Elizabeth Evans,Mezzo-Soprano

Total Page：16

File Type：pdf, Size：1020Kb

Elizabeth Evans, mezzo-soprano Email: [email protected] Roles Suzuki Madame Butterfly Opera in the Ozarks 2013 Edith Pirates of Penzance Opera in the Ozarks 2013 Associate Chorister Il Trovatore Houston Grand Opera 2013 Associate Chorister Don Giovanni Houston Grand Opera 2013 Charlotte A Little Night Music Opera in the Ozarks 2012 Mrs. Anderseen A Little Night Music Opera in the Ozarks 2012 Zweite Dame Die Zauberflöte Opera in the Ozarks 2012 Amanda Amelia (Daron Hagen) Moores Opera Center 2012 Meg Page Falstaff Moores Opera Center 2011 Catch-All Vera of Las Vegas (Daron Hagen) Opera Vista 2011 Third Lady The Magic Flute Moores Opera Center 2011 Second Witch Dido and Aeneas Boston University Opera Workshop 2009 Advanced Studies Apprentice Artist Opera in the Ozarks 2013 Apprentice Artist Opera in the Ozarks 2012 Le Chiavi di Bel Canto Texas Music Festival 2011 Le Chiavi di Bel Canto Texas Music Festival 2010 Awards and Distinctions Best Female in a Supporting Role Opera in the Ozarks 2013 Scholarship Texas Federation of Music Clubs 2013 Best Female in a Supporting Role Opera in the Ozarks 2012 Vocal Award Scholarship Gilbert and Sullivan Society 2011-2012 Emerging Artist Competition Director’s Prize/Finalist Sparkling City Light Opera 2011 Ellalou Dimmock Vocal Award Boston University 2009 Education M.M. Voice Performance and Pedagogy, GPA: 3.9 University of Houston 2012 B.M. Voice Performance (Minor: French), Summa cum Laude Boston University 2010 New Orleans Center for the Creative Arts 2006 Teachers Directors Conductors Coaches Melanie Sonnenberg Linda Ade Brand Thomas Cockrell Todd Simmons Penelope Bitzas Robert Swedberg Brett Mitchell Nova Thomas Phyllis Treigle Buck Ross Dr. Ann Howard Jones Stephen Dubberly James Demler David Ward .

Copy Link

Recommended publications

Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
[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]
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
[Show full text]
Junior Recital Casey Cerveny, Tenor Ryan Besser, Bass Amelia
Junior Recital Casey Cerveny, tenor Ryan Besser, bass with Amelia Hammond, piano Amanda Jones, piano Friday, March 19, 2021 Sheslow Auditorium in Old Main 7:30 p.m. Lucy Eric Barnum I. Strange fits of passion (b. 1979) IV. Three years she grew V. A Slumber did my spirit seal Come Away Death Gerald Finzi (1901-1956) Come Back Roger Quilter (1877-1953) Banalités Francis Poulenc II. Hôtel (1899-1963) V. Sanglots Élégie Jules Massenet (1842-1912) Gruppe aus dem Tartarus Franz Schubert Aufenthalt (1797-1828) Kuda, kuda, kuda vi udalilis Pyotr Ilyich Tchaikovsky from Eugene Onegin (1840-1893) Intermission O tu, Palermo Giuseppe Verdi from I Vespri Siciliani (1813-1901) On the path to the lake Samuel Barber from Vanessa (1910-1981) La fleur que tu m'avais jetée Georges Bizet from Carmen (1838-1875) Schweig'! schweig'! damit dich niemand warnt Carl Maria von Weber from Der Freischutz (1786-11826) Tre Sonetti di Petrarca Franz Liszt I. Pace non trovo (1811-1886) Special thanks to friends of Drake Arts (FDA) for their generous support of Music Department events and projects. For more than 25 years, FDA has helped to provide the best possible fine arts education for Drake students and exceptional fine arts opportunities for the region. For more information or to join, please visit: http://www.drake.edu/friends About the Artists Casey Cerveny is currently a junior at Drake University in Des Moines, Iowa, pursuing a degree in vocal performance and a minor in French. He sings tenor and studies under Leanne Freeman-Miller. Upon graduation, Casey hopes to continue his education in music performance and language in a graduate program.
[Show full text]
DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
NATIONAL COUNCIL 2020–21 SEASON ARKANSAS DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifinals. National finalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifinals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each first-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council The Semifinals and Grand Finals are Audition Program Endowment Fund at the Metropolitan Opera. currently scheduled to take place at the Met.
[Show full text]
5-8-15 Concert Choir
Williams Concert Choir Brad Wells, director Daniel Potter ’16, student conductor Jasmine Thomasian (b. 1993) Creation Telling Cantor Bob Scherr Daniel Potter ’16, tenor Sharif Rosen, Muslim Chaplain Nathan Leach ’17, tenor Claire Leyden ’16, soprano Jordan LaMothe ’17, tenor Amelia Archer ’17, alto Alexander Dickinson, bass Vidya Venkatesh ’17, alto Will Kirby (b. 1994) Have You Not Known? Daniel Potter ’16, student conductor Igor Stravinsky (1882-1971) Mass Kyrie Gloria Credo Sanctus and Benedictus Agnus Dei Amelia Archer ’17, soprano Jordan LaMothe ’17, bass Natalie DiNenno ’18, soprano Nathan Leach ’17, tenor Sarah Stone ’18, alto Kurt Pfrommer ’18, tenor William Kirby ’17, bass Daniel Potter ’16, tenor Gabriel Fauré (1845-1924) Requiem Introit and Kyrie Offertory Sanctus Pie Jesu Agnus Dei Libera Me In Paradisum Claire Leyden ’16, soprano Keith Kibler, bass-baritone Friday, May 8, 2015 8:00 p.m. Thompson Memorial Chapel Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. Concert Choir Soprano Alto Tenor Amelia Archer ’17 Stephanie Caridad ’18 Christopher Hough Deane ’18 Natalie DiNenno ’18 Amelia Dana ’18 Derek Galvin ’18 Diane Kim ’16 Sara Hassan ’15 Nathan Leach ’17 Fernanda Lai ’17 Elissa Hult ’15 Teague Morris ’17 Claire Leyden ’16 * Jordan Jones ’18 Kurt Pfrommer ’18 Mie Mizutani ’17 Lisa Liu ’16 Daniel Potter ’16 * Elaina Pullano ’15 * Sarah Stone ’18 Bryn Reinstadler ’15 Katherine Tardiff ’17 Bass Elizabeth Sachsse ’18 Jasmine Thomasian ’15* Klejdi Banka ’15 Divyalakshmi Sampath
[Show full text]
MONC Qualifying Singers 2020-2021.Xlsx
Rebecca Achtenberg Soprano Andres Acosta Tenor Andrew Adridge Baritone Micaela Aldridge Mezzo-Soprano Erin Alford Mezzo-Soprano Fernanda Allande Soprano Caitlin Aloia Soprano Lucy Altus Mezzo-Soprano Sydney Anderson Soprano Michael Anderson Tenor Rosario Armas Mezzo-Soprano Dhyana Arom Soprano Talar Arslanian Soprano Cody Arthur Tenor Vasilisa Atanackovic Soprano Esther Atkinson Mezzo-Soprano Angel Azzarra Soprano Milan Babic Baritone Sydney Baedke Soprano Morgan Balfour Soprano Aubry Ballarò Soprano Audrey Ballish Soprano Sabina Balsamo Soprano Joel Balzun Baritone Jacinta Barbachano Soprano Gabrielle Barkidjija Mezzo-Soprano Tatev Baroyan Soprano Kendra Beasley Mezzo-Soprano Brandon Bell Baritone Paden Bell Soprano Georgia Belmont Soprano Allyson Bennett Soprano James Henry Benson Tenor Moriah Berry Soprano Brad Bickhardt Tenor Sarah Bissonnette Mezzo-Soprano Jenna Black Soprano Rachel Blaustein Soprano Avery Boettcher Soprano David Bogaev Tenor Andrew Boisvert Bass Nicholas Borg Baritone Cody Bowers Countertenor Jacob Bowman Baritone Jordan Bowman Soprano Spencer Boyd Tenor Ben Brady Bass-Baritone Chantal Braziel Soprano Naomi Brigell Mezzo-Soprano Ashlyn Brown Mezzo-Soprano Cadie J. Bryan Soprano Jonathan Bryan Baritone Zachary Bryant Baritone Leah Brzyski Soprano Natalie Buickians Soprano Hannah Marie Bullock Soprano Susanne Burgess Soprano Justin Burgess Baritone Haley Burgh Soprano Ian Burns Baritone Joanna Burrell Soprano Amelia Burshe Soprano Karl Buttermann Baritone Katherine Buzard Soprano Aaron Cafaro Tenor Blair Cagney Soprano
[Show full text]
THE BARBER of SEVILLE a Study Guide to Accompany the Xstrata Ensemble Studio School Tour
THE BARBER OF SEVILLE A Study Guide to accompany the Xstrata Ensemble Studio School Tour Introduction A history of opera in two minutes ~ What is opera? Glossary ~ Voice types ~ The cast The story of The Barber of Seville ~ Meet the composer Commedia dell’arte ~ Lesson plans 1 Education and Outreach ~ coc.ca ~ 416-306-2307 About the COC’s education and outreach department How does a 400-year-old art form remain relevant to students today? Students must put in practice the co-operation and problem solving skills necessary to work artistically while language, media literacy, math, science and history naturally blend with the music, drama and design components of opera. Our programming enriches Ontario Curriculum expectations and applies skills you are already teaching your students. Education and Outreach at the Canadian Opera Company works with your school to provide appropriate programming for your teachers and students. The array of workshops ensures that you will find something that fits your schedule, your budget and your needs. EDUCATION AND OUTREACH STAFF Katherine Semcesen Zoë Ludski Daniella Marchese Diana Weir Acting Education and Education Associate Community Outreach Education and Outreach Outreach Manager Associate Assistant Find resources, activity sheets and lesson plans at coc.ca/education.html Opera programs for your school If you and your students are interested in further exploring opera, Education and Outreach at the COC offers an array of programs and workshops to enhance classroom activities! Call 416-306-2307 or e-mail
[Show full text]
Dr. Everett Mccorvey— Founder & Music Director
Dr. Everett McCorvey— Founder & Music Director Everett McCorvey, is a native of Montgomery, Alabama. He received his degrees from the University of Alabama, including a Doctorate of Musical Arts. As a tenor soloist, Dr. McCorvey has performed in many venues, including the Kennedy Center in Washington, D.C., the Metropolitan Opera in New York, Aspen Music Festival in Colorado, Radio City Music Hall in New York and in England, Germany, Italy, Spain, Japan and the Czech and Slovak Republics. During the summers, Dr. McCorvey is on the artist faculty of the American Institute of Musical Study (AIMS) in Graz, Austria. Dr. McCorvey currently holds the rank of Professor of Voice and Director of Opera at the University of Kentucky in Lexington, KY. Sopranos Tenors Performers Sonya Gabrielle Baker Alfonse Anderson Tedrin Blair Lindsay, Angela Brown Andreas Kirtley Pianist Jeryl Cunningham Albert R. Lee Calesta Day James E. Lee, Jr. Everett McCorvey, Founder Alicia M. Helm Phumzile Sojola and Music Director Hope Koehler Ervy Whitaker, Jr. Ricky Little, Assistant Andrea Jones-Sojola John Wesley Wright Conductor Amira Hocker Young Peggy Stamps, Janinah Burnett Basses Dancer/Stage Director Keith Dean James E. Lee, Company Altos Lawrence Fortson Manager Claritha Buggs Earl Hazell Lisa Hornung Ricky Little Hope Koehler Tay Seals Sherry Warsh Kevin Thompson Bradley Williard Baritone Thomas R. Beard, Jr. Kenneth Overton Soloist Biographies Alfonse Anderson, Tenor Dr. Alfonse Anderson, Vocal Area Coordinator and Associate Professor of Voice at University of Nevada Las Vegas received his bachelor and master's degrees in music from Texas Southern University, and DMA in voice and pedagogy from the University of Arizona.
[Show full text]
Pittsburgh Opera NEWS RELEASE
EMBARGO until 2/17/08 Pittsburgh Opera NEWS RELEASE CONTACT: BETH PARKER (412) 281-0912 X 248 [email protected] PHOTOS: MAGGIE JOHNSON (412) 281-0912 X 262 [email protected] Pittsburgh Opera Announces 2008-2009 Season: “A Journey of Imagination” Pittsburgh, PA (2/17/08) . Pittsburgh Opera announces its 2008-2009 season, “A Journey of Imagination” at the Benedum Center for the Performing Arts. Artistic Director Christopher Hahn says, “One of the wonderful things about opera is that it has the power to take us out of our ordinary lives into another world. This season we visit the ancient Middle East for Samson & Dalila, sunny Italy for Don Pasquale, the Latin Quarter of Paris for La bohème, and Jazz Age North Africa for The Italian Girl in Algiers.” Another important journey for the company is The Grapes of Wrath, a new opera by Ricky Ian Gordon and Michael Korie based on John Steinbeck’s classic American novel. Pittsburgh Opera’s Music Director, Antony Walker, who conducts three mainstage operas in the upcoming season, says, “This season showcases the incredible diversity of offerings that Pittsburgh Opera is now able to produce—bel canto comedies, French grand opera with all the trappings and Puccini’s huge Romantic score, as well as this wonderful new piece that so successfully fuses American popular music with grand operatic style.” SEASON HIGHLIGHTS • October 18-26, 2008: Saint-Saëns’ Samson & Dalila starring the incomparable mezzo- soprano Stephanie Blythe as Dalila, dramatic tenor Mark Lundberg as Samson, and Metropolitan Opera baritone Kim Josephson as the High Priest of Dagon.
[Show full text]
Interviews with Singers
Interviews with Singers A selected list compiled by the Music Entrepreneurship & Career Center, Updated, Oct. 2015 2014 Domingo-Cafritz YAP Participants Soprano Anita Hartig About: YAPs, paths to opera About: Starting a career; importance of Interview: WNO blog, 2014 developing skill and sensitivity Interview: CNN, 2012 Countertenor Anthony Roth Costanzo, F. Paul Driscoll, editor, Opera News, and Anne Soprano Kate Royal Midgette, critic, The Washington Post About: The debut that got her noticed, About: The state of opera today: handling nerves, balancing family & career performers, auditions, career building Interview: UK Daily Mail, 2011 Interview: National Public Radio, 2012 Soprano Renata Scotto Baritone Luke Gabbedy and Soprano About: How to choose repertoire, start a Amelia Farrugia career, pace a career About: Fitness and eating for singers Interview: Operachic blog, 2011 Interview: Opera Australia, 2010 Tenor Juan Diego Florez Baritone Simon Keenlyside About: Pressure to avoid roles outside of About: Practicing, choosing repertoire, one’s comfort zone; career ambition; advice for young singers. maintaining good technique Interview: Stephen Costello's Blog, 2014 Interview: Operachic blog, 2010 Baritone Thomas Oliemans Tenor Jonas Kaufmann About: Preparing performances, being a About: How to learn from recordings of professional singer, singing for the elderly the past, sing French opera, and take care Interview: Scottish Opera of a growing voice Interview: Operachic blog, 2010 Mezzo-soprano Heather Johnson About: Repertoire; making her Met debut Tenor Noah Stewart Interview: White Bear Press, 2012 About: Having something of your own to say, not sticking to the opera standards Soprano Rachele Gilmore Interview: National Public Radio, 2012 About: Getting the call for her Met debut, role preparation, Europe and agents Interview: Santa della Lirica blog, 2012 .
[Show full text]
The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC THE VOCAL TECHNIQUE OF THE VERDI BARITONE JOHN CURRAN CARPENTER SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music with honors in Music Reviewed and approved* by the following: Charles Youmans Associate Professor of Musicology Thesis Supervisor Mark Ballora Associate Professor of Music Technology Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT I wrote this thesis in an attempt to provide useful information about the vocal technique of great operatic singers, especially “Verdi baritones”—singers specializing in dramatic lead roles of this voice-type in Giuseppe Verdi’s operas. Through careful scrutiny of historical performances by great singers of the past century, I attempt to show that attentive listening can be a vitally important component of a singer’s technical development. This approach is especially valuable within the context of a mentor/apprentice relationship, a centuries-old pedagogical tradition in opera that relies heavily on figurative language to capture the relationship between physical sensation and quality of sound. Using insights gleaned from conversations with my own teacher, the heldentenor Graham Sanders, I analyze selected YouTube clips to demonstrate the relevance of sensitive listening for developing smoothness of tone, maximum resonance, legato, and other related issues. ii TABLE OF CONTENTS Acknowledgements .................................................................................................................
[Show full text]