Di Cimarosa | GBOPERA 19/05/17 15:30
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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 -
Kenneth E. Querns Langley Doctor of Philosophy
Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
Musical Voices of Early Modern Women 1St Edition Pdf, Epub, Ebook
MUSICAL VOICES OF EARLY MODERN WOMEN 1ST EDITION PDF, EPUB, EBOOK Thomasin LaMay | 9781351916288 | | | | | Musical Voices of Early Modern Women 1st edition PDF Book Charles C. The band formed in , with folk musician Mike Settle guitar and backing vocals and the operatically-trained Thelma Camacho lead vocals completing the lineup. Learn how and when to remove these template messages. Most serious collectors want the 'true first edition' - the 'first edition, first printing' - and sometimes detective work is required to identify which edition that is. There are a number of these type of sellers out there. The third single from the album, a version of Merle Haggard 's "Today I Started Loving You Again" reached the lower regions of the country charts in mid Choral Opera Lied Vocables. Monumental tried to give them just this. The Guardian notes that Tolkien inscribed it with a poem in Old English, which roughly translates to:. American country rock group. As with the Ordinary, the earliest settings are in plainchant, and troping also existed in the Propers. The current retail value of your book is probably somewhere in that neighborhood. Slowly growing apart from the others, Camacho began to feel restricted by the band in a number of ways. Today is National Voter Registration Day! Each time a publisher releases a new instance of the same title, or when a book is released in a new format, these may also be considered first edition books. Women are typically divided into three groups: soprano , mezzo-soprano , and contralto. Recorded over six months in , and released in March , The Ballad of Calico was written by future star Michael Murphey and the First Edition's musical director and arranger Larry Cansler. -
Artikelverzeichnis (PDF)
Artikelverzeichnis des Lexikons der Gesangsstimme A Äußere Kehlkopfmuskeln Äußere Zwischenrippenmuskeln Abbellimenti → Verzierungen Aussprache → Bühnenaussprache Abdominalatmung → Bauchatmung Austin, Gene Accent / Accento / Accentus Aznavour, Charles Acciaccatura Adamsapfel Agilità della voce B Agréments → Verzierungen Albers, Hans Bahr-Mildenburg, Anna Alexander, Peter Balancement Alt Baritenore Altus → Countertenor Bariton Ambitus → Stimmumfang Barnes, Chris Anatomie Bartoli, Cecilia Andersen, Lale Baryton-Martin Ansatzrohr Bass /Basso Anschleifen Bassbariton Anthropologie des Singens Basse-chantante Anticipatione della nota / sillaba Basse-contre Antikus Basse-taille Aphonie Bassi, Luigi Appoggiatura Basso cantante Appoggio → Atemstützfunktion Battement du gosier Archilei, Vittoria Battistini, Mattia Armstrong, Louis Bauchatmung Arpeggiato Bauchmuskeln Artikulationsorgane Beatboxing Aryknorpel Behauchtheit Atem–Tonus–Ton (ATT) Belcanto / bel canto Atemapparat Bellincioni, Gemma Atemmechanik Belt / Belting Atemruhelage Benucci, Francesco Atemstützfunktion Berberian, Cathy Atemvolumina Bernac, Pierre Atmung Bernacchi, Antonio Maria Ausatemmuskeln Bernardi, Francesco → Senesino Ausatmung Bernoulli-Effekt 16 Artikelverzeichnis Björk Chorgesang Björling, Jussi Chorknabe Bocca chiusa / Bouche fermée Circulo Bockstriller Cocker, Joe Bonci, Alessandro Colbran, Isabella Bordoni, Faustina Cole, Nat »King« Bowie, David Complete Vocal Technique (CVT) Bravura con slancio Brel, Jacques Concordant Brillanz Contralto Broschi, Carlo → Farinelli Contralto -
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. -
Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century
Cambridge Opera Journal, 32,1,1–26 © The Author(s), 2020. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http:// creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0954586720000099 Rethinking Operatic Masculinity: Nicola Tacchinardi’s Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy PARKORN WANGPAIBOONKIT* Abstract: This article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women’s feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi’s criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self- definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d’Irminsul, La donna del lago and Norma demonstrate how singers established the compo- nents of masculine-heroic conventions through sensitive consideration of dramaturgy. -
Connecting with the Arts
PRESENTS Connecting with the Arts The Tenor Voice A Tenor is a male singer that can sing at the highest natural vocal ranges that the male voice is capable of. There are many types of tenors that sing at various vocal ranges that serve a variety of roles in vocal performances. Comic Tenor Spinto Tenor The Comic Tenor, or the tenor The Spinto Tenor, much like the buffo, is a role reserved for Lyric Tenor, has a strong voice tenors with the ability to act in a that can be heard above the comedic role as a part of an opera playing of an orchestra but this performance. tenor has the ability to reach Leggiero Tenor more dramatic climaxes. The Leggiero Tenor voice can Dramatic Tenor sing at a higher octave than other The Dramatic Tenor, also known tenors. Some refer to the Leggiero as “tenore di forza” has a very Tenor as “tenore di grazia.” powerful and booming voice Lyric Tenor and often is given roles that The Lyric Tenor has a strong voice require a more dramatic voice that can be heard above the or presence. playing of an orchestra. There are two types of Lyric Tenors, the Light Lyric Tenor and the Full Lyric Tenor. Try this: 1) Identify the vocal range that each of these tenor voices would fall into and what types of roles each tenor would fill in a live performance. 2) Attend a live performance. OCCC presents The Texas Tenors on Thursday, October 1, 2015, at 7:30 P.M. in the Visual and Performing Arts Center Theater located at 7777 S. -
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. -
I CANTANTI LIRICI E' Colpa Della Passione Per L'opera Se Nei Primi Anni
1 I CANTANTI LIRICI E’ colpa della passione per l’opera se nei primi anni ‘70, quando il mio furore lirico era in fase iperacuta, mi venne in mente di contattare alcuni artisti e di intervistarli. Era un atteggiamento forse infantile: giocavo a fare il giornalista. Giravo con un registratore, una macchina fotografica e una faccia tosta non comune. Cercavo di entrare nei meandri della mente dell’artista lirico, perché avido di notizie su un mondo da me scoperto da pochissimo tempo. Era come andare a lezione privata di “lirica” dai più grandi professori. La mia passione smodata per l’opera fa sì che io ami moltissimo i cantanti: ne conosco molti e li studio, perché sono personaggi strani. Mi affascinava ascoltare in una semplice conversazione quelle “voci” così potenti in scena da sembrare amplificate. Ѐ strano il modo in cui parlano: normale se siamo in due, di solito nel naso, o a bassa voce, se ci sono più persone. Non sono tutti così, ma gran parte usa questa tecnica: forse non se ne accorgono, ed io mi sono ben guardato dal chiederlo, ma ho cercato una spiegazione. A due, nel colloquio diretto, non devono alzare il volume, mentre con più persone è necessario salvaguardare la laringe per cui assumono un tono di voce basso o nasale. I comportamenti poi sono molto curiosi, ci sono quelli talmente loquaci da non fermarsi mai e quelli riservatissimi tanto da essere costretto a rivolgere continue domande per sentirli parlare. Alcuni assumono atteggiamenti ipercritici, altri sviluppano un’aggressività insospettabile: la diffidenza, almeno iniziale, è comune in tutti. -
Adolphe Nourrit, Gilbert-Louis Duprez, and Transformations of Tenor Technique in the Early Nineteenth Century: Historical and Physiological Considerations
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2009 ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS Jason Christopher Vest University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Vest, Jason Christopher, "ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS" (2009). University of Kentucky Doctoral Dissertations. 705. https://uknowledge.uky.edu/gradschool_diss/705 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DMA PROJECT Jason Christopher Vest The Graduate School University of Kentucky 2009 ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS ABSTRACT OF DMA PROJECT A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Jason Christopher Vest Lexington, Kentucky Director, Dr. Everett McCorvey, Professor of Voice Lexington, Kentucky 2009 Copyright © Jason Christopher Vest 2009 ABSTRACT OF DMA PROJECT ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS The April 1837 debut of tenor Gilbert-Louis Duprez at the Paris Opéra sparked uproarious applause and inspired a new group of tenors with a different vocal technique from tenors of the previous generation. -
Fach Coloratura Soprano Rossini Tenor Basso Cantante / Basso Buffo
Overview 1. The PthPath to BlBel CtCanto The Journey to Reims 2. Mid‐Century Romanticism La traviata 3. Toward the End of an Era Falstaff SESSION 1 – ThePathtoThe Path to Bel Canto A Quick Look: Oppyera history before the 19th century Early Baroque High Baroque Reform/Classical Rossini & the Bel Canto Style Fach Coloratura soprano Rossini tenor Basso cantante / basso buffo Producing Bel Canto Operas Florentine Camerata (1570’s‐80’s) Vincenzo Galilei (mathematician, musician) Count Giovanni de’ Bardi (host) Giulio Caccini (musician) Pietro Strozzi (military leader) Ottavio Rinuccini (poet) Girolamo Mei (historian) Theory precedes practice. Words must be understood; polyphony obscures text. Music should reflect cadence of words rather than dance. The Birth of Opera: 400 Years Ago Jacopo Peri & Ottavio Rinuccini Dafne (~1594) Jacopo Peri & Ottavio Rinuccini Giulio Caccini & Ottavio Rinuccini Euridice (1600) Discussing Style: Our Vocabulary Melody the “tune” Harmony chords, combinations of notes Rhythm arrangement of sound in time Texture colors of sound; orchestration Amplitude loudness, volume Text words, lyrics Form structure, architecture Early Baroque Baroque: (Portuguese) “mis‐shapen pearl” Melody in service of text Harmony spare, slow-moving Rhy thm tttext-didriven Texture strings, keyboards, token winds; fluid Amplitude relatively small range Text of supreme importance device: word painting Form through-composed Monteverdi (1567‐1643) HdlHandel (1685‐1759) The Pendulum Swings… From To Simplicity Complexity Clar ity PiPassion