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8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time. -
Categorization of Vocal Fry in Running Speech
Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Fall 12-2019 Categorization of Vocal Fry in Running Speech Katherine Proctor [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the Laboratory and Basic Science Research Commons Repository Citation Proctor, Katherine, "Categorization of Vocal Fry in Running Speech" (2019). Honors Projects. 549. https://scholarworks.bgsu.edu/honorsprojects/549 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH KATHERINE PROCTOR HONORS PROJECT Submitted to the Honors College at Bowling Green State University in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS 12/9/19 Dr. Ronald Scherer, Communication Sciences and Disorders, College of Health and Human Services, Advisor Dr. Katherine Meizel, Musicology/Ethnomusicology, College of Musical Arts, Advisor 1 CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH INTRODUCTION The concept of a vocal register has been defined by Hollien (1974) as “a series or range of consecutive frequencies that can be produced with nearly identical voice quality.” There are three different vocal registers in speech production according to Hollien (1974). These registers are: loft, which is the highest of the three, and could be described perceptually as the “falsetto” range; modal, which is the middle range and is evident in “normal” speech production; and pulse, the lowest range of phonation that is characterized by popping, pulsing sounds. -
Jacob Lassetter, Baritone
JACOB LASSETTER, BARITONE With his powerful voice and commanding stage presence, baritone Jacob Lassetter enjoys an exciting and vibrant career on both the operatic and concert stage. Critics have praised his dignified characterizations, his soaring high range, and his deep, rich tone quality. In June 2021 Mr. Lassetter is excited to make his role and company debut as Scarpia in Tosca with Marble City Opera. Earlier in the 2020–2021 season he sings a solo recital of British composers and benefit concerts for both Winter Opera Saint Louis and Union Avenue Opera. Mr. Lassetter was scheduled to make his role and company debut as the title role in Der fliegende Holländer with Mid Ohio Opera, as well as a return to Italy for performances of the title role in Elijah, as soloist for Mozart’s Mass in C Minor, and various other concerts. These engagements were all unfortunately cancelled due to COVID-19. In the 2019–2020 season Mr. Lassetter sang Sonora in La fanciulla del West with Winter Opera Saint Louis, and both Schubert’s Winterreise and Argento’s The Andrée Expedition in recital. In the 2018–2019 season he sang Dr. Falke in Die Fledermaus with Winter Opera Saint Louis, Carmina Burana with the Washington University Symphony Orchestra, Verdi’s Requiem and A Symphony of Toys with The Missouri Symphony, Dick Deadeye in H.M.S. Pinafore and Il Gran Sacerdote in Nabucco with Union Avenue Opera, and a series of three recitals with St. Louis Art Song. Opera audiences have recently seen Mr. Lassetter as Sharpless in Madama Butterfly with Annapolis Opera, Wolfram in Tannhäuser with Apotheosis Opera (New York City), Peter in Hänsel und Gretel with Union Avenue Opera, and Rodrigo in the world premiere of Borgia Infami with Winter Opera Saint Louis. -
15, Mezzo-Soprano Denes Van Parys, Piano
SCHOOL OF MUSIC SENIOR RECITAL JENNIFER ANN MAYER ’15, MEZZO-SOPRANO DENES VAN PARYS, PIANO SUNDAY, MARCH 8, 2015 SCHNEEBECK CONCERT HALL 5 P.M. “Esurientes implevit bonis” ...................................................... Johann Sebastian Bach from Magnificat (1685–1750) “Lobe, Zion, deinen Gott” from Cantata No. 190 From Zwei Gesänge, Opus 91 ............................................................Johannes Brahms Geistliches Wiegenlied (1833–1897) with Forrest D. Walker, viola Nuit d’étoiles ........................................................................................ Claude Debussy (1862–1918) Le Spectre de la Rose ..............................................................................Hector Berlioz from Les Nuits d’Été (1803–1869) “Faites-lui mes aveux” ..........................................................................Charles Gounod from Faust (1818–1893) INTERMISSION From Sea Pictures, Opus 37 ...................................................................... Edward Elgar Where Corals Lie (1857–1934) Sabbath Morning at Sea “Lullaby” .......................................................................................... Gian Carlo Menotti from The Consul (1911–2007) “Il segreto per esser felici” ................................................................Gaetano Donizetti from Lucrezia Borgia (1797–1848) A reception will follow the recital in School of Music, Room 106. VOCALIST JENNIFER ANN MAYER ’15, mezzo-soprano, is double-majoring in music and communication studies. She studies voice -
Physical Modeling of the Singing Voice
Malte Kob Physical Modeling of the Singing Voice 6000 5000 4000 3000 Frequency [Hz] 2000 1000 0 0 0.5 1 1.5 Time [s] logoV PHYSICAL MODELING OF THE SINGING VOICE Von der FakulÄat furÄ Elektrotechnik und Informationstechnik der Rheinisch-WestfÄalischen Technischen Hochschule Aachen zur Erlangung des akademischen Grades eines DOKTORS DER INGENIEURWISSENSCHAFTEN genehmigte Dissertation vorgelegt von Diplom-Ingenieur Malte Kob aus Hamburg Berichter: UniversitÄatsprofessor Dr. rer. nat. Michael VorlÄander UniversitÄatsprofessor Dr.-Ing. Peter Vary Professor Dr.-Ing. JuÄrgen Meyer Tag der muÄndlichen PruÄfung: 18. Juni 2002 Diese Dissertation ist auf den Internetseiten der Hochschulbibliothek online verfuÄgbar. Die Deutsche Bibliothek – CIP-Einheitsaufnahme Kob, Malte: Physical modeling of the singing voice / vorgelegt von Malte Kob. - Berlin : Logos-Verl., 2002 Zugl.: Aachen, Techn. Hochsch., Diss., 2002 ISBN 3-89722-997-8 c Copyright Logos Verlag Berlin 2002 Alle Rechte vorbehalten. ISBN 3-89722-997-8 Logos Verlag Berlin Comeniushof, Gubener Str. 47, 10243 Berlin Tel.: +49 030 42 85 10 90 Fax: +49 030 42 85 10 92 INTERNET: http://www.logos-verlag.de ii Meinen Eltern. iii Contents Abstract { Zusammenfassung vii Introduction 1 1 The singer 3 1.1 Voice signal . 4 1.1.1 Harmonic structure . 5 1.1.2 Pitch and amplitude . 6 1.1.3 Harmonics and noise . 7 1.1.4 Choir sound . 8 1.2 Singing styles . 9 1.2.1 Registers . 9 1.2.2 Overtone singing . 10 1.3 Discussion . 11 2 Vocal folds 13 2.1 Biomechanics . 13 2.2 Vocal fold models . 16 2.2.1 Two-mass models . 17 2.2.2 Other models . -
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. -
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. -
SOME AMERICAN OPERAS/COMPOSERS October 2014
SOME AMERICAN OPERAS/COMPOSERS October 2014 Mark Adamo-- Little Women, Lysistrata John Adams—Nixon in China, Death of Klinghoffer, Doctor Atomic Dominick Argento—Postcard From Morocco, The Aspern Papers William Balcom—A View From the Bridge, McTeague Samuel Barber—Antony and Cleopatra, Vanessa Leonard Bernstein— A Quiet Place, Trouble in Tahiti Mark Blitzstein—Regina, Sacco and Venzetti, The Cradle Will Rock David Carlson—Anna Karenina Aaron Copland—The Tender Land John Corigliano—The Ghosts of Versailles Walter Damrosch—Cyrano, The Scarlet Letter Carlisle Floyd—Susannah, Of Mice and Men, Willie Stark, Cold Sassy Tree Lukas Foss—Introductions and Goodbyes George Gershwin—Porgy and Bess Philip Glass—Satyagraha, The Voyage, Einstein on the Beach, Akhnaten Ricky Ian Gordon—Grapes of Wrath Louis Gruenberg—The Emperor Jones Howard Hanson—Merry Mount John Harbison—The Great Gatsby, Winter’s Tale Jake Heggie—Moby Dick, Dead Man Walking Bernard Hermann—Wuthering Heights Jennifer Higdon—Cold Mountain (World Premiere, Santa Fe Opera, 2015) Scott Joplin—Treemonisha Gian Carlo Menotti—The Consul, The Telephone, Amahl and the Night Visitors Douglas Moore—Ballad of Baby Doe, The Devil and Daniel Webster, Carrie Nation Stephen Paulus—The Postman Always Rings Twice, The Woodlanders Tobias Picker—An American Tragedy, Emmeline, Therese Racquin Andre Previn—A Streetcar Named Desire Ned Rorem—Our Town Deems Taylor—Peter Ibbetson Terry Teachout—The Letter Virgil Thompson—Four Saints in Three Acts, The Mother of Us All Stewart Wallace—Harvey Milk Kurt Weill—Street Scene, Rise and Fall of the City of Mahagonny . -
Nita Ann Hudson, Mezzo Soprano School of Music Stephen F
Nita Ann Hudson, mezzo soprano School of Music Stephen F. Austin State University Nacogdoches, Texas Education Master of Arts Stephen F. Austin State University, 1993 Major in Music with Vocal Pedagogy Emphasis Bachelor of Music Stephen F. Austin State University, 1990 All-Level certification in Choral Music Applied Voice Richard Berry Vocal Pedagogy David W. Jones Richard Berry Choral Conducting Ronald Anderson Tim King Theory/Composition Richard Coolidge Dan Beaty Dance Deborah Waddell-Sanford Teaching Teaching Positions: Stephen F. Austin State University, Nacogdoches, TX: 1993 – Present Lecturer – Applied Voice, Opera Workshop, Vocal Repertoire, Theory, Aural Skills East Texas Baptist State University, Marshall, TX: 1994 – 2002 Instructor – Applied Voice Related Work Experience: Assistant Director/Production Stage Manager, SFASU Opera Workshop: 1993 - Present Assignment includes various aspects of stage directing, production and choreography. Coordinate all rehearsal and production schedules for faculty, students, orchestra, and technical crews. Responsible for maintaining the correct blocking (prompt book) and all technical cues (scenic/lighting/sound). Assist the directors (staging/musical) in every aspect of production. Operas/Operettas: Albert Herring (Britten) 1993 Amelia Goes to the Ball (Menotti) 1995, 2001 Bartered Bride (Smetana) 1995, 2000, 2008 Calvary (Pasatieri) 1994 Carmen (Bizet) 1994, 2000 Cavalleria Rusticana (Mascagni) 1994, 2009 The Consul (Menotti) 1994, 2001 Elixir of Love (Donizetti) 1999 [Directed], 2004 Falstaff -
Luigi Dallapiccola's Il Prigioniero and Gian Carlo
LUIGI DALLAPICCOLA'S IL PRIGIONIERO AND GIAN CARLO MENOTTI'S THE CONSUL: A COMPARATIVE STUDY by JENNIFER GRAHAM STEPHENSON PAUL H. HOUGHTALING, COMMITTEE CHAIR SUSAN CURTIS FLEMING NIKOS A. PAPPAS STEPHEN V. PELES JONATHAN WHITAKER ELIZABETH AVERSA A DOCUMENT 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 2016 Copyright Jennifer Graham Stephenson 2016 ALL RIGHTS RESERVED ABSTRACT As art reflects life, so too does it hold a mirror to the lives of the people who create it. The turbulent events of the first decades of the twentieth century, including two World Wars and the rise of Italian Fascism and German Nazism in the 1920s and 30s, affected millions of lives across several continents. This document explores the ways in which Luigi Dallapiccola (1904– 1973) and Gian Carlo Menotti (1911–2007) voice their reactions to these events in their operas, Il Prigioniero (1948) and The Consul (1950). Italian composer Luigi Dallapiccola spent twenty months in internment during the First World War, and would be forced on several occasions to go into hiding during the Second World War. His opposition to Mussolini and the Italian Fascists, coupled with his quasi–obsession with internment and freedom, led to his composition of three works of “protest music,” of which Il Prigioniero is the second. Il Prigioniero tells the story of a prisoner of the Inquisition, his attempt at escape and eventual capture. Italian-American composer Gian Carlo Menotti emigrated to the United States in 1928, at age seventeen, and spent a great much of his time traveling and working in various countries. -
The Harmonic Oscillator
Appendix A The Harmonic Oscillator Properties of the harmonic oscillator arise so often throughout this book that it seemed best to treat the mathematics involved in a separate Appendix. A.1 Simple Harmonic Oscillator The harmonic oscillator equation dates to the time of Newton and Hooke. It follows by combining Newton’s Law of motion (F = Ma, where F is the force on a mass M and a is its acceleration) and Hooke’s Law (which states that the restoring force from a compressed or extended spring is proportional to the displacement from equilibrium and in the opposite direction: thus, FSpring =−Kx, where K is the spring constant) (Fig. A.1). Taking x = 0 as the equilibrium position and letting the force from the spring act on the mass: d2x M + Kx = 0. (A.1) dt2 2 = Dividing by the mass and defining ω0 K/M, the equation becomes d2x + ω2x = 0. (A.2) dt2 0 As may be seen by direct substitution, this equation has simple solutions of the form x = x0 sin ω0t or x0 = cos ω0t, (A.3) The original version of this chapter was revised: Pages 329, 330, 335, and 347 were corrected. The correction to this chapter is available at https://doi.org/10.1007/978-3-319-92796-1_8 © Springer Nature Switzerland AG 2018 329 W. R. Bennett, Jr., The Science of Musical Sound, https://doi.org/10.1007/978-3-319-92796-1 330 A The Harmonic Oscillator Fig. A.1 Frictionless harmonic oscillator showing the spring in compressed and extended positions where t is the time and x0 is the maximum amplitude of the oscillation. -
Patterns of Vocal Fold Closure in Professional Singers
PATTERNS OF VOCAL FOLD CLOSURE IN PROFESSIONAL SINGERS CARIE VOLKAR Master of Music in Voice Performance University of Akron May 2005 submitted in partial fulfillment of requirement for the degree MASTER OF ARTS IN SPEECH-LANGUAGE PATHOLOGY AND AUDIOLOGY at the CLEVELAND STATE UNIVERSITY MAY 2017 We hereby approve this thesis for Carie Volkar Candidate for the Master of Arts in Speech Pathology and Audiology degree for the Department of Speech and Hearing and the CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by Thesis Chairperson, Violet O. Cox, Ph.D., CCC-SLP _____________________________________________ Department & Date Thesis Committee Member, Myrita Wilhite, Au.D. _____________________________________________ Department & Date Thesis Committee Member, Brian Bailey, D.M.A. _____________________________________________ Department & Date Student’s Date of Defense: May 2, 2017 ACKNOWLEDGEMENTS I would like to take this opportunity to thank all those who guided me through this process. I would like to thank my family for their love and support throughout my life and education. I would also like to thank my friends for always being there for me and pushing me to take care of myself while in the program. I would like to express my most sincere gratitude to my thesis chairperson, Dr. Violet Cox for her mentorship throughout my thesis and this program. I would like to thank her for the enthusiasm and passion she shared for my research topic. I would like to thank her for training me in stroboscopy and for being the methodologist in my investigation. I thank her for her patience and motivation to finish this step towards completing my Master’s degree.