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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 -
From Page to Stage: Wagner As Regisseur
Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production. -
Boston Symphony Orchestra Concert Programs, Season 31
CONVENTION HALL . ROCHESTER Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 29 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. -
Albert Pinkham Ryder 1 S Two Wagnerian Paintings: the Flying Dutchman and Siegfried and the Rhine Maidens
ABSTRACT Title of Thesis: Albert Pinkham Ryder 1 s Two Wagnerian Paintings: The Flying Dutchman and Siegfried and the Rhine Maidens Sharon Dale Carman, Master of Arts, 1988 Thesis directed by: John Peters-Campbell, Assistant Professor, Art History Albert Pinkham Ryder (1847-1917) has traditionally been regarded as an anomalous figure in the history of art. A small, but growing, body of scholarship has recently been devoted to correcting this view of the artist and to establishing his relationship to the aes- thetic currents of his time. This study explores the influence on his art of Ryder's environment, late nineteenth-century New York. Two of Ryder's paintings, each based on an incident in an opera by Richard Wagner, are examined: Siegfried and the Rhine Maidens, drawn from Gotterdammerung; and The Flying Dutchman, inspired by Der fliegende Hollander. The history of opera in nineteenth- century New York helps to explain how an American painter came to be influenced by such distinctly German operatic themes. German immigration patterns are linked with changes in operatic taste, and the interest of native intellectuals in Wagner's music and ideas is discussed. Wagnerian staging tradition is posited as a source for the compositions of both Siegfried and the Rhine Maidens and The Flying Dutchman. It is demonstrated that the set designed by Josef Hoffmann for the original Bayreuth pro duction of Gotterdammerung, Act III, Scene I, served as the specific compositional basis for Ryder's Siegfried and the Rhine Maidens. ALBERT PINKHAM RYDER'S TWO WAGNERIAN PAINTINGS: THE FLYING DUTCHMAN AND SIEGFRIED AND THE RHINE MAIDENS by Sharon Dale Carman 111 Thesis submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Master of Arts 1988 C-, ( \ I ~·1 '" I () ,,. -
Boston Symphony Orchestra Concert Programs, Season 28,1908-1909, Trip
MECHANICS HALL . WORCESTER Twenty-eighth Season, I908-J909 Ionian ^ptpfjmuj GDrdf^fra MAX FIEDLER, Conductor ffrogramm? of a?* Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, APRIL 20 AT 8. J 5 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, Mme. CECILE CHAMINADE The World's Greatest Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE ^^ Piano. THE JOHN CHURCH CO., 37 West 3*d Street New York City REPRESENTED BY THE JOHN CHURCH CO., 37 West 32d Street, New York City Boston Symphony Orchestra PERSONNEL TWENTY-EIOHTH SEASON, 1908-1909 MAX 1FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J, Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S. Mahn, F. Eichheim, H, Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, K Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. -
Richard Wagner on the Practice and Teaching of Singing
Richard Wagner on the Practice and Teaching of Singing By Peter Bassett [A paper presented to the 8th International Congress of Voice Teachers on 13 July 2013.] Weber and Beethoven were still alive when Wagner was a teenager, and their long shadows, together with those of Mozart and Marschner fell on all his early projects. His first completed opera Die Feen, composed in 1833 when he was just twenty years old, was never performed in his lifetime but, even if it had been, it wouldn’t have sounded as good as it does in the best recorded versions we know today. The type of singing familiar to Wagner was far from ideal, and many German singers of his era were poorly trained and had unsophisticated techniques. His sternest critic, Eduard Hanslick had something to say on the difference between German and Italian singers at that time: ‘With the Italians’ he said, ‘great certainty and evenness throughout the role; with the Germans an unequal alternation of brilliant and mediocre moments, which seems partly accidental.’ Wagner had to entrust his major roles to inadequately trained singers in many cases, which must have been challenging to say the least. He worked hard to improve matters, pouring much time and energy into the preparation of performances. ‘I do not care in the slightest’ he once said, ‘whether my works are performed. What I do care about is that they are performed as I intended them to be. Anyone who cannot, or will not, do so, had better leave them alone.’ David Breckbill has written that ‘The differences between the singing which Wagner knew and that which we hear today are considerable. -
Copyright by Brian James Watson 2005
Copyright by Brian James Watson 2005 The Treatise Committee for Brian James Watson certifies that this is the approved version of the following treatise: Wagner’s Heldentenors: Uncovering the Myths Committee: K. M. Knittel, Supervisor William Lewis, Co-Supervisor Rose A. Taylor Michael C. Tusa John Weinstock Darlene Wiley Wagner’s Heldentenors: Uncovering the Myths by Brian James Watson, B.A., M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin August 2005 Acknowledgements This treatise would not have been possible without the assistance and encouragement of several people whom I would like to thank. First and foremost, I would like to thank Dr. K. M. Knittel for her careful supervision. Her advice and guidance helped shape this project and I am very grateful for her participation. I would also like to thank my co-supervisor, William Lewis, whose encouragement has been instrumental to my academic career. His singing helped stir my interest in Heldentenors. I am also grateful for the support of Darlene Wiley. Without her, my knowledge of vocal pedagogy would be quite limited. Rose Taylor should also be thanked for her positive attitude and encouragement. The other members of my committee should also be recognized. I want to thank Dr. Michael C. Tusa, for his participation on this committee and for his assistance in finding sources, and Dr. John Weinstock, for being a part of this committee. I would be remiss if I did not also thank my family, primarily my father for his understanding and sympathy. -
Realism and Naturalism
~~fAif{l,istory ot i~t~; Design and I;echnology in_ -· .. r. ····-· Eil[o]:ie,:arJd the --v~i't~-d~~,i~f~~- - CHAPTER SEVEN Realism and Naturalism Newworldviews developed in the mid- to late nineteenth century that changed many philosophical and scientific trends in Europe and the United States. Archaeological and scientific discoveries and changing economic structures during the industrial revolu tion encouraged intellectuals, politicians, scientists, and artists to question points of view rooted in the power structures of religious hierarchies, monarchies, and govern ments. The application of the scientific method, early developments in sociology, and widespread political and economic injustices changed the function of the artist. Theatre artists became interested in projecting a point ofview that was relevant to contemporary audiences. The styles ofromanticism and classicism gave way to realism and naturalism, and these new styles took two different major tracks: historically accurate "period," or antiquated, stories and realistic drama that focused on contemporary social issues. t I The political turmoil of the r84os began to undermine both romanticism and clas 1',,, sicism as attention was shifted increasingly to inequities in society. As a result, around r8so, emphasis began to shift to realism and eventually naturalism and remained there throughout the last halfof the nineteenth century. By the mid-r84os, both classicism and romanticism had lost much of their appeal for most writers and designers in Europe and the United States. They were replaced by interest in historical accuracy: insistence on archaeological precision in the architecture depicted in stage settings; exactness in the representation of such stage properties as furniture, draperies, and all details of orna mentation; accuracy of costumes in terms of decoration, style, and shape; and armor and weaponry of the correct period and design. -
Symphony Hall, Boston Huntington and Massachusetts Avenues
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 Boston Symplioiiy Orchestra INCORPORATED PIERRE MONTEUX. Conductor FORTY-FIRST SEASON. 1921-1922 Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1922, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA. Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager VHE INSTRUMENT OF THE IMMORTALS HALF a century ago Anton Rubinstein, like his immortal con- temporaries, Wagner and Liszt, pronounced the Steinway "unrivalled" among pianos. Today Sergei Rachmaninoff, the greatest Russian pianist since Rubinstein, has said: "Only upon a Steinway can the works of the masters be played with full artistic justice." Generation after generation the Steinway stands supreme — the chosen piano of the masters — the immortal instrument of the Immortals of Music. STEINWAY & SONS, STEINWAY HALL 107 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE oey Orchestra Forty-first Season. 1921-1922 PIERRE MONTEUX, Conductor PERSONNEL le highest excellence in every detail of its con- struction, and the lasting beauty of its musical voice, have caused the CHICKERING PIANO to sought after by THE be OLDEST true music lovers for IN AMERICA nearly a Hundred Years. THE BEST To-day it is a finer in- IN THE WORLD strument than at any time in its long and illustrious career ooo \Vith the AMPICO it is endowed "^ith playing of the greatest Pianists in the World.c>oo*ooo y/.:^ RETAIL WAREROOMS, 169 TREMONT STREET. -
De Muzikale Geschiedenis Van De Festspiele, Aflevering 1 Door Johan Maarsingh
De muzikale geschiedenis van de Festspiele, aflevering 1 door Johan Maarsingh Dit is het begin van een serie artikelen over de geschiedenis van de Bayreuther Festspiele aan de hand van geluidsopnamen. Beeldopname kwam er pas in 1978 (Tannhäuser in de regie van Götz Friedrich, gedirigeerd door Sir Colin Davis), ruim een eeuw na de door Richard Wagner georganiseerde Festspiele met de wereldpremière van de complete Ring des Nibelungen. Aan het begin van “Wagner in Bayreuth” staat echter Beethovens Negende symfonie. Dit werk dirigeerde Wagner voor het laatst in zijn leven op 22 mei 1872, in het Markgräfliches Opernhaus. Op zijn negenenvijftigste verjaardag heeft Wagner toen ook de eerste steen gelegd van zijn Festspieltheater. Dat werk stond eveneens op het programma toen de Bayreuther Festspiele in 1951 werden heropend. Het is het eerste werk dat in het Festspielhaus echt helemaal compleet voor de grammofoonplaat is vastgelegd. Veel later zou blijken dat de plaat een compilatie bevat van de echte uitvoering met opnamen gemaakt tijdens repetities. Commerciële opnamen voor langspeelplaat of cd komen tot stand door meerdere voorstellingen op te nemen. De eerste opnamen We gaan terug naar het Bayreuth van Cosima en Siegfried Wagner (beiden overleden in 1930) voor opnamen op de 78t-plaat. In 1927 heeft de komst van de microfoon kort tevoren de geluidskwaliteit van plaatopnamen aanzienlijk verbeterd. Reden voor Columbia om korte fragmenten uit de Ring en Parsifal op de plaat te zetten. Dat het net de twee werken van Wagner zijn die in Bayreuth in wereldpremière gingen is puur toeval. In 1927 regisseerde Siegfried Wagner een nieuwe productie van de Tristan en daarvan worden grote delen in 1928 op de plaat gezet. -
Richard Wagner's Jesus Von Nazareth
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Richard Wagner's Jesus von Nazareth Matthew Giessel Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3284 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Matthew J. Giessel 2013 All Rights Reserved Richard Wagner’s Jesus von Nazareth A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University by Matthew J. Giessel B.A., Virginia Commonwealth University, 2009 Director: Joseph Bendersky, Ph.D. Professor, Department of History, Virginia Commonwealth University Thesis Committee: Second Reader: John Powers, Ph.D. Assistant to the Chair, Department of History, Virginia Commonwealth University Third Reader: Paul Dvorak, Ph.D. Professor Emeritus, School of World Studies, Virginia Commonwealth University Virginia Commonwealth University Richmond, Virginia December 2013 ii Acknowledgment τῇ Καλλίστῃ: ὁ ἔρως ἡμῶν ἦν ἀληθινός. “Jede Trennung giebt einen Vorschmack des Todes, — und jedes Wiedersehn einen Vorschmack der Auferstehung.” iii Table of Contents Abstract…………………………………………………………………………………………....v Introduction………………………………………………………………………………………..1 -
Lilli Lehmanns, Die Gleichermaßen Konstanzes Martern-Arie Wie Isoldes Liebestod Gerecht Wird
Lehmann, Lilli gendlich-dramatische Fach – behutsam aufbauend – das dramatische Fach erobert. Sie hat diesen Weg nicht nur ihren Schülerinnen und Schülern vermittelt, sondern ih- re Methode darüber hinaus durch ihr Buch „Meine Ges- angskunst“ auch an künftige Generationen von Studie- renden weitergegeben. Ihre Schallplatten, obwohl erst in fortgeschrittenem Alter aufgenommen, sind ein eind- rucksvolles Dokument der Stilsicherheit Lilli Lehmanns, die gleichermaßen Konstanzes Martern-Arie wie Isoldes Liebestod gerecht wird. In ihren Aufnahmen ist eine Sän- gerin dokumentiert, die noch unter der Stabführung und Anleitung etwa von Verdi, Wagner, Mahler und von Bü- lows gesungen hat. Ihr akustisches Erbe baut eine Brü- cke aus dem mittleren 19. Jahrhundert und seinen Tradi- tionen hinüber in das frühe 20. Jahrhundert. Orte und Länder Geboren in Würzburg, Kindheit und Ausbildung, sowie Debüt in Prag; danach Engagements in Danzig und Leip- zig, ab 1870 Königliches Opernhaus Berlin; Teilnahme an den ersten Bayreuther Festspielen 1876; Gastspiele in London und Wien; ab 1885 Metropolitan Opera New York; mehrere Tourneen durch die USA; von 1901 bis 1910 Initiatorin und Leiterin der Salzburger Mozartfest- Lilli Lehmann als Isolde spiele; Lebensabend und Tod in Berlin Grunewald. Biografie Lilli Lehmann Ehename: Lilli Maria Lehmann-Kalisch Lilli Lehmann wurde am 24. November 1848 als Tochter des Heldentenors Carl August Lehmann und seiner Frau * 24. November 1848 in Würzburg, Deutschland Marie, geb. Loew , Opernsängerin und Harfenistin, in † 17. Mai 1929 in Berlin, Würzburg geboren. Der Geburtsort ist eher zufällig, das Ehepaar ist bedingt durch wechselnde Engagements viel Opern- und Konzertsängerin, Musikschriftstellerin, auf Reisen. Gesangspädagogin, Opernregisseurin 1853 trennten sich Lehmanns Eltern, die Mutter nahm ei- ne Stellung als Harfenistin am Prager Landestheater an „Nicht meine Person wollte ich aufs Piedestal heben; mit und sorgte von da an allein für Lilli und ihre 1851 gebore- meinen schwachen Kräften aber versuchte ich jeder mir ne Schwester Marie.