A Guide to Vibrato & Straight Tone
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Bel Canto: the Teaching of the Classical Italian Song-Schools, Its Decline and Restoration
Performance Practice Review Volume 3 Article 9 Number 1 Spring "Bel canto: The eT aching of the Classical Italian Song-Schools, Its Decline and Restoration" By Lucie Manén Philip Lieson Miller Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Miller, Philip Lieson (1990) ""Bel canto: The eT aching of the Classical Italian Song-Schools, Its Decline and Restoration" By Lucie Manén," Performance Practice Review: Vol. 3: No. 1, Article 9. DOI: 10.5642/perfpr.199003.01.9 Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/9 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Reviews 97 Lucie Manen. Bel canto; The Teaching of the Classical Italian Song- Schools, Its Decline and Restoration. New York: Oxford University Press, 1987. bibliography, 75p. Bel canto, it is generally agreed, is a lost art. But what, precisely, was bel canto? The word is used to describe the singing of the great castrati, and the repertory of classic Italian airs is known as bel canto music; the term conies up again to cover the operas of Rossini, Donizetti, and Bellini and the school of singers trained to sing them. But Philip A. Duey, in his study of the subject, states: "The term Bel Canto does not appear as such during the period with which it is most often associated, i.e., the seventeenth and eighteenth centuries; this may be said with finality." Lucie Manen as a singer was a casualty of World War II. -
LIBRETTO LOOP” (Created by Todd Woodard)
OPERA WARM UP ACTIVITY: “LIBRETTO LOOP” (created by Todd Woodard) • OBJECTIVE: To build a foundational knowledge of some basic Opera terms through physical and vocal engagement, while simultaneously building energy and ensemble. • STARTING POSITION: A Standing Circle (or “Loop”) • Sample TA Intro: “What is Libretto? … Yes, Libretto might be the text of an opera, but those words are brought to life through music, movement, emotion and ENERGY. So in this game, we are going to use some Opera terms as our simple libretto, and share them by passing ENERGY through, across and within our LOOP, using music, movement, and emotion.” • TERMS with ACTIONS: o RECITATIVE: • Pass LIBRETTO Energy to the person next to you by singing the word “Recitative” to a TA-set or individualized melody with a directional clap • This continues in same direction until someone changes it with a different term o ARIA: “Hold onto the energy before you pass it by taking a solo moment in the spotlight” • Person sings “Aria! Aria! Aria!”, perhaps bending on a knee with arm outstretched, or striking another strong emotional pose • Then pass the energy with “Recitative” or with one of the terms below o VIBRATO • Person with energy shakes hands out in the direction of previous person to induce a vibrato in the voice while singing an extended “Vi- brAAAAA-TOOOOOO”) • This bounces the energy back to the previous person and they continue with energy pass in the opposite direction o MELODY • First person sings “Melody” to a melody of their choice as they pass it to another person -
The KF International Marcella Sembrich International Voice
The KF is excited to announce the winners of the 2015 Marcella Sembrich International Voice Competition: 1st prize – Jakub Jozef Orlinski, counter-tenor; 2nd prize – Piotr Buszewski, tenor; 3rd prize – Katharine Dain, soprano; Honorable Mention – Marcelina Beucher, soprano; Out of 92 applicants, 37 contestants took part in the preliminary round of the competition on Saturday, November 7th, with 9 progressing into the final round on Sunday, November 8th at Ida K. Lang Recital Hall at Hunter College. This year's competition was evaluated by an exceptional jury: Charles Kellis (Juilliard, Prof. emeritus) served as Chairman of the Jury, joined by Damon Bristo (Vice President and Artist Manager at Columbia Artists Management Inc.), Markus Beam (Artist Manager at IMG Artists) and Dr. Malgorzata Kellis who served as a Creative Director and Polish song expert. About the KF's Marcella Sembrich Competition: Marcella Sembrich-Kochanska, soprano (1858-1935) was one of Poland's greatest opera stars. She appeared during the first season of the Metropolitan Opera in 1883, and would go on to sing in over 450 performances at the Met. Her portrait can be found at the Metropolitan Opera House, amongst the likes of Luciano Pavarotti, Placido Domingo, and Giuseppe Verdi. The KF's Marcella Sembrich Memorial Voice Competition honors the memory of this great Polish artist, with the aim of popularizing Polish song in the United States, and discovering new talents (aged 18-35) in the operatic world. This year the competition has turned out to be very successful, considering that the number of contestants have greatly increased and that we have now also attracted a number of International contestants from Japan, China, South Korea, France, Canada, Puerto Rico and Poland. -
UNIVERSITY of CALIFORNIA Los Angeles Reexamining Portamento As an Expressive Resource in Choral Music, Ca. 1840-1940 a Disserta
UNIVERSITY OF CALIFORNIA Los Angeles Reexamining Portamento as an Expressive Resource in Choral Music, Ca. 1840-1940 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Desiree Janene Balfour 2020 © Copyright by Desiree Janene Balfour 2020 ABSTRACT OF THE DISSERTATION Reexamining Portamento as an Expressive Resource in Choral Music, ca. 1840-1940 by Desiree Janene Balfour Doctor of Musical Arts University of California, Los Angeles, 2020 Professor William A. Kinderman, Co-Chair Professor James K. Bass, Co-Chair This study reexamines portamento as an important expressive resource in nineteenth and twentieth-century Western classical choral music. For more than a half-century, portamento use has been in serious decline and its absence in choral performance is arguably an impoverishment. The issue is encapsulated by John Potter, who writes, “A significant part of the early music agenda was to strip away the vulgarity, excess, and perceived incompetence associated with bizarre vocal quirks such as portamento and vibrato. It did not occur to anyone that this might involve the rejection of a living tradition and that singers might be in denial about their own vocal past.”1 The present thesis aims to show that portamento—despite its fall from fashion—is much more than a “bizarre vocal quirk.” When blended with aspects of the modern aesthetic, 1 John Potter, "Beggar at the Door: The Rise and Fall of Portamento in Singing,” Music and Letters 87 (2006): 538. ii choral portamento is a valuable technique that can enhance the expressive qualities of a work. -
Beethoven, Bagels & Banter
Beethoven, Bagels & Banter SUN / OCT 21 / 11:00 AM Michele Zukovsky Robert deMaine CLARINET CELLO Robert Davidovici Kevin Fitz-Gerald VIOLIN PIANO There will be no intermission. Please join us after the performance for refreshments and a conversation with the performers. PROGRAM Ludwig van Beethoven (1770-1827) Trio in B-flat major, Op. 11 I. Allegro con brio II. Adagio III. Tema: Pria ch’io l’impegno. Allegretto Olivier Messiaen (1908-1992) Quartet for the End of Time (1941) I. Liturgie de cristal (“Crystal liturgy”) II. Vocalise, pour l'Ange qui annonce la fin du Temps (“Vocalise, for the Angel who announces the end of time”) III. Abîme des oiseau (“Abyss of birds”) IV. Intermède (“Interlude”) V. Louange à l'Éternité de Jésus (“Praise to the eternity of Jesus”) VI. Danse de la fureur, pour les sept trompettes (“Dance of fury, for the seven trumpets”) VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps (“Tangle of rainbows, for the Angel who announces the end of time) VIII. Louange à l'Immortalité de Jésus (“Praise to the immortality of Jesus”) This series made possible by a generous gift from Barbara Herman. PERFORMANCES MAGAZINE 20 ABOUT THE ARTISTS MICHELE ZUKOVSKY, clarinet, is an also produced recordings of several the Australian National University. American clarinetist and longest live performances by Zukovsky, The Montréal La Presse said that, serving member of the Los Angeles including the aforementioned Williams “Robert Davidovici is a born violinist Philharmonic Orchestra, serving Clarinet Concerto. Alongside her in the most complete sense of from 1961 at the age of 18 until her busy performing schedule, Zukovsky the word.” In October 2013, he retirement on December 20, 2015. -
The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1980 The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance. Malcolm Eugene Beauchamp Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Beauchamp, Malcolm Eugene, "The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance." (1980). LSU Historical Dissertations and Theses. 3474. https://digitalcommons.lsu.edu/gradschool_disstheses/3474 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. -
Adelina Patti Galt Als Eine Herausragende Opernsängerin Internationalen Ranges Des Italienischen Belcanto
Patti, Adelina gendste Interpretin des Belcanto, und wenn sie auf der Bühne oder auf dem Podium erschien, löste ihre süße, glockenhelle, glänzend geschulte Stimme das Entzücken der Zuhörer aus. Dazu kam ihre hübsche, zarte Erschei- nung, ein lebhaftes Mienenspiel und feuriges Versenken in ihren Vortrag.“ Pester Lloyd, ”Morgenblatt”, 30. September 1919, 66. Jg., Nr. 183, S. 5. Profil Adelina Patti galt als eine herausragende Opernsängerin internationalen Ranges des italienischen Belcanto. Ne- ben ihrem Gesangsstil wurde auch ihre Schauspielkunst, die von Charme und großer Natürlichkeit geprägt war, ge- rühmt. Orte und Länder Adelina Patti wurde als Kind italienischer Eltern in Mad- rid geboren. Ihre Kindheit verbrachte sie in New York. Nach ihrem Konzertdebut 1851 in dieser Stadt unter- nahm die Sopranistin Konzerttourneen durch Nordame- rika, Kuba, die Karibik, Kanada und Mexiko. Nach ihrem großen Erfolg 1861 in London trat sie in der englischen Musikmetropole regelmäßig über 40 Jahre auf. Auch auf der Pariser Opernbühne war die Sängerin kontinuierlich präsent. Weiterhin unternahm die Künstlerin regelmäßig Tourneen durch ganz Europa und sang in Städten wie Wien, Berlin, Hamburg, Dresden, Wiesbaden, Amster- Adelina Patti, Hüftbild von Ch. Reutlinger dam, Brüssel, Florenz, Nizza, Rom, Neapel, Madrid, Liss- abon, Petersburg und Moskau. Mehrere Konzertreisen führten Adelina Patti wiederholt nach Nord -, Mittel- Adelina Patti und Südamerika. 1878 kaufte die Sängerin in Wales das Ehename: Adelina Adela Cederström Schloss „Craig-y-Nos“ wo sie die Zeit zwischen den Varianten: Adelina de Cuax, Adelina Nicolini, Adelina Tourneen verbrachte. Auf diesem Schloss veranstaltete Cederström, Adelina Patti-Nicolini, Adelina Adela Juana die Künstlerin regelmäßig Konzertabende. Maria Patti, Adelina Adela Juana Maria de Cuax, Adelina Adela Juana Maria Nicolini, Adelina Adela Juana Maria Biografie Cederström, Adelina Adela Juana Maria Patti-Nicolini Adelina Patti stammte aus einer Musikerfamilie. -
|What to Expect from La Fille Du Régiment
| WHAT TO EXPECT FROM LA FILLE DU RÉGIMENT YOUTHFUL REBELLION, FAMILY DRAMA, AND TENDER YOUNG LOVE— THE WORK: La Fille du Régiment is one of the greatest operatic comedies of all time. Set LA FILLE DU RÉGIMENT high in the Austrian Alps, Gaetano Donizetti’s work tells the story of Marie, An opera in two acts, sung in French an intrepid young orphan raised by a regiment of French soldiers. When Music by Gaetano Donizetti the man of her dreams turns out to be a rebel fighting against the French Libretto by Jules-Henri Vernoy de “family” she has always known, Marie will have to overcome war, fatherly Saint-Georges and Jean-François- disapproval, and even the discovery of her own noble birth to make her Alfred Bayard own “happily ever after” ending come true. With its infectious melodies, First performed February 11, 1840 irresistible humor, and heartwarming tale of love conquering all, Donizetti’s at the Opéra Comique, Paris, France delightful comedy is a treat for audiences of all ages. By the time La Fille du Régiment premiered in 1840, Donizetti was the PRODUCTION most famous composer in Italy and a quickly rising international star. Yet Enrique Mazzola, Conductor there was one place he had yet to conquer: Paris. Joining forces with two Laurent Pelly, Production French dramatists, Donizetti set about writing an opera that would make the Chantal Thomas, Set Designer French capital surrender to his compositional charms. La Fille du Régiment Laurent Pelly, Costume Designer was an instant triumph and cemented Donizetti’s position in Paris. Yet the Joël Adam, Lighting Designer composer wasn’t the only person who enjoyed a career boost from this capti- vating work. -
Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M
Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M. Groth B.M. University of Wisconsin, 2013 M.M. University of Missouri, 2017 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Musical Arts College of Music 2020 1 2 3 Abstract The purpose of this document is to identify and explain the key ideals of bel canto singing and provide reasoned suggestions of exercises, vocalises, and repertoire choices that are readily available both to teachers and students. I provide a critical evaluation of the fundamental tenets of classic bel canto pedagogues, Manuel Garcia, Mathilde Marchesi, and Julius Stockhausen. I then offer suggested exercises to develop breath, tone, and legato, all based classic bel canto principles and more recent insights of voice science and physiology. Finally, I will explore and perform a brief survey into the vast expanse of Italian repertoire that fits more congruently with the concepts found in bel canto singing technique in order to equip teachers with the best materials for more rapid student achievement and success in legato singing. For each of these pieces, I will provide the text and a brief analysis of the characteristics that make each piece well-suited for beginning university students. 4 Acknowledgements Ever since my first vocal pedagogy class in my undergraduate degree at the University of Wisconsin-Madison, I have been interested in how vocal pedagogy can best be applied to repertoire choices in order to maximize students’ achievement in the studio environment. -
ATINER's Conference Paper Proceedings Series HUM2020
ATINER CONFERENCE PRESENTATION SERIES No: HUM2020-0172 ATINER’s Conference Paper Proceedings Series HUM2020-0172 Athens, 14 January 2020 Georg Friedrich Handel’s Music: From the Baroque Era to the Present Mingjie Fang and Tatiana Samsonova Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10683 Athens, Greece ATINER‟s conference paper proceedings series are circulated to promote dialogue among academic scholars. All papers of this series have been blind reviewed and accepted for presentation at one of ATINER‟s annual conferences according to its acceptance policies (http://www.atiner.gr/acceptance). © All rights reserved by authors. 1 ATINER CONFERENCE PRESENTATION SERIES No: HUM2020-0172 ATINER’s Conference Paper Proceedings Series HUM2020-0172 Athens, 14 January 2020 ISSN: 2529-167X Mingjie Fang, Postgraduate Student, Herzen State Pedagogical University of Russia, Russia Tatiana Samsonova, Head of Musical Disciplines Department, Faculty of Philosophy, Culture Studies and Fine Art, Professor, Pushkin Leningrad State University, Russia Georg Friedrich Handel’s Music: From the Baroque Era to the Present ABSTRACT Georg Friedrich Handel (1685-1759) is a German and English composer of the Baroque era, known for his operas, oratorios and concerts. Handel was born in Germany in the same year as Johann Sebastian Bach. After receiving a musical education in Germany and the experience of opera productions in, he moved to London, where he later became an English citizen. Handel„s first opera was the production of ―Rinaldo‖ in 1711 in the theater of His Majesty. The opera Rinaldo was a resounding success. From 1720 to 1728, Handel was director of the Royal Academy of Music. -
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Repertory and rivalry : opera and the Second Covent Garden Theatre, 1830-56. Dideriksen, Gabriella The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 Repertory and Rivalry: Opera at the Second Covent Garden Theatre, 1830 to 1856 Gabriella Dlderlksen PhD, Historical Musicology King's College London, University of London June 1997 Abstract Victorian London has hitherto frequently been regarded as an operatic backwater without original musical or theatrical talent, and has accordingly been considered only marginally important to the history of 19th-century opera in general. -
Composing for Classical Voice Voice Types/Fach System
Composing for Classical Voice Alexandra Smither A healthy relationship between composer and singer is essential for the creation of new song. Like all good relationships, communication is key. Through this brief talk, I hope to give you some tools, some language you can use as common ground when working together. Remember, we are all individuals with insecurities and vulnerabilities and our art made together should lean on strengths. Being in the room with someone means they are making themselves available to you: this goes both ways, so do what you can to elevate them in the way that they see fit. Composers, remember that to be a singer is to be an athlete. If we are protective of our voices, it’s because we are only given one and it is very delicate. Additionally, the opera world is not kind. Many singers are constantly dealing with rejection and commentary, not just on how they sound, but on how they look and who they are. Remember this, be compassionate, choose your words wisely and kindly. Your singer will appreciate it and will sing all the better for it. Singers, take the time to think about your voice and singing. What do you love to sing? What sounds do you like, even outside singing? How does your voice work? Share this information joyfully and without shame - the music being written will reflect it more the more you talk about it. Be willing to try things in ways that are healthy and sustainable for your body. Embrace your individual identity as singer, person, and artist.