Technique for the Developing Dramatic Soprano
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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Totalartwork
spınetL an Experiment on Gesamtkunstwerk Totalartwork Thursday–Friday October 21–22, 2004 The Cooper Union for the Advancement of Science and Art www.birgitramsauer.net/spinet 21 October 22 October Panel Discussion 6–7pm Panel Discussion 6–7pm Contemporary artists and an The Gesamtkunstwerk (Totalartwork) historical instrument in the 21st century Moderator: Moderator: Christopher McIntyre Christopher McIntyre Associate Music Curator, The Kitchen Associate Music Curator, The Kitchen Participants include: Jens Barnieck, pianist Participants include: Enrico Cocco, composer Jens Barnieck, pianist Gearoid Dolan, artist Enrico Cocco, composer Kyle Gann, composer, critic Gearoid Dolan, artist Thea Herold, word performer Thea Herold, word performer Charlie Morrow, composer Charlie Morrow, composer Aloisia Moser, philosopher Wolf-Dieter Neupert, company Wolf-Dieter Neupert, company for historical instruments for historical instruments Georg Nussbaumer, composer Georg Nussbaumer, composer Birgit Ramsauer, artist Birgit Ramsauer, artist Kartharina Rosenberger, Katharina Rosenberger, composer composer David Grahame Shane, architect, urbanist, author Concert 8pm Gerd Stern, poet and artist Gloria Coates Abraham Lincoln’s Performance 8pm Cooper Union Address* Frieder Butzmann Stefano Giannotti Soirée pour double solitaires * L’Arte des Paesaggio Charlie Morrow, alive I was silent Horst Lohse, Birgit’s Toy* and in death I do sing* Intermission Enrico Cocco, The Scene of Crime* Heinrich Hartl, Cemballissimo Aldo Brizzi, The Rosa Shocking* Katharina Rosenberger, -
Voice Types in Opera
Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Strauss Elektra Solti SC
Richard Strauss Elektra Elektra: Birgit Nilsson; Klytemnestra: Regina Resnik; Chrysothemis: Marie Collier; Oreste: Tom Krause; Aegistheus: Gerhard Stolze Vienna State Opera Chorus and Vienna Philharmonic Orchestra Georg Solti Recorded June, September and November 1966 at the Sofiensaal, Vienna Recording Engineers: Gordon Parry and James Brown Producers: John Culshaw and Christopher Raeburn Remastered at Air Studios London by Tony Hawkins and Ray Staff Speakers Corner 2LPs Decca SET 354/5 Performance: 5 Strauss's Elektra was premièred in 1909 and marks the highpoint of the composers operatic career. Never again would he compose such searingly dramatic, concise music, replete with startlingly vivid orchestration, and a wealth of highly chromatic (and often atonal) thematic material, centred around decidedly Wagnerian sounding leitmotifs. It is isn't easy to cast. The title role needs a true dramatic soprano who is happy above the stave, and that of Klytemnestra a big-voiced mezzo- soprano. Chrysothemis is written for a lyric soprano, and Oreste for an heroic baritone. Elektra's don't come any better than Birgit Nilsson. She was 48 when the recording was made, and even the most exposed leaps and murderously high tessitura don't bother her. As the greatest Wagnerian soprano since Frieda Leider, she can effortlessly ride the orchestra, while still using a wide dynamic range in quieter passages. There are occasions when her intonation falters in the Recognition Scene, but this is a classic, thrillingly savage performance. Regina Resnik scales the same dramatic heights as Nilsson in her confrontation with Elektra, and her laughter at the end of the scene is gloriously OTT. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
12-04-2018 Traviata Eve.Indd
GIUSEPPE VERDI la traviata conductor Opera in three acts Yannick Nézet-Séguin Libretto by Francesco Maria Piave, production Michael Mayer based on the play La Dame aux Camélias by Alexandre Dumas fils set designer Christine Jones Tuesday, December 4, 2018 costume designer 8:00–11:00 PM Susan Hilferty lighting designer New Production Premiere Kevin Adams choreographer Lorin Latarro DEBUT The production of La Traviata was made possible by a generous gift from The Paiko Foundation Major additional funding for this production was received from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,012th Metropolitan Opera performance of GIUSEPPE VERDI’S la traviata conductor Yannick Nézet-Séguin in order of vocal appearance violet ta valéry annina Diana Damrau Maria Zifchak flor a bervoix giuseppe Kirstin Chávez Marco Antonio Jordão the marquis d’obigny giorgio germont Jeongcheol Cha Quinn Kelsey baron douphol a messenger Dwayne Croft* Ross Benoliel dr. grenvil Kevin Short germont’s daughter Selin Sahbazoglu gastone solo dancers Scott Scully Garen Scribner This performance Martha Nichols is being broadcast live on Metropolitan alfredo germont Opera Radio on Juan Diego Flórez SiriusXM channel 75 and streamed at metopera.org. Tuesday, December 4, 2018, 8:00–11:00PM MARTY SOHL / MET OPERA Diana Damrau Chorus Master Donald Palumbo as Violetta and Musical Preparation John Keenan, Yelena Kurdina, Juan Diego Flórez Liora Maurer, and Jonathan -
1 the Recitative in Trombone Music William J. Stanley ©2019 at First
The Recitative in Trombone Music William J. Stanley ©2019 At first glance, the linking of recitative with a trombone might seem contradictory. After all, the recitative is found most often in opera and oratorio as a speech like style of musical expression performed by singers. But over the past several years, as I was preparing music for performance and assisting students with their preparation, recurring examples of recitative in trombone music appeared more than occasionally. Trombonists will readily recognize concertos by Ferdinand DaviD (1837), Launy Grøndahl (1924) and Gordon Jacob (1956) as often performed pieces that include a recitative. Nicolai Rimsky-Korsakov has provided two well-known solo recitatives for the orchestral second trombonist in Scheherazade, op. 35, and La Grande Pâque Russe, op. 36. These works and several others prompted, at first, an informal list to simply satisfy my curiosity. A subsequent more thorough search has found a large number of works that contain a recitative. To date well over 100 pieces have been discovereD. These span over 250 years and include unaccompanied solos, orchestral solos, pieces with piano, organ, orchestra and/or band accompaniment, and in various ensemble settings for tenor, bass and alto trombones. While that number and breadth of works might be surprising to some, the fact that composers have continued to use vocally influenceD materials in trombone music should be of no surprise to trombonists. We know there is the long tradition of the use of the trombone in vocal settings throughout its history. A thorough examination of this practice goes well beyond the scope and intent of this study, but it is widely known that the trombone was commonly used throughout the sixteenth- and seventeenth-centuries as an accompanying and doubling instrument in sacred settings with choirs. -
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring English Translation
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring Felix Mendelssohn-Bartholdy (1809-1847) English Translation: William Bartholomew PART ONE The Biblical tale of Elijah dates from c. 800 BCE. "In fact I imagined Elijah as a real prophet The core narrative is found in the Book of Kings through and through, of the kind we could (I and II), with minor references elsewhere in really do with today: Strong, zealous and, yes, the Hebrew Bible. The Haggadah supplements even bad-tempered, angry and brooding — in the scriptural account with a number of colorful contrast to the riff-raff, whether of the court or legends about the prophet’s life and works. the people, and indeed in contrast to almost the After Moses, Abraham and David, Elijah is the whole world — and yet borne aloft as if on Old Testament character mentioned most in the angels' wings." – Felix Mendelssohn, 1838 (letter New Testament. The Qu’uran also numbers to Julius Schubring, Elijah’s librettist) Elijah (Ilyas) among the major prophets of Islam. Elijah’s name is commonly translated to mean “Yahweh is my God.” PROLOGUE: Elijah’s Curse Introduction: Recitative — Elijah Elijah materializes before Ahab, king of the Four dark-hued chords spring out of nowhere, As God the Lord of Israel liveth, before Israelites, to deliver a bitter curse: Three years of grippingly setting the stage for confrontation.1 whom I stand: There shall not be dew drought as punishment for the apostasy of Ahab With the opening sentence, Mendelssohn nor rain these years, but according to and his court. The prophet’s appearance is a introduces two major musical motives that will my word. -
The Opera: a Brief Overview
The Opera: a brief overview Emilio Sala The most reliable experts swear that the opera is the most widely performed in the world. However, when it was first staged at the Opéra-Comique in Paris on 3 March 1875, it was given a rather frosty reception. The fact that the public did not understand it was a cause of deep sorrow to Bizet, who died three months later at the age of only thirty-six. Even so, Carmen ran for 48 consecutive performances, which can hardly be considered a negligible figure, although ironically, the audiences were drawn by the opera’s reputed indecency and its condemnation by the press. “Our stages are increasingly invaded by courtesans. This is the class from which our authors so like to re - cruit the heroines of their dramas and their opéras-comiques ”, wrote Achille de Lauzières in his review published in La Patrie on 8 March. He went on: “It is the fille in the most repugnant sense of the word [that has been set on stage]; the fille who is obsessed with her body, who gives herself to the first soldier that passes, on a whim, as a dare, blindly; […] sensual, mocking, hard-faced; miscreant, obedient only to the law of pleasure; […] in short, well and truly a prostitute off the streets”. The critic for the Petit Journal on 6 March said of the interpretation of Carmen: “Madame Galli-Marié has found how to make the character of Carmen more vulgar, more hateful and more abject than it already was in Mérimée. Her interpretation is brutally re - alistic, in the manner of Courbet”. -
Gioachino Rossini the Journey to Rheims Ottavio Dantone
_____________________________________________________________ GIOACHINO ROSSINI THE JOURNEY TO RHEIMS OTTAVIO DANTONE TEATRO ALLA SCALA www.musicom.it THE JOURNEY TO RHEIMS ________________________________________________________________________________ LISTENING GUIDE Philip Gossett We know practically nothing about the events that led to the composition of Il viaggio a Reims, the first and only Italian opera Rossini wrote for Paris. It was a celebratory work, first performed on 19 June 1825, honoring the coronation of Charles X, who had been crowned King of France at the Cathedral of Rheims on 29 May 1825. After the King returned to Paris, his coronation was celebrated in many Parisian theaters, among them the Théâtre Italien. The event offered Rossini a splendid occasion to present himself to the Paris that mattered, especially the political establishment. He had served as the director of the Théatre Italien from November 1824, but thus far he had only reproduced operas originally written for Italian stages, often with new music composed for Paris. For the coronation opera, however, it proved important that the Théâtre Italien had been annexed by the Académie Royale de Musique already in 1818. Rossini therefore had at his disposition the finest instrumentalists in Paris. He took advantage of this opportunity and wrote his opera with those musicians in mind. He also drew on the entire company of the Théâtre Italien, so that he could produce an opera with a large number of remarkable solo parts (ten major roles and another eight minor ones). Plans for multitudinous celebrations for the coronation of Charles X were established by the municipal council of Paris in a decree of 7 February 1825. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.