Baritone "The Find of the Season" Carlo Galeffi Chicago Opera Ass'n

Total Page:16

File Type:pdf, Size:1020Kb

Baritone January 17, 1920 MUSICAL AMERICA 39 was. 'Then we are colleagues,' he said, and explained that he was a horn-player in an organization corresponding to an Prague in the Blackest Years of the War, and American police band. In spite of my recent experience, I nearly choked with ~ How Two Opera Singers Fared Within Its Confines laughter. "I got back to Prague safely, and re­ sumed singing at the German theater. One day a gendarme came to my house. The Exciting Experiences of He was a Czech. 'I am very sorry,' he said, 'but I have a warrant he-re for the Mary Cavan and Otakar arrest, as a· spy, of Miss Mary Cavan.' He winked, and then he said: 'By the Marak in the Czech Capital way, weren't you married this morning?' I saw what he meant. 'Yes,' I replied. -Utilizing a Score to Carry 'Then I can't arrest you, as this war­ Message to Allies-Meeting rant is for Miss Mary Cavan.' "Mr. Marak and I were engaged, and a German "Colleague"- A intended to be married as soon as our affairs were settled. We went right down Stove as Singer's Fee to a registrar's office and were made man INGING for a stove with which to and wife. Our marriage played a part S in preventing the issuance of orders cook and keep warm, for a sack of sending Otto to the front. Also, we flour from which to make bread, or for found out where a little money would do live chickens counted upon to bring to good. their owner the treasure of treasures "Then came the days when the Ger­ man power was weakening and the and the luxury of all luxuries-real eggs Czechs were able to declare their inde­ -,-is not the traditional business of opera pendence of Austria. We put up the stars. first American flag that had been seen in But that was what Mary Cavan and Prague since the entry of America into the war. Otakar Marak, now happily back in "Days followed when the Czechs had America as Mr. and Mrs. Marak, did no real government. They were wonder­ during dark days in Europe when there fully well behaved. But there were al­ most norie of· ~ necessities or comforts were many necessities mere money could of life to be had. We had purchased a not. buy. Looking back on their experi­ home, so we had shelter. We had money, ences, the two singers are able to appre­ too, but there were things money could ciate the business acumen of the country not buy. We tried vainly to get a stove for cooking and heating. No one would editor who trades subscriptions for cord­ sell us one. Finally Mr. Marak arranged wood and swaps advertising for the loan to sing in return for a stove. On another of a pipeful of tobacco now and then. occasion he sang for a sack of flour, Caught in the maelstrom of the war, 1;omething he had tried vainly to buy. the two singers were in Prague, Bohemia, On anothe>- occasion the fee for the from 1914 until late in 1919. Both are singing consisted of four live chickens former members ·of the Chicago Opera from which we got fresh eggs, the first Association and widely known. Let in many months. Mme. Cavan, who changed her name to "Then came the new Czech govern­ Marak during those exciting times in ment. It started promisingly, but the Prague, tell· the story: Socialists soon began to get control. A "We were both engaged at German regime of confiscation followed. The gov­ opera houses when the war engulfed Eur­ ernment took half your money in the ope in 1914. Mr. Marak, who is a bank and half of any food you bought. Czech, hurried at once to Prague, the It confiscated homes, leaving the owners Bohemian capital. The Germans charged a room or two in them, and filling the him with having broken his contract and houses with the relatives of officials. When I saw what was coming, I turned began trying to make trouble for him. Otakar Marak, Czech Operatic Singer, and His American Wife, Mary Cavan, the The United States, of course, was not in our home over to the Y. M. C.A. the war. But the Hamburg opera man­ Soprano. Above: An Open-Air Operatic ~erformance Near Prague "For a while I went on singing ab the agement informed me that because I was German theater, and one night it was an­ heart was with them, and who made it "Once in Berne, everybody took me nounced that President Masaryk was to an American · I was not wanted. This a point to show me that they appreciated for the spy of everybody else. No one was a very cruel blow at the time; as I attend. Two Czechs in the orchestra it. would believe me. The secret service came to me and told me the orchestra was depending much on this engagement. "Meawhile, the Germans, who charged agents of all the warring nationalities "I pecided to make my way to Prague conductor had refused to play the Czech Mr. Marak with breaking his contract shadowed me. By using ordinary letter national hymn. When I confirmed this and after many difficulties I arrived with the opera house in Germany, were mail, I got my message through to Lon­ there. Mr. Marak was singing at the I fled the theater. I was done with it. trying their best to get him into trouble, don and Paris. But I soon found it was They searched for me that night but National Theater in Prague, where Ger­ and finally achieved their purpose, as I hopeless for me to try to get to America. man was never sung. When I arrived I could not find me. will tell later on. My German passport would have led to "Subsequently my husband and I ap­ was engaged to sing there too. I could "We saw many cruelties, injustices, my arrest in France or Italy. So I ac­ not sing in the Czech tongue. So I sang peared in concerts together. I remember and agonizing suffering. Men were hung cepted the advice of friends and went one in particular, an American program in French. The large German element or shot on the least pretext. Women back to Prague. I was in Switzerland in Prague hated me for this. Meanwhile in honor of President Woodrow Wilson. and children were in the direst want. about two weeks. I sang songs by Harriet Ware, MacDow­ the Germans were having their own Brave Czechs who hated Austria were "When I arrived in Prague I stepped ope,ra at the German theater, where ell, Nevin, Cadman, del Riego, and old sent to the front to be butchered. When into more complications. The Germans Southern melodies. The words were their own tongue was sung. one sees such things day after day, the had brought such pressure on the Bo­ "The Germans began to make trouble printed in Czech on the programs. How time comes when one doesn't care much hemian National Theater, which, it funny 'Dixie' looked! for me. I was insulted and even violence what happens. So, one day, when repre­ turned out, was a member of a German was attempted to drive me out of the "But it soon became evident Prague sentatives of the Maffia, a Czech secret theater association, embracing opera was no place for a singer. There were company. One night I was terribly patriotic society, asked me if I would houses in many cities, and Mr. Marak burned about the face, neck and shoul­ no funds to support art. The weary carry a message to Switzerland to help was told he could no longer sing there. people seemed to care only fpr light ders when I picked up some flowers that the Czechs, I agreed to do it. I wanted He had about made up his mind to go had been thrown to me from somewhere music. The artist met discouragements to get out of there and get back to to Germany to straighten things out. I at every step and wondered where he in · the audience. In the bouquet had America, and thought that if I could get advised against this, as I was sure he been placed a plant known over there as would eat to-morrow. We made up our to Switzerland I could get home. would be arrested. I decided to go in minds to come to America, and obtained 'thistle,' which eats like an acid. In the his stead. I crossed the boundary suc­ excitement I had pressed the flowers to Bore Message . to Allies passports. We were only permitted to cessfully and went to Hamburg. I take enough money out of the country to my bare shoulder. "I had come to the point where the reached an agreement with the opera "Presently, under orders from Vienna, pay for our travel part way to Holland. risk didn't bother me. I simply didn't house management .by promising joint But luckily we were able to arrange to I was told I could no longer sing French. care. The message was an appeal to the appearances after the war, and started So I sang Italian. The Germans ob­ get more, and in November we were in allies to recognize the Czechs as an inde­ back to Prague believing everything was the United States again, very thankful jected just as bitterly, but I contended pendent state, before Austria, feeling settled.
Recommended publications
  • 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]
  • 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]
  • 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]
  • A Season of Thrilling Intrigue and Grand Spectacle –
    A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
    [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]
  • The Baritone Voice in the Seventeenth and Eighteenth Centuries: a Brief Examination of Its Development and Its Use in Handel’S Messiah
    THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH BY JOSHUA MARKLEY Submitted to the graduate degree program in The School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. John Stephens ________________________________ Dr. Michelle Hayes ________________________________ Dr. Paul Laird ________________________________ Dr. Julia Broxholm ________________________________ Mr. Mark Ferrell Date Defended: 06/08/2016 The Dissertation Committee for JOSHUA MARKLEY certifies that this is the approved version of the following dissertation: THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH ________________________________ Chairperson Dr. John Stephens Date approved: 06/08/2016 ii Abstract Musicians who want to perform Handel’s oratorios in the twenty-first century are faced with several choices. One such choice is whether or not to use the baritone voice, and in what way is best to use him. In order to best answer that question, this study first examines the history of the baritone voice type, the historical context of Handel’s life and compositional style, and performing practices from the baroque era. It then applies that information to a case study of a representative sample of Handel’s solo oratorio literature. Using selections from Messiah this study charts the advantages and disadvantages of having a baritone sing the solo parts of Messiah rather than the voice part listed, i.e. tenor or bass, in both a modern performance and an historically-informed performance in an attempt to determine whether a baritone should sing the tenor roles or bass roles and in what context.
    [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]
  • NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing
    NEW YORK CRITICS REVIEW MARIA CALLAS AND RENATA TEBALDI: A Study in Critical Approaches to the Inter-relationship of Singing and Acting in Opera by MarikolVan Campen B. A., University orBritish Columbia, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in The Faculty of Graduate Studies Department of Theatre, Faculty of Arts, University of British Columbia We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 1977 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of THEATRE The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date Oct. 5, 1977 i ABSTRACT The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding cir• cumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance.
    [Show full text]
  • Composing for Classical Voice Voice Types/Fach System
    Composing for Classical Voice Alexandra Smither A healthy relationship between composer and singer is essential for the creation of new song. Like all good relationships, communication is key. Through this brief talk, I hope to give you some tools, some language you can use as common ground when working together. Remember, we are all individuals with insecurities and vulnerabilities and our art made together should lean on strengths. Being in the room with someone means they are making themselves available to you: this goes both ways, so do what you can to elevate them in the way that they see fit. Composers, remember that to be a singer is to be an athlete. If we are protective of our ​ voices, it’s because we are only given one and it is very delicate. Additionally, the opera world is not kind. Many singers are constantly dealing with rejection and commentary, not just on how they sound, but on how they look and who they are. Remember this, be compassionate, choose your words wisely and kindly. Your singer will appreciate it and will sing all the better for it. Singers, take the time to think about your voice and singing. What do you love to sing? ​ What sounds do you like, even outside singing? How does your voice work? Share this information joyfully and without shame - the music being written will reflect it more the more you talk about it. Be willing to try things in ways that are healthy and sustainable for your body. Embrace your individual identity as singer, person, and artist.
    [Show full text]
  • GYULA NAGY – Baritone
    GYULA NAGY – Baritone Born in Hungary and based in Ireland, he trained at the National Opera Studio in London and was a Young Associate Artist with the Opera Theatre Company in Dublin. Winner of many awards and prizes he also worked with Welsh National Opera and Scottish Opera and with Irish Youth Opera. He joined the Jette Parker Young Artists Programme at ROH Covent Garden where he performed and covered many roles with the company. He has gone on to make his debut with the Komische Oper in Berlin as the Gypsy The Fair at Sorochyntsi, appeared in the title role of Il Ritorno d’Ulisse in Patria for Opera Collective Ireland and most recently was invited back to ROH Covent Garden for Schaunard La Boheme. Roles: IL BARBIERE DI SIVIGLIA: Fiorello ~ ROH Covent Garden LA BOHEME: Schaunard ~ ROH Covent Garden CARMEN: Morales ~ ROH Covent Garden; Irish National Opera THE CUNNING LITTLE VIXEN: Forester ~ Royal Irish Academy of Music DON CARLO: Flemish Deputy ~ ROH Covent Garden DON GIOVANNI: JPYAP Showcase ~ ROH Covent Garden (JPYAP) LES ENFANTS TERRIBLES (Philip Glass): Paul ~ Royal Ballet THE FAIR AT SOROCHYNTSI: Gipsy ~ Komische Oper Berlin FIDELIO: Pizzaro ~ Lyric Opera Dublin HAMLET/TADDEO: JPYAP Showcase ~ ROH Covent Garden (JPYAP) APA Artists’ Management / Alexandra Mercer Mobile: +44 (0)7710 378719 - Tel: +44 (0)189 686 0276 Email: [email protected] - www.apaartistsmanagement.com Hillslap Tower - Langshaw - By Galashiels - Scotland TD1 2PA, United Kingdom Vat Registration No. 802 7332 58 LOHENGRIN: Third Brabantian Noble ~ ROH Covent
    [Show full text]