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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. -
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. -
Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against -
Albert-Lortzing-Gesellschaft E. V. Februar 2009
Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Lortzings Wohnhaus, die Große Funkenburg, in Leipzig Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 2 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Liebe Mitglieder, endlich halten Sie wieder einen Rundbrief in den Händen. Ich freue mich, daß auch diesmal zwei Mitglieder unserer Gesellschaft Beiträge verfasst haben, die den wesentlichen Teil dieses Rundbriefes ausmachen. Darüber hinaus finden Sie erneut Original-Rezensionen einiger Aufführungen durch Mitglieder unserer Gesellschaft sowie weitere Informationen, die hoffentlich Ihr Interesse finden. Das wichtigste Ereignis 2009 ist sicherlich das Mitgliedertreffen in Leipzig und die aus diesem Anlass stattfindende Fachtagung der Musikwissenschaftlichen Abteilung der Hochschule für Musik Felix Mendelssohn Bartholdy. Wir danken Herrn Prof. Dr. Schipperges sehr herzlich für die inhaltliche Planung und Organisation dieser Tagung. Ich wünsche allen einen schönen Frühling und freue mich, Sie bei dem Treffen in Leip- zig persönlich begrüßen zu können. Mit herzlichen Grüßen im Namen des ganzen Vorstands Ihre Irmlind Capelle Detmold, Ende Februar 2009 Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda, Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbe- dingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Rosina Regina Lortzing geb. Ahles Die Suche nach ihrem Grab Ein Bericht von Petra Golbs Regina Rosina (geb. -
Bass-Baritone • Baryton-Basse [email protected] + 1 917 650-0573 1 100 Words Bio
David Mimran - Bass-Baritone • Baryton-Basse [email protected] + 1 917 650-0573 www.davidmimran.net 1 100 words bio Bass-Baritone David Mimran set aside a career as a lawyer in Paris to sing opera in New York. Great vocal flexibility in a wide tessitura, natural acting skills and a knowledge of nine languages including Italian, French, German, English, Spanish and Finnish allow for a large variety of repertoire. Roles on stage include Alcindoro/Benoît in Bohème, Conte Ceprano in Rigoletto, Niejus & Cascada in Merry Widow, Sarastro in Die Zauberflöte, Figaro & Antonio in Le nozze di Figaro, Morales & Zuniga in Carmen, Fiorello in Il Barbiere di Siviglia, Frank in Fledermaus, Lorenzo in I Capuletti e i Montecchi, Achille in Giulio Cesare and Melisso in Alcina. Languages French: Mother tongue English: Bilingual German, Italian, Spanish: Proficient Finnish, Portuguese, Hebrew: Working knowledge Russian, Hungarian: Basic phonetic reading knowledge I would consider studying a new language to sing a role. Stage Experience Full roles performed • Benoît/Alcindoro in Bohème - Opera Company of Brooklyn • Sciarrone/Jailer in Tosca - Regina Opera • Yakuside in Madama Butterfly - Bleecker Street Opera • Niejus and Cascada in The Merry Widow - Amore Opera • Sarastro in Die Zauberflöte - NY Lyric Opera Theater • Fiorello in Il Barbiere di Siviglia - Bleecker Street Opera • Lorenzo in I Capuletti e i Montecchi - Manhattan Chamber Opera • Spinelloccio/Nicolao in Gianni Schicchi - Regina Opera • Achilla in Giulio Cesare - Manhattan Chamber Opera • Docteur -
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. -
573824 Itunes Lortzing
LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg. -
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 -
How to Read Choral Music.Pages
! How to Read Choral Music ! Compiled by Tim Korthuis Sheet music is a road map to help you create beautiful music. Please note that is only there as a guide. Follow the director for cues on dynamics (volume) and phrasing (cues and cuts). !DO NOT RELY ENTIRELY ON YOUR MUSIC!!! Only glance at it for words and notes. This ‘manual’ is a very condensed version, and is here as a reference. It does not include everything to do with reading music, only the basics to help you on your way. There may be !many markings that you wonder about. If you have questions, don’t be afraid to ask. 1. Where is YOUR part? • You need to determine whether you are Soprano or Alto (high or low ladies), or Tenor (hi men/low ladies) or Bass (low men) • Soprano is the highest note, followed by Alto, Tenor, (Baritone) & Bass Soprano NOTE: ! Alto If there is another staff ! Tenor ! ! Bass above the choir bracket, it is Bracket usually for a solo or ! ! ‘descant’ (high soprano). ! Brace !Piano ! ! ! • ! The Treble Clef usually indicates Soprano and Alto parts o If there are three notes in the Treble Clef, ask the director which section will be ‘split’ (eg. 1st and 2nd Soprano). o Music written solely for women will usually have two Treble Clefs. • ! The Bass Clef indicates Tenor, Baritone and Bass parts o If there are three parts in the Bass Clef, the usual configuration is: Top - Tenor, Middle - Baritone, Bottom – Bass, though this too may be ‘split’ (eg. 1st and 2nd Tenor) o Music written solely for men will often have two Bass Clefs, though Treble Clef is used for men as well (written 1 octave higher). -
Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone
The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. FEMALE VOCAL RANGE RANGE FEMALE EXAMPLES Highest Soprano Coloratura Soprano Lucia in Lucia di Lammermoor Lyric Soprano Violetta in La Traviata Dramatic Soprano Leonara in Il Trovatore Mezzo Soprano Coloratura Mezzo Rosina in The Barber of Seville Dramatic Mezzo Carmen in Carmen Lowest Contralto Katisha in The Mikado VOICE SOPRANO The highest of the female voice types, the soprano has always had a TYPES place of importance in the order of vocal types. In the operatic world, the soprano is almost always the ‘heroine’ or leading character within an opera. MEZZO SOPRANO The mezzo is the lower-ranged female voice type. Throughout opera history the mezzo has been used to convey many different types of characters: everything from boys or young men (these are called trouser or pants roles), to mother-types, witches, gypsies and old women. The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. MALE VOCAL RANGE RANGE MALE EXAMPLES Highest Tenor Light Lyric Tenor Nemorino in La Cenerentola Lyric Tenor Nadir in the Pearlfishers Lyric-dramatic Tenor Rodolfo in La Boheme Dramatic Tenor Canio in Pagliacci Heldentenor Tristan in Tristan und Isolde Baritone Papageno in The Magic Flute Bass-baritone Figaro in The Magic of Figaro VOICE Lowest Bass Sarastro in The Magic Flute TENOR The Tenor is the highest of the male voices and has many sub categories TYPES such as a lyric tenor and a dramatic tenor. The tenor is usually cast in the romantic roles of opera. -
Orchestra of St. Luke's 2020 Winter-Sping Season
Press release ORCHESTRA OF ST. LUKE’S BEGINS 2020 WINTER-SPRING SEASON IN FEBRUARY WITH VIOLINIST DANIEL HOPE AND CONTRALTO MARIE-NICOLE LEMIEUX IN HANDEL & VIVALDI: RARE WORKS FOR DOUBLE ORCHESTRA AT CARNEGIE HALL Carnegie Hall Series Concludes on March 5 with Beethoven’s Choral Fantasy featuring La Chapelle de Québec North American Premiere of Work by Composer Eleanor Alberga Anchors 2020 Music in Color Tour Pianist Paavali JumPPanen Joins St. Luke’s Chamber Ensemble for Beethoven’s “Eroica” at The Morgan Library, Merkin Hall, and Brooklyn Museum OSL joined by Taylor 2 Dance Company for OSL’s 43rd Season of Free School Concerts OSL debuts by violinist Daniel HoPe, Pianist Paavali JumPPanen, and singers Marie-Nicole Lemieux, Karina Gauvin, Matthew Brook, and Andrew Haji New York, NY, December 16, 2019 — Orchestra of St. Luke’s (OSL) 2020 winter-spring season will run from February 6 through the end of June, bringing music to over a dozen venues across the five boroughs of New York City. The season includes two Carnegie Hall subscription series concerts led by Principal Conductor Bernard Labadie; OSL’s signature Chamber Music Series with two all-Beethoven programs; a collaboration with New York’s MasterVoices in Sheldon Harnick’s English language version of Bizet’s Carmen; and Music in Color: Eleanor Alberga, OSL’s annual five borough free concert tour highlighting the works and lives of classical composers of color. CARNEGIE HALL PRESENTS ORCHESTRA OF ST. LUKE’S SERIES OSL Principal Conductor Bernard Labadie will lead the Orchestra in two dynamic programs: one dedicated entirely to works for double orchestra by Handel and Vivaldi and the other a celebration of Beethoven’s 250th birthday with a range of works displaying the composer’s audacious genius. -
Voice Dysphoria and the Transgender and Genderqueer Singer
What the Fach? Voice Dysphoria and the Transgender and Genderqueer Singer Loraine Sims, DMA, Associate Professor, Edith Killgore Kirkpatrick Professor of Voice, LSU 2018 NATS National Conference Las Vegas Introduction One size does not fit all! Trans Singers are individuals. There are several options for the singing voice. Trans woman (AMAB, MtF, M2F, or trans feminine) may prefer she/her/hers o May sing with baritone or tenor voice (with or without voice dysphoria) o May sing head voice and label as soprano or mezzo Trans man (AFAB, FtM, F2M, or trans masculine) may prefer he/him/his o No Testosterone – Probably sings mezzo soprano or soprano (with or without voice dysphoria) o After Testosterone – May sing tenor or baritone or countertenor Third Gender or Gender Fluid (Non-binary or Genderqueer) – prefers non-binary pronouns they/them/their or something else (You must ask!) o May sing with any voice type (with or without voice dysphoria) Creating a Gender Neutral Learning Environment Gender and sex are not synonymous terms. Cisgender means that your assigned sex at birth is in agreement with your internal feeling about your own gender. Transgender means that there is disagreement between the sex you were assigned at birth and your internal gender identity. There is also a difference between your gender identity and your gender expression. Many other terms fall under the trans umbrella: Non-binary, gender fluid, genderqueer, and agender, etc. Remember that pronouns matter. Never assume. The best way to know what pronouns someone prefers for themselves is to ask. In addition to she/her/hers and he/him/his, it is perfectly acceptable to use they/them/their for a single individual if that is what they prefer.