native speakers in conversation. It can be observed that articles, prepositions, etc. are not as important as to what they refer, and receive less emphasis. When that idea is translated into singing, the emphasis with which a singer sings a vowel can and will communicate to the listener what the word represents in context. This occurs without making changes to its formation. Obviously, vowel modification will be necessary in the high register. This will keep the quality of the tone, but the manipulation of stressed and unstressed syllables can be made without altering the purity of vowels.

It is recommended that [ɐ] be sung as [a], [ɪ] as [i], and [ʊ] as [u]. The exception to this recommendation is the formation of nasal diphthongs. Different ways of representing nasal sounds in Portuguese have been proposed,4 and each way has its own advantages and disadvantages. This document, utilizing the “Norms of 2007” as a reference for the notation of nasal sounds, seeks to do just that: to help the American singer understand the formation of sounds and execute them properly. However one decides to notate nasal sounds, ultimately the goal is to be effective in communicating and expressing the text.

The phoneme [a] is more forward than what is encountered in Italian. Even though the symbol is the same, the Italian [a] is associated with the English [ɑ] as in father, and must not be confused with BP. It is more similar to the Spanish [a], as in casa (house) [ˈka.sa]. Considering that the majority of vocal lines in Brazilian art songs fall within the staff, the forward placement of the vowel will contribute to the intelligibility of the text. When singing words where the letter

4 Marília Álvares, “Diction and Pronunciation of Brazilian Portuguese in Lyric Singing as applied to Selected Songs of ” (DMA. diss., University of Nebraska, 2008). 4 r follows an a, such as caro (expensive, dear) [ˈka.ɾu], care must be taken so that the articulation of the consonant does not interfere with the shape of the vowel, turning it into an [ɑ].

When stressed a is followed by m or n in the next syllable it is pronounced as [ʌ], as in sun [sʌn], and not as the bright [a]. For example: pano (cloth) [ˈpʌ.nu].

Table 1. Pure Vowels Orthography Phonetic transcription Example English equivalent a [a] má (bad) my (without offglide /ɪ/) [ʌ] ano (year) up [ɛ] pé (foot) bet e [e] ver (to see) chaos [i] de (of) me i [i] vi (I saw) sea o [ɔ] pó (powder) all

[o] cor (color) omit u [u] rua (street) too

Although the IPA symbols used for vowels are the same as those used for German,

French, and Italian, for example, one must learn the nuances for these symbols in each language.

In the case of BP, the open vowels [ɛ] and [ɔ] are more open and more forward than their counterparts in other western languages. One could compare the sounds to Spanish. The openness of the vowel should be taken seriously because the difference between open and closed vowels can drastically change the meaning of words (e.g. the adverb esse (this) [ˈe.si] and the letter s [ˈɛ.si]).

5 The open and closed e sounds need to be very distinct from each other. The space inside the mouth for open e, [ɛ], can be compared to the space of [æ] in English. When singing, this will not sound incorrect, but clear and intelligible. Knowing when e/o are open or closed can also be a frustrating task as there are not many specific rules on the subject. In these situations, consulting a bilingual dictionary or a native speaker are the best options. The vowels [ɔ], [o] and

[u] follow the same pattern as their equivalents in Italian.

Regarding diphthongs, as in the word leite (milk) [ˈle:i.tʃi], it is best to think of diphthongs in English as a reference, like bait. The main vowel is longer, and the diphthong is articulated softly at the end, with a slight movement of the jaw.

Lastly, the performer of Brazilian repertoire needs to be aware that, as in other Romance languages, there are no glottal attacks before vowels. It is an important point, since glottal attacks are an important tool for expressing text in the American, British, and German repertoires.

Nasal Sounds

BP pronunciation is similar to Spanish, French and Italian in many ways. However, there are sounds that are unique to Brazilian Portuguese. Words like também (also) [tɐ̃.ˈbẽ:ɪ], mãe

(mother) [mɐ̃:ɪ], bem (well) [bẽ:ɪ], pão (bread) [pɐ̃:ʊ], um (a, one) [ũ], are made up of nasal sounds, but not like those found in French. The nasality is achieved by going into the nasal cavity without a full articulation of the consonants n or m. This is the case whether the consonants appear in the word or not.

After working with American singers and listening to non-native speakers singing in BP,

I noticed that the nasal sounds are problematic to master, since they do not exist in the English language (nor in other Romance languages). Fortunately, we can merge two different sounds that are common in English, and eventually, find the appropriate sound.

6 It is important to point out that when making nasal sounds, one should pay attention to these two steps: first, say the vowel(s) that is (are) associated with it (either a pure vowel or schwa), and then add the nasality at the end, similar to the process of pronouncing diphthongs. It will become clear that the jaw goes up slightly, but the lips should not touch.

Pronouncing words with ão [ɐ̃:ʊ]

To pronounce words like mão (hand), the following sounds are required: [ʌ] as in the

English word up, followed by oom, as in boom. It is important that the performer remember that although letter a is present in the spelling of the word, the sound that is pronounced is a relaxed

[ʌ]. The singer must now take out the p and the b and pronounce both sounds together, as in

[ʌ]+oom without closing their lips to articulate the letter m.

Pronouncing words with ãe/ãi [ɐ̃:ɪ]

To pronounce words like mãe (mother) [mɐ̃:ɪ] or cãimbra (cramps) [ˈkɐ̃:ɪ.bra], the process of finding the appropriate sound is similar to what has been discussed above. In this case, the sound [ʌ] and words like teen, or keen are required. Remove the initial consonant of each word and pronounce both sounds: [ʌ]+’een’ without articulating the final n. The performer must try to keep the tip of the tongue stable. Finally, combine the two sounds stressing the [ʌ].

Pronouncing words with em/en [ẽ:ɪ]

For words like bem (well) [bẽ:ɪ] or comem (the eat) [ˈkɔ.mẽ:ɪ], use the word paint

[peɪnt] as a reference. Pronounce it without the initial p or the final t. The resulting sound should have some nasal resonance without a full articulation of the final n.

Pronouncing words with im/in [ĩ]

7 The nasal sound [ĩ], as in ímpio (unholy) [ˈĩ.pju] or jardim (garden) [ʒar.ˈdʒĩ] is similar to the word teen without the t. The performer should remember to keep the tongue stable.

Pronouncing words with om/on [õ]

Words like bom (good) [bõ] or com (with) [kõ], are similar to the English word own

[əʊn]. The principle is the same as discussed above. Pronounce the word without articulating the final consonant.

Pronouncing words with um/un [ũ]

Using the Italian [u] vowel, pronounce the English word boom [bum] without closing the lips for the m. The singer should start with a pure vowel and then move into the nasal cavity.

Examples of this sound are: comum (common) [ko.ˈmũ], um (one, a) [ũ].

Table 2. Nasal Sounds Orthography Phonetic transcription Example

ão [ɐ̃:ʊ] mão (hand) ãe/ãi [ɐ̃:ɪ] mãe (mother) em/en [ẽ:ɪ] bem (well) im/in [ĩ] sim (yes) om/on [õ] bom (bom) um/un [ũ] comum (common)

Consonants

There are two main aspects of consonants in Brazilian Portuguese that might be unfamiliar to American singers. First, there are no double consonants in BP. This is especially the case when words are spelled with rr or ss. For example: carro (car) [ˈka.xu], bossa (from

8 bossa nova, musical genre) [ˈbɔ.sa]. In general, singers should avoid emphasizing consonants when expressing text, which is commonly done in English and German. Instead, consonants should be approached in a fluid way.

Second, stop-plosive consonants such as d, p, or t should not be aspirated as they are in

English. In English, consonants play an important role in expressing the character of the piece or giving emphasis to a word. In Portuguese there is no release of extra air, only the articulation of tongue and lips and the opening of the jaw. This feature of the Brazilian language should be emphasized in the early stages of learning the diction, until it becomes second nature for the performer to pronounce consonants in a consistent way. One could refer to the French language as a reference for the legato of the consonants. The following paragraphs will discuss a few consonants in detail: d, l, r, s, t, and consonant clusters nh and lh. These can be easily misunderstood by non-native speakers and, should be studied carefully, so that the performer can render an authentic and intelligible performance.

The articulation of the letter d

The letter d can have two different sounds. The first one is [d], as in: dado (dice)

[ˈda.du], dono (owner) [ˈdo.nu], dedo (finger) [ˈde.du]. For the American singer, it is necessary to learn the difference between [d] in BP and the [d] in English. In Portuguese, [d] is not aspirated, but hard and dental. That may be one reason why Americans sometimes have difficulty understanding Brazilians, since Brazilians pronounce them much more smoothly.

In some cases, however, [d] changes to [dʒ], as in the English word job. That change occurs in unstressed syllables when followed by the letter e, and when d is followed by the letter i. The following words are examples of the change in pronunciation: de (of) [dʒi], dívida (debt)

[ˈdʒi.vi.da], adiar (to postpone) [a.dʒi.ˈar].

9 The articulation of the letter l

The [l] follows the same rule as other Latin languages when it begins a word or syllable.

It is dental, as in the words: lado (side) [ˈla.du], lousa (blackboard) [ˈlo:u.za], balada (ballad)

[ba.ˈla.da]. An important detail is that the performer remembers to move the tongue down from the hard palate/back of upper teeth as quickly as possible. The desired effect is that of a short and unaccented consonant. When it ends a syllable or word, [l] changes to [u], as if it were a diphthong with the previous vowel. Some examples are: sol (sun) [sɔ:u] , gel (gel) [ʒɛ:u].

The articulation of the letter r

The [r] has been cause for discussion and is one of the sounds with the most discrepancy even among Brazilians. There are at least three dialects used to pronounce words with r when preceded or followed by consonant: the paulista [r], carioca [h] and caipira [ɹ].

Table 3. The articulation of the letter r Dialect Example Phonetic transcription Paulista porta (door) [ˈpɔr.ta] Carioca porta [ˈpɔh.ta] Caipira porta [ˈpɔɹ.ta]

When intervocalic, [ɾ] is flipped, for example: fora (out) [ˈfɔ. ɾa], virus (virus) [ˈvi. ɾus], caro (dear, expensive) [ˈka. ɾu]. For the purposes of singing, the “Norms for Lyric Diction” recommend that the flipped and lightly rolled [r] will be the standard for lyric diction.

There is one more aspect of the letter r that is common in the spoken language. When rr appears or when an r begins a word, it is pronounced as [h] as in the English word horse. For example: roupa (clothes) [ˈho:u.pa], carro (car).[ˈka.hu]. Although the letter r as [h] has

10 become the most common way of pronouncing words that begin with an r, that principle is often overruled by technical difficulties in maintaining the quality of the singing. In that case, the lightly rolled r is perfectly acceptable.

The articulation of the letter s

The letter s is almost always pronounced as an unvoiced [s]. This is the case at the beginning of words, ss, and other consonant clusters. For example: sapo (frog) [ˈsa.pu], assar (to bake) [a.ˈsar], nascer (to be born) [na.ˈser]. As in Italian, the sound [s] changes to [z] when intervocalic. For example: mosaico (mosaic) [mo.ˈza:i.ku], casa (house) [ˈka.za].

The articulation of the letter t

The letter t follows the same principle as the letter d. There are two different ways of pronouncing it depending on its position within a word. When it is followed by a, stressed e, o or u, we use the dental [t], as in the words: tapa (slap) [ˈta.pa], testa (forehead) [ˈtɛs.ta], tomada

(wall plug) [to.ˈma.da], and tudo (everything) [ˈtu.du].

When t is followed by unstressed e, or i, it changes to [tʃ], as in the English word charm.

For example: tapete (rug) [ta.ˈpe. tʃi], time (team) [ˈtʃi.mi], noite (night) [ˈno:i. tʃi].

The articulation of nh [ɲ]

The formation of nh, as in sonho (dream) [ˈso.ɲu] follows the same process as the enya

[ɲ] in Italian. The sound does not exist in English, and it should not be confused with [nj] as in onion. The following quote, taken from Joan Wall’s Diction for Singers, is an accurate description on how to make this sound:

Make the sound of enya [ɲ] by slightly parting your lips, putting the tip of the tongue behind the bottom front teeth and arching your tongue upward so that the high arch of the tongue touches the boundary between the teeth ridge and the hard palate. Add voice and 11 you will hear the nasal, palatal consonant sound enya [ɲ]. Although the enya sounds something like [n] it is made with the blade of your tongue touching the palate rather than the tip of your tongue touching the teeth ridge5.

The articulation of lh [ʎ]

The formation of lh as in colher (spoon) [ko.ˈʎɛr] follows the same process of its Italian equivalent elya:

Produce the sound of elya [ʎ] by slightly parting your lips, putting the tip of your tongue behind the bottom front teeth, and arching your tongue so that the arch of the tongue touches the front of the hard palate. Add voice and let the air exit over the sides of the tongue. You will hear a sound something like an [l], only it is made with the blade of the tongue, not the tip, against the boundary between the teeth ridge and the hard palate.6

Table 4. Consonants Orthography Phonetic transcription Example [d] dado (dice) d [dʒ] dia (day) [l] lado (side) l [:u] sol (sun) [ɾ] caro (dear, expensive) r [x] roupa (clothes) [s] sapo (frog) s [z] casa (house) [t] testa (forehead) t [tʃ] time (team) nh [ɲ] sonho (dream) lh [ʎ] colher (spoon)

5 Joan Wall, Diction for Singers (Dallas: Pst…Inc., 1990), 48. 6 Ibid. 12 CHAPTER 2

ANTÔNIO CARLOS GOMES: HIS LIFE AND MUSICAL STYLE WITHIN THE TRANSITIONAL PERIOD FROM BEL CANTO TO VERISMO

Life

Antônio Carlos Gomes, considered by many to be the most important and prolific composer in Brazilian history, is virtually unknown among audiences and singers outside of

Brazil. While it is not uncommon to hear one of his art songs or an operatic aria being performed in student recitals or by renowned opera singers, there are few resources available regarding his life and music.

With the Modernist movement that emerged in the early 20th century, Carlos Gomes became a symbol of the past, superseded by new ideas and forward-thinking composers.

Fortunately, in recent years there have been efforts in Brazil to keep his music alive among young performers,7 and scholarly works by historians and musicologists have shed light on many aspects of his turbulent life. This document represents another contribution to the growing interest in him, his life, and his music.

Antônio Carlos Gomes (known as Carlos Gomes) was born in 1836 in a small Brazilian town of about 5,000 people. At the time of his birth the town was called Vila de São Carlos.

Today it is known as Campinas. His father, bandmaster Manuel José Gomes, married four times and fathered at least 25 children. He introduced each of them to music. 8

7 One example is the annual Concurso Estímulo para Cantores Líricos (Classical Singers Encouragement Competition) in Campinas, Brazil. It requires contestants to include art songs and arias by Gomes in both semifinal and final rounds.

8 José Penalva, Carlos Gomes: O Compositor (Campinas: Papirus, 1986), 11. 13 During his childhood, Carlos Gomes played several instruments, participated in his father’s bands and toured with small ensembles. Despite being a talented boy soprano, he was forced to play percussion in his father’s orchestra.

Being raised in a musical family, Carlos Gomes listened to different kinds of music. He became acquainted with folk and popular music. He was most interested in the Italian operas that were a part of the musical life in Brazil at the first half of the 19th century.

During his teenage years, Carlos Gomes began composing songs with simple piano accompaniments, modest piano pieces inspired by national themes and European salon dances, and chamber music. In 1854 and 1855 he wrote two masses (S. Sebastião and N. S. da

Conceição), for chorus, soloists and symphonic orchestra, with great success. Having no formal training thus far, his studies were based on the analysis of scores by European composers such as

Giordani, Haydn, Boccherini, Weber, and Strauss, among others.

Carlos Gomes moved to Rio de Janeiro in 1859 against his father’s will, to pursue a career in music. He enrolled at the Imperial Conservatory of Music and studied composition with

Gioacchino Giannini. There, he became acquainted with the works of Bellini, Rossini, Donizetti, and Verdi, and worked as an assistant conductor for more than 50 opera productions at the

Teatro Lírico.

While in Rio de Janeiro, he wrote two operas with in Portuguese that embody the growing of the era. Both operas were composed in the Italian bel canto style. A

Noite do Castelo (The Night of the Castle, 1861) and Joanna de Flandres (Joanna of Flandres,

1863) were such successes that Carlos Gomes was awarded a scholarship to continue his studies in Europe.

14 D. Pedro II, Brazilian emperor from 1831 to 1889, played an important role as a patron of the arts, and not only brought musicians and artists from Europe to Brazil, but also built libraries and theaters in Rio de Janeiro, São Paulo, and around the country. He was a supporter of many generations of local, aspiring musicians. A great admirer of Wagner, D. Pedro II wanted to send

Gomes to Germany. His wife, however, the empress Teresa Cristina, was of Italian descent, and told her husband to send Carlos Gomes to Italy, so that he could enroll at the

Conservatory. The emperor agreed and sent Gomes to Italy in December of 1863. All expenses were paid and he received a large allowance so that he could focus solely on his studies.

Gomes was unable to enroll in the Milan Conservatory because he was past the age limit of 25 for the entrance exam. However, he was allowed to attend classes, and study composition.

He eventually took the final exam and graduated with the diploma of ‘Maestro compositore’ in

1866. In order to become popular, he began working on small projects. His first compositions were two musical revues that attracted attention from critics, impresarios and the public and opened doors to future projects.

Gomes’s first major opera came in March 1870, at a time when non-Italian composers were rare and Italy was dominated by the operas of Rossini, Donizetti and Verdi. Inspired by

José de Alencar’s novel of the same name, Il Guarany (The Guarani) premiered at to great acclaim. The piece became an instant success.

The four-act opera-ballo is set in Rio de Janeiro in 1560. Peri, a native Indian leader of the Guarani tribe, is secretly in love with Cecilia, the daughter of a Portuguese nobleman, who is to marry a Portuguese gentleman. Peri and Cecilia confess their mutual love, but Peri must fight his own tribe as well as Cecilia’s family to save their lives and remain together.

15 As a reference, the following timeline shows some of the operatic landmarks written around the same time in Italy, Germany and France. This will help the reader get a better perspective of where Carlos Gomes fits into the development of opera in the late 19th century.

Figure 1. Timeline of operas written in the second half of the 19th century

Gomes’s next opera, Fosca, was written in 1873, to a by , who also wrote the libretto of Verdi’s Aïda. The action takes place in Istria, what is today the northwestern region of Croatia, and Venice. The year is 944. The nobleman Paolo is about to marry the orphan Delia, but the couple will have to face pirates, including Fosca, the daughter of their leader, to be together. Unlike many operas, where a male character portrays the villain, in this one the villain is the female Fosca.

Gomes himself considered Fosca to be the most elaborate among all his works and the one he prized the most. Its orchestration and use of reminiscence motives are similar to that used by Wagner in his operas. Unfortunately, Italian audiences despised the German composer and

Fosca was not well received at the time.9

9 Marcus Góes, Carlos Gomes: A Força Indômita (Belém: Secult, 1996), 177. 16 A year later Carlos Gomes composed his next opera, Salvator Rosa. With this work he would explore an all-Italian opera that appealed to audiences and critics alike, with Italian characters, libretto, plot, and catchy tunes. The opera tells the story of the Neapolitan Revolt of

1647, when Masaniello led the citizens of against Spanish rulers and the exorbitant taxes they forced upon the people. The famous painter Salvator Rosa, Masaniello’s friend, served as a diplomat working with the resistance and the Duke of Arcos, ruler of Naples, and together they work out a peace treaty. The treaty was broken, and in the end, Rosa’s beloved one, the daughter of the Duke, is accidentally killed, avoiding the final battle between Neapolitans and Spanish.

With Salvator Rosa, Carlos Gomes regained public approval and, although not as complex musically as Fosca, it is a statement of his talent and craft as a melodist.

After the initial success of his operas, Carlos Gomes began to live a life of luxury and extravagance. He bought a summer home, moved frequently, attended performances of his works, and traveled regularly throughout Italy. Unfortunately, Gomes did not manage his finances well and went into a substantial amount of debt. He was ill-tempered, which resulted in quarrels with singers, conductors, publishing houses and librettists. He also faced marital problems with his wife, the Italian Adelina Peri. All these issues contributed to a troublesome life for him.

In 1874 Gomes started looking for inspiration for his next opera. He searched for a topic that would be imbued with great passion, and primitive instincts such as lust and desperation.

After five years of writing and countless changes to the libretto and the music, Carlos Gomes premiered Maria Tudor at La Scala. The work, inspired by ’s play of the same name, is regarded as a musical gem, where Gomes balances moments of great dramatic content with simple melodies that would still be appealing to Milanese audiences.

17 Maria Tudor tells the story of Queen Mary I of England, who reigned briefly from 1553-

1558. Nicknamed “Bloody Mary” for her ruthless religious policies, the queen is in love with an

Italian adventurer, Fabiano Fabiani, even though she is promised to someone else. Fabiano seduces Giovanna, an orphan adopted by the factory worker Gilberto. Gilberto, though acting as a father to Giovanna, also has feelings for her. After several hours of royal speeches, Fabiano is beheaded, the queen is devastated, and Giovanna and Gilberto run away together.

In a time when Italy had just been unified as a country (1871), and nationalism was at its peak, Carlos Gomes had become successful among audiences, and his operas were preferred over those written by Italian composers. Research conducted by historian Marcus Góes found that, after Verdi, Gomes was the most performed ‘Italian’ composer in Italy during the 1880s

(see Figure 2).10 That caused a reaction among critics and nationalists who constantly wrote bad reviews about Gomes’s operas and glorified works by Italian composers.

Verdi 166

Gomes 62

Donizetti 54

Bellini 36

Rossini 7

0 20 40 60 80 100 120 140 160 180

Figure 2. Performances by Italian composers in Italian theaters during the 1880s

10 Marcus Góes, Carlos Gomes: A Força Indômita, 293. 18 During the next decade, Carlos Gomes moved back and forth between Brazil and Italy.

He toured with companies that performed his operas and tried to make ends meet by asking friends for loans and working on new works that he never completed. He also composed songs for voice and piano in Italian, and other commissioned works.

The 1880s were a politically tense time in Brazil, as slavery had become a national issue.

Native Indians and Africans had been enslaved since the 1500s and the monarchy was now pressured to end slavery. In 1888, Princess Isabel signed the decree that put an end to an almost

400-year long tradition.

Inspired by these events, Carlos Gomes composed a work that combined poetry by

Domingos José Gonçalves de Magalhães, libretto by Visconde Alfredo Taunay, and adaptation by Rodolfo Paravicini. Premiered in Rio de Janeiro in 1889, Lo schiavo (The Slave) is set in Rio de Janeiro in 1567. The action is centered on Iberê, an enslaved native Indian, his relationship with Ilara, also a slave, and the love between Ilara and the landowner’s son, Américo.

In 1889, shortly after the premiere of Lo schiavo, the monarchy was overthrown by the military, and Brazil became a republic. Carlos Gomes became a symbol of the past and lost the financial support from the government that he had enjoyed since moving to Italy in 1863.

Gomes’s last opera was written in 1891. Côndor, his first and only commissioned opera, is set in 17th century Samarkand, one of the oldest cities in the world (today part of Uzbekistan, in Central Asia). The adventurer Côndor falls in love with the queen of Samarkand, Odalea, and enters her chamber to tell her of his love, despite being warned that the penalty for doing so is death. The queen forgives him, but the people are so infuriated with her that Côndor takes his own life to protect her.

19 Gomes spent the remainder of his life struggling for money and trying to find a job that would bring him some stability. He was diagnosed with tongue cancer and passed away in 1896, leaving a legacy of works for audiences to enjoy.

Musical Style

As a transitional figure in the second half of the 19th century, Carlos Gomes assimilated much of the bel canto style of Rossini and the grand opéra of Meyerbeer, but also foreshadowed many of the traits of the verismo of Mascagni and Puccini. Compositions of his youth, including both operas in Portuguese written prior to his moving to Italy in 1863, are not covered in this document. Instead, the following paragraphs elaborate on his mature period as a composer, with an overview of specific characteristics of his music that are representative of the bel canto, grand opéra, and verismo. The excerpts come from his operas written in Italy from 1870 to 1891.

Plots drawn from literary sources or historical events

From a young age Gomes learned the value of literature as inspiration for musical works, using a poem by Portuguese writer António Feliciano de Castilho called (The

Night of the Castle) as the libretto for his first opera. With the exception of his last staged work

Côndor, his operas were based either on literary works or historical events.

Il Guarany. Based on Brazilian writer José de Alencar’s novel of the same name. Fosca. Based on Luigi Capranica’s La festa delle Marie. Salvator Rosa. Inspired by the Italian Revolt of 1647 against Spanish rulers. Maria Tudor. Based on Victor Hugo’s play . Lo schiavo. Inspired by several sources: French author Alexandre Dumas, fils’ play Les Danicheff, real life events of Alfredo d’Escragnolle Taunay (Gomes’s friend), and the epic poem about Brazilian history A Confederação dos Tamoios (The Tamoio Confederation) by Domingos José Gonçalves de Magalhães. Côndor. Unknown source. Libretto by Mario Canti, unidentified author. 20 Bel canto

From an early age Gomes was fascinated by Romantic opera, and used compositional techniques typical of the bel canto style into his works. A great admirer of Verdi, it is said that his first musical memory was reading the piano score of Verdi’s Il trovatore as a child.11 In Il

Guarany, technically demanding vocal melodies, simple orchestral accompaniments and recitativo followed by an aria are common characteristics. One example is the soprano aria “O come è bello il ciel”, where strings accompany the vocal line with arpeggiated chords. The following examples are taken from Ricordi’s reprint of the vocal score in 1986.

Figure 3. Il Guarany, Act 2: Cecilia’s aria “O come è bello il ciel”

Brazilian themes

Unlike Villa-Lobos and other composers who incorporated European styles into their nationalistic music that represented the culture and tradition of Brazil, Carlos Gomes wrote

Italian music for Italian audiences. He does, however, use Brazilian themes and events as an attempt to exalt the Homeland, its riches and cultural diversity. Il Guarany, his first opera composed in Italy, is a statement of the bravery and character of native Indians in their quarrel

11 Vicente Salles, et al, Carlos Gomes: Uma obra em foco (Rio de Janeiro: Instituto Nacional de Música, 1987), 98. 21 with Portuguese settlers. Almost twenty years later, Lo schiavo would expose the injustices against black and native Indian slaves during a critical time in Brazilian history, the end of slavery in 1888.

In both operas Gomes used costumes inspired by native Indian clothing. Typical of the grand opéra, Il Guarany and Lo schiavo brought the visually stunning landscapes of Brazil to

European audiences, with original costumes and extravagant sets.

Figure 4. Peri’s costume for the premiere of Il Guarany, designed by Luigi Zamperoni

French grand opéra

The innovations made by Meyerbeer and his contemporaries in France were to make a significant impact on Carlos Gomes. The use of large and dense orchestration, four- act operas, extensive ballet numbers (native Indian dances), the participation of the chorus in moving the plot forward and extreme violence on stage, became common traits in Gomes’s operas. In Maria Tudor, for example, the beheading of Fabiano Fabiani at the very end of Act IV

22 happens on stage while the queen watches in desperation. The orchestra also participates in telling the story, and not only accompanies the vocal line, but doubles and triples the vocal line in tremolos frequently, adding intensity to the drama.

Lyrical melodies without ornamentation

Following the grand opéra model of luscious orchestration and highly dramatic plots,

Gomes’s vocal writing requires powerful voices to cut through the orchestra. It is clear what timbre Gomes was looking for in his operas, although it is not specified in the score (the vocal scores only indicate the basic of soprano, mezzo, or bass). This feature goes along with the development of more robust voices during the 19th century, the pursuit of a homogenous timbre in the high and low registers and the balance of chiaroscuro.12 “In international pedagogy stemming from the historic Italian school, well-balanced resonance throughout the range of the singing voice is described as having chiaroscuro (light/dark) timbre, because a balanced relationship is maintained among harmonic partials in all parts of the spectrum regardless of the vowel or the pitch being sung.”13

Reminiscence motives

Throughout his oeuvre, Gomes uses melodic patterns that relate to a situation or character. Gomes utilizes themes to evoke the personality of the characters, and recycles them throughout the opera. One example is the corsairs’ theme in the opera Fosca: an ascending scale with dotted rhythms that appears in several moments throughout the opera, evoking the courage and vigor of pirates.14

12 Isaac William Kerr, “Instrumentação e orquestração em Antônio Carlos Gomes: um estudo em seus prelúdios e sinfonias” (MM diss., Universidade Estadual de Campinas, 2016), 94. 13 Richard Miller, On The Art of Singing (New York: Oxford University Press, 1996), 10. 14 This usage differs from the Wagnerian use of leitmotives, which tend to be present much more frequently in the musical texture throughout the music drama. 23

Figure 5. Fosca, Act 1: Corsairs’ theme, sung by the bass, p. 15

Figure 6. Fosca, Act 3: Corsairs’ theme in the cello and viola parts, p. 245

Figure 7. Fosca, Act 3: Corsairs’ theme in the orchestra, p. 265

24 Form

Initially, Gomes utilizes the formulas of the bel canto period in his compositions, most notably in the set pieces of Il Guarany and Salvator Rosa. The musical numbers have titles such as Romanza, Ballata, Pollaca, and Arioso, similar to the aria types used by Bellini and Donizetti.

Later in life Gomes adapted his style to the new trends of the verismo movement, where consecutive sections flow from one to the next without interruption, except for the ends of scenes or acts. His later works, like Maria Tudor and Côndor, have no separate set pieces and often double bars are not an indication of a stop in the music. Exemplary of this trait is the end of the duet “Canta sempre, canta o bella” (Sing always, sing o beautiful) from the finale of Act I of

Maria Tudor, as there is no break between the orchestral postlude and the continuation of the scene (see Figure 8).

Figure 8. Maria Tudor, Act 1: End of Giovanna and Fabiano’s duet

25

In addition, Gomes combines common devices of the bel canto style with the innovations of the verismo, such as multi-sectional duets, arias with both through-composed and repeated text, predominance of ensemble over solo sections and the abandonment of the cavatina and cabaletta formula, replacing it with longer forms that alternate lyrical passages with parlante and recitative-like passages. Figure 9 shows the form of the aria “Quando nascesti tu” sung by

Americo in Lo schiavo. Written in 1888 close to the beginning of the verismo, the aria is shaped in the same way as those from the second quarter of the 19th century by Donizetti and Bellini. It begins with a recitative, followed by an aria in AABA form (quaternary song form).

Furthermore, Gomes quotes two orchestral themes from the previous scene (a duet between

Americo and the Contessa de Boissy) in the recitative section.15

Harmonic language

While Wagner had already established himself as composer that looked to the future in terms of harmonic vocabulary by the 1850s, influencing generations of younger composers,

Gomes chose to use traditional compositional techniques of the Romantic era without expanding his writing style to include Wagnerian harmony. His harmonic language is rooted in traditional functional harmony enhanced by secondary dominants (see Figure 9).

One example is the aria “Quando nascesti tu” from Lo schiavo. The unstable recitative section brings out the dilemma Americo is experiencing, to obey his father and stay away from his beloved Ilara or run away with her. This is accomplished by frequent modulations and abrupt interjections by the orchestra. The aria is more stable harmonically, showing the

15 Gomes’s Italianate use of reminiscence themes was discussed on p. 23. 26 calmness in Americo’s heart after deciding to pursue his love for Ilara. The orchestra ceases to interfere and accompanies the vocal line with long sustained chords.

Recitative

6 Ab: V5 / ii

V7 / IV Bb: I5 6

o4 6 6 b 6 V / ii vii 3 / IV ii P4 ii g: II

4 V V2

o4 vii 3

6 6 4 b b 6 V / iv Gr P4 V2 / II II Eb: IV6 Gr6 Figure 9. Analysis of “Quando nascesti tu”

27 6 7 V4 Aria A

4 I ii2

6 4 4 6 7 7 V5 V2 / IV IV V3/vi vi V /V V

V7 / V 4 bVI VII VII ( V3 / V) ( 5 ) VII (D)

A’

7 I 4 4 ø6 V ii2 V3 / vi vi vii 4 vi (c) B

PAC 4 V vi6 V7 / V V7 I 2 Figure 9 – continued

28 7 V / V V V7 / vi vi I

6 6 6 6 6 7 V / vi ii I i V4 /V

A’’

Half cadence Plagal cadence 7 4 ø4 V I ii2 ii 2 I Figure 9 – continued

It is noteworthy the overarching tonal scheme of entire acts (see Table 5). Jay Nicolaisen states:

Two principles guided the composer in plotting the tonal course of (…) unrounded (asymmetrical) scenes – tonal variety and tonal flow. Successive pieces were nearly always in contrasting keys. By all odds the most common relationship was that of the third; movement from D-flat to A, from A minor to F, from C to E, is encountered time and again, while movement by fourth or by step is somewhat less typical. The third relationship seemed to supply the right balance of variety and flow, for it meant moving to a key that was distant enough to sound fresh and yet close enough to be reached without risking a sense of harmonic dislocation.16

Table 5. Maria Tudor, Act 1: Tonal scheme Piece Tonality Preludio a E Coro e ronda G Minor third Romanza D

16 Jay Nicolaisen, Italian Opera in Transition, 1871-1893 (Ann Arbor: UMI Research Press, 1980), 41. 29 Table 5 – continued Piece Tonality Scena Modulatory, ends in a Enharmonic major third Arioso D-flat Major third Scena Modulatory, ends in F Serenata b-flat B-flat Scena e duetto – finale primo B-flat G-flat Major thirds B-flat D

Sudden changes of mood

A common characteristic in Gomes’s operas is the abrupt change of mood in the orchestral texture and the vocal line, and frequent tempo changes. Moments of great tension and drama, where the full orchestra plays fortissimo with the vocal line, are reduced to simple melodies accompanied by the orchestra in soft dynamics in consecutive measures, without any preparation. One example is the aria “Mia piccirella” from Salvator Rosa (Figure 10). The dynamics of the vocal line vary greatly within a few measures. This feature is also common in

Puccini’s La bohème, for example. In the soprano aria “Mi chiamano Mimí” the vocal line rises to high As (A5) with allargando or tenuto marks, holding the tension of the moment, and resolves abruptly with decrescendos in both the orchestra and vocal parts.

Orchestral preludes

At the Milan Conservatory, Gomes had the privilege of studying with Alberto

Mazzucato, composer, conductor and director of the conservatory. Mazzucato was the one who exposed Gomes to the new trends in symphonic writing by French and German composers,

30 which widened his horizons in terms of the role of the orchestra within the opera.17 The traditional Italian tyranny of the voice over the orchestra was overcome by the introduction of more interesting orchestral combinations (especially with the development of wind and brass instruments), and the insertion of orchestral movements. One example is the orchestral prelude

Alvorada, in the middle of Act IV of Lo schiavo: a demonstration of programmatic music not seen in Italian , but common in the music of Strauss, Liszt, and others (see

Figure 11). Gomes’s sinfonias (the openings of his operas as he himself named them) are also great examples of his ability as an orchestrator.

Figure 10. Salvator Rosa, Act 1: soprano aria “Mia piccirella”

17 Ibid., 53. 31

Figure 11. Lo schiavo, Act 4: Orchestral prelude

32 CONCLUSION

Brazilian is not widely known to the general public and is often limited to the university environment or large cities with diverse cultural activity. Furthermore, due to socio-economic limitations in Brazil, it is difficult to bring this repertoire to music students.

Scores are out of print and difficult to find, publishing houses are scarce and universities do not have the financial resources to invest in new publications. In addition, copyright regulations make it difficult for musicians to include works by Brazilian composers like Villa-Lobos in concert programs, requiring exorbitant royalties from performers.

The first portion of this treatise focused on teaching Brazilian Portuguese diction to

American singers. While authors may often disagree on the IPA notation and what dialect should be used as the standard for non-native speakers, our ultimate goal is to find more effective ways to help students easily articulate the sounds which they individually hear. More importantly, the reader will find English words in direct correlation to Brazilian Portuguese phonetics.

In the second portion of this treatise, I consulted the vocal scores published by Ricordi in

1955 and reprinted in 1986 with the financial support of the Brazilian government through

FUNARTE, its artistic branch. During this research I could only find one store in São Paulo that sells the vocal scores of his operas, Ricordi Edições Musicais, and where the full scores are only available for rental. Several libraries in American universities hold copies of his operas, which are available to faculty and students through Interlibrary Loan (ILL).

Much of the art song repertoire by Brazilian composers is also available in university libraries across the . Indiana University, Northwestern University, University of

Texas at Austin, and the University of Kansas have extensive collections of scores and literature on Brazilian music in Portuguese and in English.

33 REFERENCES

Books

Abbate, Carolyn, and Roger Parker, ed. Analyzing Opera: Verdi and Wagner. Berkeley: University of California Press, 1989.

Adams, David. A Handbook of Diction for Singers. 2nd ed. New York: Oxford University, 2008.

Azevedo, Milton M. A Contrastive Phonology of Portuguese and English. Washington: Georgetown University, 1981.

———. Portuguese: A Linguistic Introduction. Cambridge: Cambridge University, 2005.

Behague, Gerard. The Beginnings of Musical Nationalism in Brazil. Detroit: Information Coordinators, 1971.

Castel, Nico. A Singer’s Manual of Spanish Lyric Diction. New York: Excalibur Publishing, 1994.

Congresso da Língua Nacional Cantada. Anais do Primeiro Congresso da Língua Nacional Cantada: Julho de 1937. São Paulo: Departamento de Cultura, 1938.

Fernandes, Juvenal. Carlos Gomes “Do Sonho à Conquista.” 2nd ed. São Paulo: Imprensa Oficial do Estado, 1994.

Fisher, Burton. A History of Opera: Milestones and Metamorphoses. Boca Raton: Opera Journeys, 2010.

Giangola, James P. The Pronunciation of Brazilian Portuguese. Muenchen: Lincom Europa, 2001.

Góes, Marcus. Carlos Gomes: A Força Indômita. Belém: Secult, 1996.

Hoover, Maya, ed. A Guide to Latin American Art Song Repertoire: an Annotated Catalog of Twentieth-Century Art Song for Voice and Piano. Bloomington: Indiana University Press, 2010.

Kiefer, Bruno. História da Música Brasileira. Porto Alegre: Movimento, 1976.

———. Villa-Lobos e o Modernismo na Música Brasileira. 2nd ed. Porto Alegre: Movimento, 1986.

Kostka, Stefan, and Dorothy Payne. Tonal Harmony with an Introduction to Twentieth-Century

34 Music. 3rd ed. New York: McGraw-Hill, Inc., 1995.

Mariz, Vasco. A Canção Brasileira. 4th ed. Brasília: Instituto Nacional do Livro, 1980.

———. História da Música no Brasil. 2nd ed. Rio de Janeiro: Civilização Brasileira, 1983.

———. A Música Clássica Brasileira. Rio de Janeiro: Andrea Jakobsson Estúdio, 2002.

Marshall, Madeleine. The Singer’s Manual of English Diction. New York: Schirmer Books, 1953.

Mathes, James. The Analysis of Musical Form. New Jersey: Upper Saddle River, 2007.

Miller, Richard. On the Art of Singing. New York: Oxford University Press, 1996.

Nicolaisen, Jay. Italian Opera in Transition, 1871-1893. Ann Arbor: UMI Research Press, 1980.

Penalva, José. Carlos Gomes: O Compositor. Campinas: Papirus, 1986.

Perini, Mário. Talking Brazilian: A Brazilian Portuguese Pronunciation Workbook. New Haven: Yale University Press, 2004.

Porter, Andrew. “.” In The New Grove Masters of Italian Opera, edited by Stanley Sadie, 193-310. New York: W. W. Norton & Company, 1983.

Porter, Marcía. Singing in Brazilian Portuguese: A Guide to Lyric Diction and Vocal Repertoire. Lanham: Rowman & Littlefield, 2017.

Revista de Música Brasileira. A. Carlos Gomes. Rio de Janeiro: Instituto Nacional de Música, 1936.

Riding, Alan. Opera. New York: Dorling Kindersley, 2006.

Salles, Vicente, et al. Carlos Gomes: Uma obra em foco. Rio de Janeiro: Instituto Nacional de Música, 1987.

Silva, Thaïs Cristófaro. Fonética e Fonologia do Português: roteiro de estudos e guia de exercícios. 10th ed. São Paulo: Editora Contexto, 2015.

Sobrer, Josep Miquel, and Edmon Colomer, ed. The Singer’s Anthology of 20th Century Spanish Songs. New York: Pelion Press, 1987.

Vetro, Gaspare Nello. Antônio Carlos Gomes: Correspondências italianas. Rio de Janeiro: Cátedra, 1982.

35 Virmond, Marcos. Condor de Antônio Carlos Gomes: Uma análise de sua história e música. Bauru: EDUSC, 2003.

Wall, Joan. Diction for Singers. Dallas: Psst...Inc: 1990.

———. International Phonetic Alphabet for Singers. Greenbank: Pacific Isle Publishing, 2005.

Theses/Dissertations

Álvares, Marília. “Diction and Pronunciation of Brazilian Portuguese in Lyric Singing as Applied to Selected Song of Francisco Mignone.” DMA diss., University of Nebraska, 2008.

Brandão, Stela. “The Brazilian Art Song: A Performance Guide Utilizing Works by Heitor Villa- Lobos.” EdD diss., Columbia University, 1999.

Hannuch, Sheila Minatti. “A Nasalidade no Português Brasileiro Cantado: um estudo sobre a articulação e representação fonética das vogais nasais no canto em diferentes contextos musicais.” MM thesis, Universidade Estadual Paulista, 2012.

Kerr, Isaac William. “Instrumentação e orquestração em Antônio Carlos Gomes: um estudo em seus prelúdios e sinfonias.” MM diss., Universidade Estadual de Campinas, 2016.

Lourenço, João. “Singing in Portuguese: A Study of Diction for Singers.” MM treatise, University of Texas at Austin, 1998.

Ohm. Melanie Anne. “Brazilian Portuguese Lyric Diction for the American Singer.” DMA diss., Arizona State University, 2009.

Picchi, Achille Guido. “As Serestas de Heitor Villa-Lobos: Um estudo de análise, texto-música e pianismo para uma interpretação.” DMA diss., Universidade Estadual de Campinas, 2010.

Pignatari, Dante. “Canto da Língua: Alberto Nepomuceno e a invenção da canção brasileira.” DMA diss., Universidade de São Paulo, 2009.

Stolagli, Juliana Starling. “O Português Brasileiro Cantado: Normas de 1938 e 2007, Análise comparativa para a interpretação de obras vocais em idioma brasileiro.” MM thesis, Universidade Estadual Paulista, 2010.

Journal Articles

Herr, Martha, Adriana Kayama, and Wladimir Mattos. “Brazilian Portuguese: Norms for Lyric Diction,” Journal of Singing 65, no. 2 (November/December 2008): 195-211.

36 Pereira, Maria Elisa, and Dorotéa Machado Kerr. “Virtuosa Virtuose: A Interpretação da Canção Brasileira na Visão de Mário de Andrade.” Latin American Music Review 25, no. 2 (Autumn/Winter 2004): 216-231.

Online Sources

Biblioteca Nacional Digital, accessed on August 19, 2017: http://memoria.bn.br/DocReader/docmulti.aspx?bib=103730

P.Q.P. Bach, accessed on June 2, 2017: http://pqpbach.sul21.com.br/

Prefeitura de Campinas, accessed on September 23rd, 2017: http://www.campinas.sp.gov.br/noticias-integra.php?id=30278

Ricardo Kanji, “História da Música Brasileira - Capítulo 7. Saraus, danças e intimidades. A música no Brasil no séc. XIX.” (Brazilian Music History lecture series, posted on April 28, 2012), https://www.youtube.com/watch?v=fudp2F9UkQQ

Music Scores

Gomes, Antônio Carlos. Côndor. São Paulo: Ricordi, 1986.

———. Fosca. São Paulo: Ricordi, 1986.

———. Il Guarany. São Paulo: Ricordi, 1986.

———. Lo schiavo. São Paulo: Ricordi, 1986.

———. Maria Tudor. São Paulo: Ricordi, 1986.

———. Salvator Rosa. São Paulo: Ricordi, 1986.

37 BIOGRAPHICAL SKETCH

Born in Campinas, Brazil, collaborative pianist Guilherme Godoi completed his bachelor’s degree in piano performance at Campinas State University in 2011 and moved to the United

States for his graduate studies. While earning his master's degree in piano performance at Ohio

University from 2012 to 2014, he found his passion for chamber music and collaboration, and decided to pursue a doctoral degree in collaborative piano at Florida State University. He has presented lectures on Brazilian music at conferences and served as adjudicator for piano competitions in his home country. As a performer, Mr. Godoi has appeared throughout the U. S.,

Brazil and the Middle East, in solo and chamber music recitals. He has also participated in masterclasses with Stephanie Blythe, Marilyn Horne, Metropolitan Opera conductor Pierre

Vallet, the Anderson and Roe piano duo, and others.

38