Cinderella Cast and Voice Type Requirements Copy

Total Page：16

File Type：pdf, Size：1020Kb

Cinderella Cast and Voice Type Requirements Copy

Cinderella - CHARACTERS AND VOICE TYPES ! (in order of appearance) Cast of Characters (in Age/Gender Voice Type order of appearance) Fairy Godmother/ 15-18 Female ! Soprano or Alto! Cinderella’s Mother (Leading Role) Singing/Acting role Young Cinderella 8-12 Female (cameo)! N/A Cinderella’s Father Adult (cameo) N/A Young Friends/Lament 8 - 18 Female Soprano or Alto! Ensemble Singing/Dancing roles Little Girl 8-11 Female Acting role Stepmother 16 - Adult Female ! Soprano or Alto! (Leading role) Singing/Acting role Grace - Cinderella’s 14 - 18 Female ! Alto or Soprano! awkward Stepsister (Leading Role) Singing/Acting role Joy - Cinderella’s sullen 14 - 18 Female (Leading Alto or Soprano! stepsister Role) Singing/Acting role Cinderella 15-18 Female (Leading Soprano or Alto! Role) Singing/Acting role Christopher - a charming 15-18 Male (Leading role) Baritone! young prince Singing/Acting role Lionel - his royal steward 14-18 Male (Leading role) High Baritone! Singing/Acting role Queen Constantina 15-Adult! Alto/Soprano (supporting role) King Maximillian 15-Adult! Baritone/Tenor (supporting role) Solo Villager: Cloth 12 - 18 Female/Male! Singing/Acting solo Merchant (Cameo) Solo Villager: Older 12 - 18 Female (Cameo)! Singing/Acting solo Sister Cinderella - CHARACTERS AND VOICE TYPES ! (in order of appearance) Solo Villager: Younger 8 - 14 Female (Cameo) Singing/Acting solo Sister Solo Villager: Young Girl 8 - 13 Female (Cameo) Singing/Acting solo Solo Villager: Butcher 14 - 18 Male (Cameo) Singing/Acting solo Solo Villager: A Girl 8 - 18 Female (Cameo) Singing/Acting solo Solo Villager: Another 8 - 18 Female (Cameo) Singing/Acting solo Girl Solo Villager: Cheese 12-18 Male/Female Singing/Acting solo Merchant Solo Villager: Baker 14-18 Male/Female Singing/Acting solo 4 White Mice - who will 8-12 Female ! Singing/Acting/Dance role! become Horses (supporting role) A Dove - who will 8 - 18 Female/Male Singing/Acting/Dance role become a Footman (supporting role) Charles- a cat who will 12-18 Female/Male Singing/Acting/Dance role become a Coachman (supporting role) Featured Villager 8 - 18 Female/Male N/A Dancers Ballroom Dancers 8 - 18 Female/Male N/A Wedding Singers 11-18 Female/Male Singing roles! Ensemble (singing in harmonies required ) Villagers/Wedding 8 - 18 Female/Male Singing/Dancing! Guests/Ballroom Guests (various voice types0 ! ! ! ! ! Cinderella - CHARACTERS AND VOICE TYPES ! (in order of appearance) ! !.

Copy Link

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]
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]
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
[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]
Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's
Arnold Schering on “Who sang the soprano and alto parts in Bach’s cantatas?” Translation by Thomas Braatz © 2009 [The following is a translation of pages 43 to 48 from Arnold Schering’s book, Johann Sebastian Bachs Leipziger Kirchenmusik, published in 1936 in Leipzig and presented in facsimile after the translation. To distinguish between Schering’s original footnotes and mine, his are highlighted in red while mine are left in black.] The paragraph leading into this passage describes Georg PhilippTelemann’s (1681- 1767) sacred music activities in the Neukirche (New Church) in Leipzig. These cantata performances were accomplished by Telemann with the help of university students only and without any assistance from the Thomaner1 choir(s) which were under Johann Kuhnau’s (1660-1722 - Bach’s immediate predecessor) direction. Jealous of the success that Telemann was having with his performances, Kuhnau commented that the young people there [Neukirche] had no real idea about what the proper style of singing in a church was all about and that their goal was “directed toward a so- called cantata-like manner of singing”. By this he evidently meant the elegant, modern way that male falsettists2 sang their solos [compared to the soprano and alto voices of young boys before their mutation]. What was Bach’s way of treating this matter in his sacred music? A cantor’s constant concern, as we have seen, is the ability to obtain and train good sopranos and basses. Kuhnau’s experience, that among his young scholars strong bass singers were a rarity,3 was an experience that his cantor predecessors in Leipzig had already had.
[Show full text]
'The Performing Pitch of William Byrd's Latin Liturgical Polyphony: a Guide
The Performing Pitch of William Byrd’s Latin Liturgical Polyphony: A Guide for Historically Minded Interpreters Andrew Johnstone REA: A Journal of Religion, Education and the Arts, Issue 10, 'Sacred Music', 2016 The choosing of a suitable performing pitch is a task that faces all interpreters of sixteenth- century vocal polyphony. As any choral director with the relevant experience will know, decisions about pitch are inseparable from decisions about programming, since some degree of transposition—be it effected on the printed page or by the mental agility of the singers—is almost invariably required to bring the conventions of Renaissance vocal scoring into alignment with the parameters of the more modern SATB ensemble. To be sure, the problem will always admit the purely pragmatic solution of adopting the pitch that best suits the available voices. Such a solution cannot of itself be to the detriment of a compelling, musicianly interpretation, and precedent for it may be cited in historic accounts of choosing a pitch according to the capabilities of the available bass voices (Ganassi 1542, chapter 11) and transposing polyphony so as to align the tenor part with the octave in which chorale melodies were customarily sung (Burmeister 1606, chapter 8). At the same time, transpositions oriented to the comfort zone of present-day choirs will almost certainly result in sonorities differing appreciably from those the composer had in mind. It is therefore to those interested in this aspect of the composer’s intentions, as well as to those curious about the why and the wherefore of Renaissance notation, that the following observations are offered.
[Show full text]
GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA in ENGLISH BARRY BANKS Tenor Sings BEL CANTO ARIAS
CHAN 3112 Book Cover.qxd 20/9/06 11:02 am Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA IN ENGLISH BARRY BANKS BANKS BARRY tenor sings BEL CANTO ARIAS sings BEL CANTO PETER MOORES FOUNDATION CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 2 Christian Steiner Barry Banks sings Bel canto Arias 3 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 4 Time Page Time Page Gioachino Rossini (1792–1868) Igor Stravinsky (1882–1971) from The Italian Girl in Algiers from The Rake’s Progress Lindoro’s Cavatina (Languir per una bella) Tom Rakewell’s Recitative and Aria 1 ‘In dreams of endless pleasure’ 7:16 [p. 46] 6 ‘Here I stand’ – ‘Since it is not by merit’ 2:40 [p. 48] London Philharmonic Orchestra London Philharmonic Orchestra from Stabat Mater (Cujus animam) Gaetano Donizetti (1797–1848) 2 ‘Through her soul in endless grieving’ 6:25 [p. 46] London Philharmonic Orchestra from Don Pasquale Ernesto’s Prelude and Aria (Cercherò lontana terra) from Count Ory 7 ‘Poor lost Ernesto’ – Count’s Cavatina (Que le destin prospère) 3 ‘I shall go, no more returning’ 9:47 [p. 48] ‘May destiny befriend you’ 4:38 [p. 46] London Philharmonic Orchestra London Philharmonic Orchestra from CHAN 3011(2) Don Pasquale from Moses in Egypt from The Elixir of Love Amenophis’ and Pharaoh’s Duet (Parla, spiegar non posso) Nemorino’s Romance (Una furtiva lagrima) 4 ‘The blow at last has fallen’ 7:10 [p. 46] 8 ‘Only one teardrop’ 5:14 [p.
[Show full text]
Traditional Vocal Ranges
TRADITIONAL VOCAL RANGES The following are a list of the approximate optimal ranges associated with traditional voice parts in singing. This is a good reference, however I nd that it pertains much more to trained voices than it does to the many beginners who participate in community choruses and oral tradition singing. I nd it works best to limit song ranges further to maximize accessibility for all, so I’ve included more on that below. From highest to lowest: SOPRANO - Middle C up to High A - C (an octave and a half to two octaves above middle C) MEZZO (2nd SOPRANO) - A3 (A below Middle C) up to High F-A (F5-A5) ALTO - G3 (G below Middle C) up to High D-F (D5-F5) TENOR - C3 (an octave below Middle C) up to C5 (an octave above Middle C) BARITONE - A2 (an octave and a half below Middle C) up to A4 (the A above Middle C) BASS - E2 (second E below Middle C) up to E4, (the E above Middle C) Our vocal ranges are determined in large part physiologically. Those with long vocal chords sing lower and those with shorter vocal cords sing higher. I nd that men who are true basses or women who are true tenors (very low - below alto range) are pretty rare. On the other hand, I nd that most people have the capacity to sing quite a bit higher than they are practiced singing, when given a little training and encouragement. Traditionally, Soprano, Mezzo and Alto are associated with female voices and Tenor, Baritone & Bass are associated with male voices.
[Show full text]
Timbre-Induced Pitch Deviations of Musical Sounds
journal of interdisciplinary music studies spring 2007, volume 1, issue 1, art. #071102, pp. 33-50 Timbre-Induced Pitch Deviations of Musical Sounds Müzik Seslerinde Tını Kaynaklı Ses Perdesi Sapmaları Allan Vurma1 and Jaan Ross2 1Estonian Academy of Music and Theatre 2University of Tartu and Estonian Academy of Music and Theatre Abstract. This article deals with timbre- Özet. Bu makale müzisyenlerin günlük ça- induced pitch deviations and their magnitude lıma ortamlarına benzer biçimde tasarlanmı in environments designed to resemble those ortamlarda tını kaynaklı ses perdesi sapma- that performing musicians encounter in their larını ve bu sapmaların büyüklüklerini konu daily practice. Two experiments were con- alır. ki deney gerçekletirilmitir. Birinci de- ducted. In the first experiment classically neyde klasik eitim almı arkıcılar kendi trained singers matched the pitch of synthe- seslerini sentezlenmi piyano ve obua ses- sized sounds of the piano and oboe. The fun- lerinin ses perdeleriyle eletirmitir. Vokal damental frequency of vocal sounds was on seslerin temel frekansları çalgı seslerinin temel average 7 to 13 cents lower than the funda- frekanslarından ortalama 7-13 cent daha mental frequency of the instrumental sounds. altında gözlenmitir. Bu fark piano tınısıyla The difference was more pronounced in the yapılan deneyde daha belirgin çıkmıtır. kinci case of the piano timbre. In the second ex- deneyde katılımcılar birinci deneydeki tek bir periment, participants compared sounds pro- arkıcının ses perdesi eleme görevinde üret- duced by a single performer from the pitch- tii sesleri sentezlenmi piano ve obua sesleri matching task of the first experiment to syn- ile karılatırmıtır. Katılımcıların, çalgı ses- thesized piano and oboe sounds.
[Show full text]
The Evolution of the Heldentenor
THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased.
[Show full text]
University of Central Florida MUN 3323-0001 ~ Soal (Soprano/Alto) Chorus Dr
Miller 1 University of Central Florida MUN 3323-0001 ~ SoAl (Soprano/Alto) Chorus Dr. Kelly A. Miller, Instructor Course Syllabus ~ Fall 2021 Time/Location Class meets on Tuesdays and Thursdays from 3:00-4:15 in VAB 132 Office Hours: M/W – 11:45-12:45; T/Th – 1:00-2:30; or by appointment E-Mail: [email protected] Phone 407.823.4545 Office: PACM 224 Catalog Description This one-credit course is a study and performance of music for soprano and alto voices. Open to all students. Audition and instructor consent required for small ensemble opportunities. Purpose of Course The choral organizations at UCF offer an opportunity to study and perform a variety of choral music of many styles, contexts and cultures, including classical masterworks with instruments and art and folk music of many traditions. Choral ensemble experiences encourage and reinforce healthy singing technique, provide an awareness of cultural and historical style, tradition and context, refine critical listening and reading skills, encourage analytical thinking through analysis-in-practice, and provide a community of musicians an opportunity to explore together the power of shared music-making. Goals • Development of a beautiful and communicative ensemble sound • Development of individual vocal technique • Exploration of important repertoire for women’s voices • Performances sung from memory • Cultivation of an ethos of excellence Student Learning Outcomes (Objectives) • Students will develop consistent vocal technique and expressive singing skills through the study and performance of a stylistically diverse repertoire. (vocal skill development) • Students will develop discriminating listening skills with regard to ensemble singing, balance, blend, timbre, diction, pitch, rhythm, harmony (aural skill development) • Students will develop an awareness of and sensitivity to stylistic aspects of western and non- western traditions.
[Show full text]
It's All About the Bass with Alto Professional's New
Ross Davies UNDER EMBARGO UNTIL OCTOBER 1, 2019 Alto Professional AT 10AM EST / 3PM BST +44 (0)1252896032 [email protected] IT’S ALL ABOUT THE BASS WITH ALTO PROFESSIONAL’S NEW TX212S POWERED SUBWOOFER TX212S powered subwoofer delivers powerful bass reinforcement for the best-selling Alto Professional TX2 family of full- range commercial loudspeakers. Ash Vale, UK (October 1, 2019)—Alto Professional, the world’s leading innovator for live performance sound reinforcement products, today announced the introduction of its TX212S powered subwoofer. This new subwoofer extends the bass response of Alto Professional’s highly-successful line of TX2 full-range speakers, resulting in systems with outstanding wide-range response, notable for their extended, impactful low frequencies and detailed, transparent midrange and highs. By extending the bass response of virtually any full-range speaker, using the TX212S in a sound system relieves the companion full-range speaker of the difficult task of having to reproduce the low bass frequencies—something a full-range speaker is not optimised to do. The TX212S handles the difficult bass with authority and confidence, so the other speakers only have to deal with the upper frequencies. When using this new subwoofer, the listening audience will hear everything with perfect clarity, from the lowest bass synth tones to the highest percussion bells and everything in between. The TX212S features a rugged, long-excursion woofer mounted in a bandpass enclosure, computer-optimised for powerful low-frequency performance. The enclosure itself is made from a dense wood composite. This strong, resonant-free material has virtually perfect acoustic characteristics, which ensures that the subwoofer’s output is always clear and impactful.
[Show full text]