DOCSLIB.ORG

TIMOTHY BRUNO, Bass

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TIMOTHY BRUNO, Bass TIMOTHY BRUNO, bass Lauded by the Wall Street Journal for his “flexible bass,” Timothy Bruno returns to Washington National Opera as Dottore Grenvil in La traviata and to reprise the French General in Puts’ Silent Night in the 2018-19 season. Also with the company, he creates the role of Daddy in the world premiere of Taking Up Serpents by Kamala Sankaram and Jerre Dye as part of the American Opera Initiative and covers Méphistophélès in Faust. Elsewhere, he sings his Osmin in Die Entführung aus dem Serail with New Orleans Opera and Beleseo in the world premiere of Liszt’s lost opera, Sardanapale, at the Library of Congress. In the summer, he returns to Des Moines Metro Opera for Colline in La bohème and the First Apprentice in Wozzeck. Previously as a Domingo-Cafritz Young Artist with Washington National Opera, he sang Don Basilio in Il barbiere di Siviglia, Commendatore in Don Giovanni, the King in Portman’s The Little Prince, Antonio and Bartolo in Le nozze di Figaro, Hortensius in La fille du régiment, Warden Benton in Dead Man Walking, and the Friar in Don Carlo. He also created the role of the Sodbuster in the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up, sang General Cobb and James Fowler in Glass’ Appomattox, as well as appeared in the world-premieres of Mohammed Fairouz’s The Dictator’s Wife and Luna Pearl Woolf’s Better Gods. Other recent performances for the bass include Don Basilio in Il barbiere di Siviglia and the French General in Silent Night at The Glimmerglass Festival; the Mandarin in Turandot and Bosun in Billy Budd—whilst covering John Claggart—with Des Moines Metro Opera; Colline in La bohème and Louis XVI in Corigliano’s The Ghosts of Versailles at Wolf Trap Opera; Méphistophélès in Faust and Raimondo in Lucia di Lammermoor with Winter Opera Saint Louis; Wotan in Dove’s reduction of Die Walküre with Union Avenue Opera Theater; and Osmin in Die Entführung aus dem Serail and Der Wanderer in Act One of Siegfried with Queen City Chamber Opera. Additionally he has joined Washington Concert Opera for the Priore di Spedalieri in La straniera the Viscount di Suze in Maria di Rohan, Atlanta Symphony Orchestra as Abimélech in Samson et Dalila, and Baltimore Symphony Orchestra as the Commendatore in Don Giovanni. Mr. Bruno is a former Apprentice Artist in Central City Opera’s Bonfils-Stanton Training Program, where he performed the role of Dr. Bartolo in Le nozze di Figaro. As an Apprentice Artist at Opera Saratoga, sang Berthold in Offenbach’s Le 66. He performed Curio in Giulio Cesare and Antonio in Le nozze di Figaro as a Resident Artist with Michigan Opera Theatre and made his professional debut in 2011 as a Young Artist with Cincinnati Opera, at which he performed Count Ceprano in Rigoletto and Second Armed Guard in Die Zauberflöte. He has also appeared with Toledo Opera, Opera Columbus, Annapolis Opera, and El Paso Opera, among others. In demand as a concert artist, Mr. Bruno sang Schubert’s Mass in G and Mozart’s Requiem and Coronation Mass at the Washington National Cathedral; Handel’s Messiah with the Memphis Symphony, Bluffton Bach Festival, and at the Niswonger Performing Arts Center; Haydn’s Creation with the Ann Arbor Cantata Singers; and Mendelssohn’s Elijah with the Vermillion Symphonic Choir. He has also appeared with the Toledo Symphony, Dayton Bach Society, Knox Music Series, Saint Michaels in the Hills, and Lucerne Symphony Orchestra. He is a recipient of prizes from the Metropolitan Opera National Council Auditions, Opera Birmingham Competition, Annapolis Opera Competition, Partners for the Arts, Harold Haugh Light Opera Competition, and Singer’s Club of Cleveland. He earned his Master of Music degree from the University of Cincinnati-College Conservatory of Music and holds a Bachelor of Music degree from Bowling Green State University. 10/18 - PLEASE DESTROY ALL PREVIOUSLY DATED MATERIALS. MODIFIED VERSIONS MUST BE APPROVED BY SEMPRE ARTISTS. 4 7 6 8 B r o a d w a y # 3 3 0, N e w Y o r k, N Y 1 0 0 3 4 t e l : (2 1 2) 6 5 3 – 8 8 9 5 k r i s t i n @ s e m p r e a r t I s t s . c o m .
Load more

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]
  • Voice Types in Opera
    Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic.
    [Show full text]
  • Bass-Baritone • Baryton-Basse [email protected] + 1 917 650-0573 1 100 Words Bio
    David Mimran - Bass-Baritone • Baryton-Basse [email protected] + 1 917 650-0573 www.davidmimran.net 1 100 words bio Bass-Baritone David Mimran set aside a career as a lawyer in Paris to sing opera in New York. Great vocal flexibility in a wide tessitura, natural acting skills and a knowledge of nine languages including Italian, French, German, English, Spanish and Finnish allow for a large variety of repertoire. Roles on stage include Alcindoro/Benoît in Bohème, Conte Ceprano in Rigoletto, Niejus & Cascada in Merry Widow, Sarastro in Die Zauberflöte, Figaro & Antonio in Le nozze di Figaro, Morales & Zuniga in Carmen, Fiorello in Il Barbiere di Siviglia, Frank in Fledermaus, Lorenzo in I Capuletti e i Montecchi, Achille in Giulio Cesare and Melisso in Alcina. Languages French: Mother tongue English: Bilingual German, Italian, Spanish: Proficient Finnish, Portuguese, Hebrew: Working knowledge Russian, Hungarian: Basic phonetic reading knowledge I would consider studying a new language to sing a role. Stage Experience Full roles performed • Benoît/Alcindoro in Bohème - Opera Company of Brooklyn • Sciarrone/Jailer in Tosca - Regina Opera • Yakuside in Madama Butterfly - Bleecker Street Opera • Niejus and Cascada in The Merry Widow - Amore Opera • Sarastro in Die Zauberflöte - NY Lyric Opera Theater • Fiorello in Il Barbiere di Siviglia - Bleecker Street Opera • Lorenzo in I Capuletti e i Montecchi - Manhattan Chamber Opera • Spinelloccio/Nicolao in Gianni Schicchi - Regina Opera • Achilla in Giulio Cesare - Manhattan Chamber Opera • Docteur
    [Show full text]
  • Watermark W Atermark
    WATERMARK A SCHOLARLY JOURNAL PUBLISHED BY THE GRADUATE PROGRAM IN ENGLISH AT CALIFORNIA STATE UNIVERSITY, LONG BEACH 8 WATERMARK 8 WATERMARK SPRING 2014 Watermark accepts submissions annually between October and February. We are 8 WWW WWW dedicated to publishing original critical and theoretical essays concerned with literature of all genres and periods, as well as works representing current issues Editor ∙ in the fields of rhetoric and composition. Reviews of current works of literary Mary Sotnick criticism or theory are also welcome. Managing Editors ∙ Rusty Rust Jaime Rapp All submissions must be accompanied by a cover letter that includes the author’s ∙ name, phone number, email address, and the title of the essay or book review. All essay submissions should be approximately 12-15 pages and must be typed American Literature Editors Levon Parseghian ∙ Shouhei J. Tanaka ∙ Amy Desusa in MLA format with a standard 12 pt. font. Book reviews ought to be 750-1,000 words in length. As this journal is intended to provide a forum for emerging British Literature Editors voices, only student work will be considered for publication. Submissions will Bethany Acevedo not be returned. Please direct all questions to [email protected] and address all submissions to: Ethnic American Literature Jaime Rapp ∙ Rusty Rust ∙ Phương Lưu Department of English: Watermark California State University, Long Beach Rhetoric & Composition Editors 1250 Bellflower Boulevard Dya Cangiano Long Beach, CA 90840 Medieval & Renaissance Studies Editors Visit us
    [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]
  • 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]
  • Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone
    The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. FEMALE VOCAL RANGE RANGE FEMALE EXAMPLES Highest Soprano Coloratura Soprano Lucia in Lucia di Lammermoor Lyric Soprano Violetta in La Traviata Dramatic Soprano Leonara in Il Trovatore Mezzo Soprano Coloratura Mezzo Rosina in The Barber of Seville Dramatic Mezzo Carmen in Carmen Lowest Contralto Katisha in The Mikado VOICE SOPRANO The highest of the female voice types, the soprano has always had a TYPES place of importance in the order of vocal types. In the operatic world, the soprano is almost always the ‘heroine’ or leading character within an opera. MEZZO SOPRANO The mezzo is the lower-ranged female voice type. Throughout opera history the mezzo has been used to convey many different types of characters: everything from boys or young men (these are called trouser or pants roles), to mother-types, witches, gypsies and old women. The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. MALE VOCAL RANGE RANGE MALE EXAMPLES Highest Tenor Light Lyric Tenor Nemorino in La Cenerentola Lyric Tenor Nadir in the Pearlfishers Lyric-dramatic Tenor Rodolfo in La Boheme Dramatic Tenor Canio in Pagliacci Heldentenor Tristan in Tristan und Isolde Baritone Papageno in The Magic Flute Bass-baritone Figaro in The Magic of Figaro VOICE Lowest Bass Sarastro in The Magic Flute TENOR The Tenor is the highest of the male voices and has many sub categories TYPES such as a lyric tenor and a dramatic tenor. The tenor is usually cast in the romantic roles of opera.
    [Show full text]
  • Voice Dysphoria and the Transgender and Genderqueer Singer
    What the Fach? Voice Dysphoria and the Transgender and Genderqueer Singer Loraine Sims, DMA, Associate Professor, Edith Killgore Kirkpatrick Professor of Voice, LSU 2018 NATS National Conference Las Vegas Introduction One size does not fit all! Trans Singers are individuals. There are several options for the singing voice. Trans woman (AMAB, MtF, M2F, or trans feminine) may prefer she/her/hers o May sing with baritone or tenor voice (with or without voice dysphoria) o May sing head voice and label as soprano or mezzo Trans man (AFAB, FtM, F2M, or trans masculine) may prefer he/him/his o No Testosterone – Probably sings mezzo soprano or soprano (with or without voice dysphoria) o After Testosterone – May sing tenor or baritone or countertenor Third Gender or Gender Fluid (Non-binary or Genderqueer) – prefers non-binary pronouns they/them/their or something else (You must ask!) o May sing with any voice type (with or without voice dysphoria) Creating a Gender Neutral Learning Environment Gender and sex are not synonymous terms. Cisgender means that your assigned sex at birth is in agreement with your internal feeling about your own gender. Transgender means that there is disagreement between the sex you were assigned at birth and your internal gender identity. There is also a difference between your gender identity and your gender expression. Many other terms fall under the trans umbrella: Non-binary, gender fluid, genderqueer, and agender, etc. Remember that pronouns matter. Never assume. The best way to know what pronouns someone prefers for themselves is to ask. In addition to she/her/hers and he/him/his, it is perfectly acceptable to use they/them/their for a single individual if that is what they prefer.
    [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]
  • And Then One Night… the Making of DEAD MAN WALKING
    And Then One Night… The Making of DEAD MAN WALKING Complete program transcript Prologue: Sister Helen and Joe Confession scene. SISTER HELEN I got an invitation to write to somebody on death row and then I walked with him to the electric chair on the night of April the fifth, 1984. And once your boat gets in those waters, then I became a witness. Louisiana TV footage of Sister Helen at Hope House NARRATION: “Dead Man Walking” follows the journey of a Louisiana nun, Sister Helen Prejean, to the heart of the death penalty controversy. We see Sister Helen visiting with prisoners at Angola. NARRATION: Her groundbreaking work with death row inmates inspired her to write a book she called “Dead Man Walking.” Her story inspired a powerful feature film… Clip of the film: Dead Man Walking NARRATION: …and now, an opera…. Clip from the opera “Dead Man Walking” SISTER HELEN I never dreamed I was going to get with death row inmates. I got involved with poor people and then learned there was a direct track from being poor in this country and going to prison and going to death row. NARRATION: As the opera began to take shape, the death penalty debate claimed center stage in the news. Gov. George Ryan, IL: I now favor a moratorium because I have grave concerns about our state’s shameful record of convicting innocent people and putting them on death row. Gov. George W. Bush, TX: I’ve been asked this question a lot ever since Governor Ryan declared a moratorium in Illinois.
    [Show full text]
  • The Journey of Dead Man Walking
    Sacred Heart University Review Volume 20 Issue 1 Sacred Heart University Review, Volume XX, Article 1 Numbers 1 & 2, Fall 1999/ Spring 2000 2000 The ourJ ney of Dead Man Walking Helen Prejean Follow this and additional works at: http://digitalcommons.sacredheart.edu/shureview Recommended Citation Prejean, Helen (2000) "The ourJ ney of Dead Man Walking," Sacred Heart University Review: Vol. 20 : Iss. 1 , Article 1. Available at: http://digitalcommons.sacredheart.edu/shureview/vol20/iss1/1 This Article is brought to you for free and open access by the SHU Press Publications at DigitalCommons@SHU. It has been accepted for inclusion in Sacred Heart University Review by an authorized editor of DigitalCommons@SHU. For more information, please contact [email protected], [email protected]. The ourJ ney of Dead Man Walking Cover Page Footnote This is a lightly edited transcription of the talk delivered by Sister Prejean at Sacred Heart University on October 31, 2000, sponsored by the Hersher Institute for Applied Ethics and by Campus Ministry. This article is available in Sacred Heart University Review: http://digitalcommons.sacredheart.edu/shureview/vol20/iss1/1 Prejean: The Journey of Dead Man Walking SISTER HELEN PREJEAN, C.S.J. The Journey of Dead Man Walking I'm glad to be with you. I'm going to bring you with me on a journey, an incredible journey, really. I never thought I was going to get involved in these things, never thought I would accompany people on death row and witness the execution of five human beings, never thought I would be meeting with murder victims' families and accompanying them down the terrible trail of tears and grief and seeking of healing and wholeness, never thought I would encounter politicians, never thought I would be getting on airplanes and coming now for close to fourteen years to talk to people about the death penalty.
    [Show full text]
  • An Interview with Jake Heggie
    35 Mediterranean Opera and Ballet Club Culture and Art Magazine A Chat with Composer Jake Heggie Besteci Jake Heggie İle Bir Sohbet Othello in the Dansa Âşık Bir Kuğu: Seraglio Meriç Sümen Othello Sarayda FLÜTİST HALİT TURGAY Fotoğraf: Mehmet Çağlarer A Chat with Jake Heggie Composer Jake Heggie (Photo by Art & Clarity). (Photo by Heggie Composer Jake Besteci Jake Heggie İle Bir Sohbet Ömer Eğecioğlu Santa Barbara, CA, ABD [email protected] 6 AKOB | NİSAN 2016 San Francisco-based American composer Jake Heggie is the author of upwards of 250 Genç Amerikalı besteci Jake Heggie şimdiye art songs. Some of his work in this genre were recorded by most notable artists of kadar 250’den fazla şarkıya imzasını atmış our time: Renée Fleming, Frederica von Stade, Carol Vaness, Joyce DiDonato, Sylvia bir müzisyen. Üstelik bu şarkılar günümüzün McNair and others. He has also written choral, orchestral and chamber works. But en ünlü ses sanatçıları tarafından yorumlanıp most importantly, Heggie is an opera composer. He is one of the most notable of the kaydedilmiş: Renée Fleming, Frederica von younger generation of American opera composers alongside perhaps Tobias Picker Stade, Carol Vaness, Joyce DiDonato, Sylvia and Ricky Ian Gordon. In fact, Heggie is considered by many to be simply the most McNair bu sanatçıların arasında yer alıyor. Heggie’nin diğer eserleri arasında koro ve successful living American composer. orkestra için çalışmalar ve ayrıca oda müziği parçaları var. Ama kendisi en başta bir opera Heggie’s recognition as an opera composer came in 2000 with Dead Man Walking, bestecisi olarak tanınıyor. Jake Heggie’nin with libretto by Terrence McNally, based on the popular book by Sister Helen Préjean.
    [Show full text]