DOCSLIB.ORG

Tese Apresentada Para O Grau De Mestre Em Estudos De Cultura

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tese Apresentada Para O Grau De Mestre Em Estudos De Cultura UNIVERSIDADE CATÓLICA PORTUGUESA ANNA NICOLE: AN OPERA (?) BETWEEN TRADITION AND TRANSGRESSION a multidisciplinary and transdisciplinary enquiry into an ambiguous work Tese apresentada para o grau de mestre em Estudos de Cultura Por Vera Jerosch Herold da Costa Reis (136311001) Sob a orientação de Prof. Doutora Alexandra Lopes Faculdade de Ciências Humanas, Cursos de Mestrado em Estudos de Cultura, LEA e Tradução Setembro de 2015 UNIVERSIDADE CATÓLICA PORTUGUESA ANNA NICOLE: AN OPERA (?) BETWEEN TRADITION AND TRANSGRESSION a multidisciplinary and transdisciplinary enquiry into an ambiguous work Tese apresentada à Universidade Católica Portuguesa Para obtenção do grau de mestre em Estudos de Cultura por Vera Jerosch Herold da Costa Reis (136311001) Faculdade de Ciências Humanas, Cursos de Mestrado em Estudos de Cultura, LEA e Tradução Setembro de 2015 2 Abstract In this dissertation, I will analyse whether the opera ANNA NICOLE by Mark Anthony Turnage (music) and Richard Tomas (libretto) is embedded in the tradition of the operatic canon, or if it just transgresses that legacy. It is based on the true life account of Anna Nicole Smith, a Playboy model turned celebrity whose scandalous behaviour was closely followed by the media. I will discuss whether Anna Nicole can be inscribed in the lineage of opera’s other fallen and scandalous women, such as Violetta, Manon or Carmen, and how these “real” life women have been translated into the genre. As some critics contend ANNA NICOLE is a musical, I will also discuss how the work could be defined within the history of musical theatre, looking in more detail into the first 200 and the last 100 years of the genre’s existence, and within musical modernism and contemporaneity. Finally, I will look into the traditions of opera and its reception from the emotions’ viewpoint, especially with regard to the use and effect (or lack thereof) of the lament and the aria, asking whether Anna Nicole humanizes the “real” Anna Nicole Smith, as Violetta may have done with Marie Duplessis. Over the next hundred or so pages, I will examine if this undaunted portray of a celebrity, famous for being loud and vulgar can move us once she faces tragic events, and if her complaint can give us insight into her heart, thus making it possible to have a more clement approach towards her. Resumo Na presente dissertação pretendo analisar se a ópera ANNA NICOLE de Mark Anthony Turnage (música) e Richard Thomas (libreto) se insere na tradição do cânone operático, ou se é apenas uma obra transgressora. A obra baseia-se na vida real de Anna Nicole Smith, modelo da Playboy que se transformou numa celebridade cujo comportamento escandaloso era seguido de perto pelos media. Irei debater se Anna Nicole se inscreve na linhagem operática de outras mulheres perdidas e escandalosas, como Violetta, Manon ou Carmen, e ainda a forma como estas mulheres “reais” foram traduzidas para ópera. Uma vez que alguma crítica defendeu que ANNA NICOLE seria um musical, irei também investigar como a obra se define dentro da história da ópera, sobretudo no que respeita os seus primeiros 200 e os últimos 100 anos, bem como no modernismo e na contemporaneidade musical. Finalmente, irei estudar as tradições da ópera, bem como da sua receção, no que respeita às emoções, em particular o uso e o efeito (ou a falta destes) do lamento e da ária, para questionar se Anna Nicole humaniza a Anna Nicole Smith «real», da forma que Violetta terá humanizado Marie Duplessis. Ao longo das cerca de 100 páginas que se seguem, irei examinar se este retrato desassombrado de uma celebridade famosa por ser rude e grosseira consegue comover-nos, quando esta defronta acontecimentos trágicos, e se a sua queixa nos permite vislumbrar a sua humanidade, levando-nos a olhá-la com maior clemência. 3 Thank you to my parents for their support and example. to Francisco for his unfaltering love and sense of humour. to my daughters for their spontaneous support and enthusiasm and, last but not least, to Prof. Alexandra Lopes, for her infinite patience and generosity …la veritá di cui non si riesce a parlare, bisogna cantarla, bisogna dirla in musica. E con questo vi saluto. Luciano Berio (1925-2003) Opera is when a guy gets stabbed in the back and instead of bleeding, he sings. Ed Gardner (1901-1963) It’s very expensive to be me. It’s terrible the things I have to do to be me. Anna Nicole Smith ( 1967-2007) 4 Contents Introduction 6 1. OPERA – FROM COURTLY LOVE TO BROADWAY 1.1 The beginning – Florence or Venice? 19 1.2 From Venice beyond the Alps 27 1.3 Infected opera – from medieval passion plays to Freddie Mercury 34 1.4 Anna Nicole Smith, fit for the Opera? 44 1.5 Let’s talk numbers! 52 2. LISTENING TO THE TWENTIETH CENTURY 2.1 How it all started 59 2.2 Who cares if you listen ? 70 2.3 Sprengt die Opernhäuser in die Luft! 75 3. OPERA NOW – NO CLEMENZA FOR ANNA NICOLE 3.1 When God is listening 84 3.2 Eros and Thanatos – Violetta, Carmen, Anna Nicole 85 3.3 Why sing if you can speak? 102 3.4 All together now – the ensemble and forgiveness in a community 110 Final remarks 122 A – Figure 1 131 Bibliographies 132 5 Introduction The opera ANNA NICOLE (Mark Anthony Turnage & Richard Thomas), based on the true life story of the (in)famous Anna Nicole Smith, was premiered in February 2011 at the Royal Opera (RO) in London and the object of both an important media campaign and critical reaction. Reviews of the opera were mixed, and varied between the dismissal as popular, futile and lacking depth, on the one hand, and, on the other hand, the defence that the opera’s main character, Anna Nicole, was in line with other fallen, scandalous, even murderous women of the operatic tradition, such as Violetta, Carmen, Lulu or the various versions of Manon. By choosing the life of Anna Nicole Smith as the subject matter for an opera to be premiered in one of the most important opera houses of the world, its authors not only an attempted to fuse high and popular culture, they brought together what may be perceived as incompatible: two extremes of high and low, grand opera and American white trash . With its refined social practices, opera is considered the most elitist and aristocratic of the performing arts, whereas everything Anna Nicole Smith did on and off stage is just as often considered one of the most lurid forms of American trash culture. Did Turnage and Thomas succeed in mixing these two worlds, or are Anna Nicole and opera like oil and water? Is Anna Nicole an opera, and if it is, does it conform to previous operatic models, or is it in itself transgressive? Would the opera be successful with the public, the critics and among opera professionals, i.e. programmers, conductors, directors and singers? Four years later, the question has partly been answered. The first run at the Royal Opera was a public success seldom witnessed in contemporary opera. In 2013, the opera was premiered outside the UK in a new production, with some minor changes to the score and the libretto. Directed by Jens Herzog for Oper Dortmund, it is a different, slightly darker reading than that of Richard Jones for the RO. Finally, the RO’s production premiered in America with an almost completely new cast of the New York City Opera at the Brooklyn Academy of Music. In September 2014, the RO reprised the production. All four runs were a public and a mediatic success, receiving altogether more good than bad reviews. More importantly, the 6 opera is no longer one of the many contemporary works with just one single performance or run. The life of Anna Nicole Smith (born Vickie Lynn Hogan; 28 November, 1967 in Houston, Texas – 8 February 2007 in Hollywood, Florida) served as the inspiration for the opera. She was a model, actress and TV personality who reached global fame due to her marriage to the 89-year-old Texan oil tycoon J. Howard Marshall II in 1994, when she was 26 years old. Raised in the backwater Mexia, Texas, Anna Nicole Smith dropped out of school in her sophomore year (10 th grade) and went to work at Jim’s Crispy Fried Chicken in Mexia. There she met Billy Smith whom she married in 1985 – she was 17 and he was 16 years old. Their son Daniel was born nine months later in January, when Anna Nicole was barely 18. According to the website marriage.about.com, she left Billy in 1987, although their divorce seems to have been filed only six years later, in 1993 (http://marriage.about.com/od/entertainmen1/p/annasmith.htm, last accessed on June 23, 2015). She tried for a better life in Houston, where she first worked at Walmart. Later, she decided to try her luck at a strip club, the Rick’s Gentleman’s Club, where she was not very successful, and, according to the owner, was “rather plump to be working [t]here” (http://www.people.com/people/anna_nicole_smith/, last accessed on August 10, 2015), but her success was furthered once she had breast augmentation surgery. A photographic session for Playboy magazine did the rest: Anna Nicole Smith became famous and desirable. She was Playboy cover, centrefold and Playmate of the Year. Later she replaced supermodel Claudia Schiffer as the face and body of the Guess Jeans campaign, appeared on the cover of the German edition of Marie Claire and in several other magazines, advertisements and films.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Falsetto Head Voice Tips to Develop Head Voice
    Volume 1 Issue 27 September 04, 2012 Mike Blackwood, Bill Wiard, Editors CALENDAR Current Songs (Not necessarily “new”) Goodnight Sweetheart, Goodnight Spiritual Medley Home on the Range You Raise Me Up Just in Time Question: What’s the difference between head voice and falsetto? (Contunued) Answer: Falsetto Notice the word "falsetto" contains the word "false!" That's exactly what it is - a false impression of the female voice. This occurs when a man who is naturally a baritone or bass attempts to imitate a female's voice. The sound is usually higher pitched than the singer's normal singing voice. The falsetto tone produced has a head voice type quality, but is not head voice. Falsetto is the lightest form of vocal production that the human voice can make. It has limited strength, tones, and dynamics. Oftentimes when singing falsetto, your voice may break, jump, or have an airy sound because the vocal cords are not completely closed. Head Voice Head voice is singing in which the upper range of the voice is used. It's a natural high pitch that flows evenly and completely. It's called head voice or "head register" because the singer actually feels the vibrations of the sung notes in their head. When singing in head voice, the vocal cords are closed and the voice tone is pure. The singer is able to choose any dynamic level he wants while singing. Unlike falsetto, head voice gives a connected sound and creates a smoother harmony. Tips to Develop Head Voice If you want to have a smooth tone and develop a head voice singing talent, you can practice closing the gap with breathing techniques on every note.
    [Show full text]
  • Historical Vocal Pedagogies
    VC565 Historical Vocal Pedagogies Ian Howell [email protected] New England Conservatory of Music 23 September 2013 Monday, September 23, 13 Giulio Caccini b.1551 – d.1618 Florence, Italy Florentine Camerata – Recitative/Text Famous singer, music teacher, composer of Medici court Monday, September 23, 13 Giulio Caccini •Singers vs. instrumentalists •Voce piena, e naturale vs. voce finta •Avoid slides •Decrescendo from attack •Trillo vs. gruppo •Ornamentation for affect of text Monday, September 23, 13 Pier Francesco Tosi b.1647 – d.1742 Soprano Castrato Taught and performed across Europe, especially Vienna, London, and Bologna Monday, September 23, 13 Pier Francesco Tosi •Study solfeggio •voce di testa vs. voce di petto •Head voice soft ≠ shrieking trumpet •scales without separation of [h] or [g] •fast passages on [a], never [i] or [u] •avoid closed versions of [e] and [o] Monday, September 23, 13 Pier Francesco Tosi •Progressive exercises •expression towards a smile •Hold out the length of notes without shrillness and trembling •Messa di voce taught later •Teach on [a], [Ɛ], and [ɔ], not just on [a] •Drag voice high to low, but not low to high Monday, September 23, 13 Pier Francesco Tosi •Appoggiatura is most important grace •Trill is a necessity •No rules for teaching trill Monday, September 23, 13 Pier Francesco Tosi •Study with the mind •Listen to the best •Too much practice and vocal beauty incompatible Monday, September 23, 13 Giambattista Mancini b.1714 – d.1800 Bologna Castrato, studied with Bernacchi (also Senesino’s (Giulio Cesare)
    [Show full text]
  • Lucia Di Lammermoor
    LUCIA DI LAMMERMOOR An in-depth guide by Stu Lewis INTRODUCTION In Gustave Flaubert’s Madame Bovary (1857), Western literature’s prototypical “Desperate Housewives” narrative, Charles and Emma Bovary travel to Rouen to attend the opera, and they attend a performance of Lucia di Lammermoor. Perhaps Flaubert chose this opera because it would appeal to Emma’s romantic nature, suggesting parallels between her life and that of the heroine: both women forced into unhappy marriages. But the reason could have been simpler—that given the popularity of this opera, someone who dropped in at the opera house on a given night would be likely to see Lucia. If there is one work that could be said to represent opera with a capital O, it is Lucia di Lammermoor. Lucia is a story of forbidden love, deceit, treachery, violence, family hatred, and suicide, culminating in the mother of all mad scenes. It features a heroic yet tragic tenor, villainous baritones and basses, a soprano with plenty of opportunity to show off her brilliant high notes and trills and every other trick she learned in the conservatory, and, to top it off, a mysterious ghost haunting the Scottish Highlands. This is not to say that Donizetti employed clichés, but rather that what was fresh and original in Donizetti's hands became clichés in the works of lesser composers. As Emma Bovary watched the opera, “She filled her heart with the melodious laments as they slowly floated up to her accompanied by the strains of the double basses, like the cries of a castaway in the tumult of a storm.
    [Show full text]
  • TURANDOT Cast Biographies
    TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
    [Show full text]
  • BAM and New York City Opera Present US Premiere of Anna Nicole, an Opera by Mark-Anthony Turnage with Libretto by Richard Thomas—September 17 to 28
    BAM and New York City Opera present US premiere of Anna Nicole, an opera by Mark-Anthony Turnage with libretto by Richard Thomas—September 17 to 28 Anna Nicole launches BAM 2013 Next Wave Festival American Express is the BAM 2013 Next Wave Festival Sponsor BAM and New York City Opera present Anna Nicole Composed by Mark-Anthony Turnage Libretto by Richard Thomas Directed by Richard Jones Conducted by Steven Sloane Scenic design by Miriam Buether Costume design by Nicky Gillibrand Lighting design by Mimi Jordan Sherin & D.M. Wood Choreography by Aletta Collins Line producer and Soloist Casting by Elaine Padmore Additional Casting by Telsey + Company, Tiffany Little Canfield, CSA Anna Nicole was commissioned by the Royal Opera House, Covent Garden, London, and premiered there in February 2011 BAM Howard Gilman Opera House (30 Lafayette Ave) Sep 17–28 at 7:30pm Tickets: $25, 50, 75, 100, 125, 150 (weekday); $35, 60, 85, 115, 145, 175 (weekend) Master Class: Lyrics, Libretto, and Luck with Richard Thomas Sep 12 at 3pm, BAM Fisher Leavitt Workshop (321 Ashland Pl) Tickets: $25 Talk: The Making of Anna Nicole, with Mark-Anthony Turnage, Richard Thomas, and Richard Jones, moderated by Elaine Padmore. Sept 16 at 7pm, BAMcafé (30 Lafayette Ave) Tickets: $15 ($7.50 for Friends of BAM) Anna Nicole: An Opening Affair, Sep 17, post-show celebration Tickets: BAM Patron Services, 718.636.4182 or [email protected] Brooklyn, NY/Aug 8, 2013—The 2013 Next Wave Festival launches with the Brooklyn Academy of Music (BAM) and New York City Opera co-production of Anna Nicole, an opera by composer Mark- Anthony Turnage and librettist Richard Thomas based on the flamboyant life and tragic death of Anna Nicole Smith.
    [Show full text]
  • La Sonnambula 3 Content
    Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera.
    [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]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
    Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A.
    [Show full text]
  • A European Singspiel
    Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel.
    [Show full text]