DOCSLIB.ORG

MONC Qualifying Singers 2020-2021.Xlsx

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MONC Qualifying Singers 2020-2021.Xlsx Rebecca Achtenberg Soprano Andres Acosta Tenor Andrew Adridge Baritone Micaela Aldridge Mezzo-Soprano Erin Alford Mezzo-Soprano Fernanda Allande Soprano Caitlin Aloia Soprano Lucy Altus Mezzo-Soprano Sydney Anderson Soprano Michael Anderson Tenor Rosario Armas Mezzo-Soprano Dhyana Arom Soprano Talar Arslanian Soprano Cody Arthur Tenor Vasilisa Atanackovic Soprano Esther Atkinson Mezzo-Soprano Angel Azzarra Soprano Milan Babic Baritone Sydney Baedke Soprano Morgan Balfour Soprano Aubry Ballarò Soprano Audrey Ballish Soprano Sabina Balsamo Soprano Joel Balzun Baritone Jacinta Barbachano Soprano Gabrielle Barkidjija Mezzo-Soprano Tatev Baroyan Soprano Kendra Beasley Mezzo-Soprano Brandon Bell Baritone Paden Bell Soprano Georgia Belmont Soprano Allyson Bennett Soprano James Henry Benson Tenor Moriah Berry Soprano Brad Bickhardt Tenor Sarah Bissonnette Mezzo-Soprano Jenna Black Soprano Rachel Blaustein Soprano Avery Boettcher Soprano David Bogaev Tenor Andrew Boisvert Bass Nicholas Borg Baritone Cody Bowers Countertenor Jacob Bowman Baritone Jordan Bowman Soprano Spencer Boyd Tenor Ben Brady Bass-Baritone Chantal Braziel Soprano Naomi Brigell Mezzo-Soprano Ashlyn Brown Mezzo-Soprano Cadie J. Bryan Soprano Jonathan Bryan Baritone Zachary Bryant Baritone Leah Brzyski Soprano Natalie Buickians Soprano Hannah Marie Bullock Soprano Susanne Burgess Soprano Justin Burgess Baritone Haley Burgh Soprano Ian Burns Baritone Joanna Burrell Soprano Amelia Burshe Soprano Karl Buttermann Baritone Katherine Buzard Soprano Aaron Cafaro Tenor Blair Cagney Soprano Megan Callahan Mezzo-Soprano Whitney Campbell Soprano Jack Canfield Baritone Estefanía Cano Mezzo-Soprano Christopher Carbin Bass-Baritone Alec Carlson Tenor Maire Carmack Mezzo-Soprano Nicholas Carratura Tenor Andres Cascante Baritone Ian Castro Tenor Regina Ceragioli Soprano Guy Chambers Baritone Han-Wei Chen Baritone Annie Chester Mezzo-Soprano Valeriya Chibisova Soprano Terrence Chin-Loy Tenor Dennis Chmelensky Baritone Tiffany Choe Soprano Claire Choquette Mezzo-Soprano Alice Chung Mezzo-Soprano Donghyuk Chung Tenor Anthony Ciaramitaro Tenor Thomas Cilluffo Tenor Alan Cline Baritone Gabrielle Clutter Soprano Cara Collins Mezzo-Soprano Taylor Comstock Tenor Sébastien Comtois Tenor Sarah Conniff Soprano Maria Consamus Mezzo-Soprano Armando Contreras Baritone David Cook Tenor Sarah Joyce Cooper Soprano Charity Cooper Mezzo-Soprano Efrain Corralejo Tenor Caroline Corrales Soprano Cheyanne Coss Soprano Sawyer Craig Soprano Aaron Crouch Tenor Jessica Crowell Soprano Shannon Crowley Soprano DeLaine Crutchfield Soprano Antonio Cruz Baritone Elaine Daiber Soprano Kahli Dalbow Soprano Connor Dalton Baritone Margaret Daly Soprano Mélissa Danis Soprano Sydney Dardis Soprano Rosa Dávila Soprano Edwin Davis Bass Marina Davis Mezzo-Soprano Victoria Davis Soprano Maria De Conzo Mezzo-Soprano Arisbe De la barrera Soprano Sara DeFranco Soprano Alejandro Del Angel Tenor Logan Dell’Acqua Baritone Manli Deng Soprano Andrew Derynck Tenor William Desbiens Baritone Alyssa Dessoye Soprano Noragh Devlin Mezzo-Soprano Joshua Dexter Bass-Baritone Claudia María de Lourdes Díaz Soprano Emma Dickinson Soprano Ruby Dibble Mezzo-Soprano Stephanie Doche Mezzo-Soprano Meryl Dominguez Soprano Ariel Downs Soprano SarahAnn Duffy Mezzo-Soprano Lila Dufy Soprano Kara Dugan Mezzo-Soprano Ron Dukes Bass Adanya Dunn Mezzo-Soprano Taylor-Alexis DuPont Mezzo-Soprano Charles Eaton Baritone Aaron Eaves Baritone Katherine Eckard Mezzo-Soprano Ben Edquist Baritone Cecilia Eguiarte Soprano Madeline Ehlinger Soprano Joy Elise Soprano Courtney Elvira Mezzo-Soprano Marie Engle Mezzo-Soprano Jorge Espino Baritone Ricardo Estrada Tenor Mishael Eusebio Tenor Joanne Evans Mezzo-Soprano Ashley Fabian Soprano Emilie Faiella Soprano Gwenna Fairchild-Taylor Soprano Oriana Falla Soprano Anyeé Farrar Soprano Francesca Federico Soprano Kathleen Felty Mezzo-Soprano Laura Elena Fernández Soprano Jade Ferrell Soprano Véronique Filloux Soprano Jessica Fishenfeld Soprano Elizabeth Fisher Soprano Steele Fitzwater Bass-Baritone Gabriela Flores Mezzo-Soprano Jenny Anne Flory Mezzo-Soprano Bretton Floyd Baritone Kaden Forsberg Tenor Andrew Forsythe Bass Karli Forte Soprano Samantha Frischling Soprano Sydney Frodsham Mezzo-Soprano Wesley Frye Tenor Cara Gabrielson Soprano Daniel Gallegos Baritone R. Ricardo Garcia Tenor Alannah Garnier Soprano Sofia Garza Soprano Julia Gershkoff Soprano Gabriella Giangreco Soprano Gabrielle Gilliam Soprano Kristen Gillis Soprano Michelle Girardot Soprano Rodolfo Giron Countertenor Angel Gomez Tenor Catherine Goode Soprano Jake Goz Tenor Edward Graves Tenor Megan Graves Mezzo-Soprano Yazid Gray Baritone Erik Grendahl Baritone Claire Griffin Soprano Lydia Grindatto Soprano Jenna Grissom Soprano Edith Grossman Mezzo-Soprano Paul Grosvenor Baritone Kelly Guerra Mezzo-Soprano Saane Halaholo Soprano Lunga Halam Tenor Spencer Hamlin Tenor Temple Hammen Soprano Evan Hammond Baritone Yinpei Han Mezzo-Soprano Jongwon Han Bass-Baritone Gina Hanzlik Soprano Symone Harcum Soprano Jeremy Harr Bass Sherami Harris Mezzo-Soprano Robert Hartfield Tenor Michael J. Hawk Baritone James Hayden Bass Christina Hazen Mezzo-Soprano Yu He Bass-Baritone Nicole Heinen Soprano Grace Heldridge Mezzo-Soprano Emily Helenbrook Soprano Alex Hetherington Mezzo-Soprano Michael Hewitt Baritone Miya Higashiyama Mezzo-Soprano Paul Leland Hill Bass Zane Hill Baritone Christopher Hochstuhl Tenor Griffen Hogan Tracy Bass Christian Holden Tenor Alyssa Holley Soprano Katherine Holobinko Soprano Joyner Horn Soprano Shanley Horvitz Mezzo-Soprano Elena Howard-Scott Soprano Matthew Hrdlicka Baritone Shelén Hughes Soprano Natalia Hulse Soprano Irem Ince Mezzo-Soprano Denique Isaac Soprano Georgia Jacobson Mezzo-Soprano Mackenzie Jacquemin Soprano Jae Yeong Jang Soprano Brian Jeffers Tenor Hao Jiang Tenor Deepa Johnny Mezzo-Soprano Will Johnson Tenor Courtney Johnson Soprano Réka Jónás Soprano Katherine Jones Soprano Melissa Joseph Soprano Edwin Joseph Baritone Luka Kawabata Baritone Shannon Keegan Mezzo-Soprano Aaron Keeney Baritone Lilla Keith Soprano Nicholas Kelliher Countertenor Wilford Kelly Bass-Baritone Penelope Kendros Soprano Yvette Keong Soprano Emily Kern Soprano Theresa Kesser Mezzo-Soprano Christian Ketter Tenor Samuel Kidd Baritone Hyoyoung Kim Soprano Seiyoung Kim Tenor Stephanie Kim Soprano Duke Kim Tenor Maggie Kinabrew Soprano Makila Kirchner Soprano Leila Kirves Soprano Senhica Klee Tenor Jacqueline Ko Soprano Chelsea Kolic Soprano Andrew Konopak Baritone Dominika Koscielniak Mezzo-Soprano Mary Kray Mezzo-Soprano Melissa Krueger Mezzo-Soprano Sydney Kucine Soprano Alexei Kuznietsov Tenor Maria Lacey Soprano Joelle Lachance Mezzo-Soprano Chelsea Laggan Mezzo-Soprano Eric Laine Tenor Julia Laird Soprano Ashlee Lamar Soprano Angela Joy Lamb Soprano Michaela Larsen Soprano Mikala Laws Soprano Samantha Lax Soprano Evan Lazdowski Bass-Baritone Solene Le Van Soprano Jangho Lee Tenor Eunsung Lee Baritone Yejin Lee Soprano Luke Lemmeier Countertenor Anthony León Tenor Ellen Leslie Soprano Maxwell Levy Tenor Amanda Levy Soprano Laura Leyva Soprano Sedona Libero Mezzo-Soprano Helaine Liebman Soprano Hayley Lipke Soprano Chuanyuan Liu Countertenor Brittany Logan Soprano Thomas Long Baritone Samantha Long Soprano Claire Lopatka Soprano Sigrún López Jack Mezzo-Soprano Cynthia López Pérez Soprano Kameron Lopreore Tenor Cornelia Lotito Mezzo-Soprano Hannah Ludwig Mezzo-Soprano Alejandro Luévanos Tenor Pompeyo Lugo Baritone Samantha Luna Soprano Ryan Lustgarten Tenor Greer Lyle Soprano Xiaobin Ma Soprano Renee Macdonald Soprano Timothy Madden Bass-Baritone Prosper Makhanya Bass-Baritone Ana Paula Malagon Soprano Maria Novella Malfatti Soprano Hayley Maloney Soprano Lauren Margison Soprano Jennifer Mariel Soprano Anna Louise Martin Soprano Shaina Martinez Soprano Sergio Martinez Bass Nicholas Martorano Baritone John Marzano Tenor Jesse Mashburn Mezzo-Soprano Morgan Mastrangelo Tenor Samuel Mathis Tenor Brenton Mattox Bass Jennifer Mayer Mezzo-Soprano Byron Mayes Baritone Dorian McCall Baritone Laura K. McCauley Soprano Bryce McClendon Countertenor Eric McConnell Bass-Baritone Elijah McCormack Male Soprano Samson McCrady Baritone De'Ron McDaniel Baritone MaKayla McDonald Soprano Savannah McElhaney Soprano Cory McGee Bass Randell McGee Baritone Rob McGinness Baritone Maggie McGuire Soprano Madison Marie McIntosh Mezzo-Soprano Alexander McKissick Tenor Raven McMillon Soprano Raphaella Medina Mezzo-Soprano Francesca Mehrotra Soprano Page Michels Soprano Katerina Middeldorp Soprano Quinn Middleman Mezzo-Soprano Morgan Middleton Mezzo-Soprano Agostina Migoni Soprano Shelley Mihm Soprano Imara Miles Mezzo-Soprano Kyle Miller Baritone Michael Miller Baritone Maria Miller Mezzo-Soprano Melaina Mills Soprano Aria Minasian Mezzo-Soprano Elizabeth Mirandi Soprano Sarah-Clementine Mire Soprano Madison Montambault Mezzo-Soprano Camila Montefusco Mezzo-Soprano Anna Montgomery Soprano Jimena Montserrat Soprano Eddie Mony Tenor Christopher Lopez Moore Tenor Ana Mora Mezzo-Soprano Luisa Mordel Soprano Kara Morgan Mezzo-Soprano Jessica Moss Soprano Marissa Moultrie Soprano Kara Mulder Soprano Timothy Murray Baritone Drew Ann Murray Soprano Ian Murrell Baritone Monica Music Soprano Nina Mutalifu Soprano Titus Muzi Baritone Martina Myskohlid Mezzo-Soprano Talin Nalbandian Mezzo-Soprano Christa Navy Soprano Tshilidzi Ndou Baritone Sarah Neal Mezzo-Soprano Evan Nelson Baritone David Nelson Baritone Alma Neuhaus Mezzo-Soprano Christina Nicastro Soprano Kaylee Nichols Mezzo-Soprano Natalia
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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).
    [Show full text]
  • A Season of Thrilling Intrigue and Grand Spectacle –
    A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
    [Show full text]