Ioanna Chr. Tsilimigka Lyrico Spinto (Soprano) Born in Larissa in 1992

Total Page:16

File Type:pdf, Size:1020Kb

Ioanna Chr. Tsilimigka Lyrico Spinto (Soprano) Born in Larissa in 1992 Ioanna Chr. Tsilimigka Lyrico spinto (soprano) born in Larissa in 1992 , living in Trikala ( Thessaly – Greece). From the age of seven (1999) she started lessons in Piano, Theory of Music, Choir, Harmony, History of Music, Morphology, Dictee, Solfege . At the age of 14, she started taking modern singing lessons and at the age of 17 she started lyrical singing lessons(D. Dimtsa, N. Papastathis), She continued her studies in Komotini with the armenian soprano Ripsime Danielian and on 2016 she had her Diploma Exams with First Price and the Grade of Excellent 10. From November 2016 to June 2018 , she has been continuing her opera studies with the internationally renowned soprano Barbara Tsambali, founder and director of the New Conservatory of Thessaloniki. She has also a Law Degree from the Democritus University of Thrace. She has sung as a soloist and as a choir member. She has performed solo recitals and sung for first national performance as a soloist of the oratoriums Magnificat RV 610 and Actus Tragicus by A. Vivaldi and J. S Bach, Salve Regina by A. Caldara for four voices and choir. She has been invited to many concerts as a soloist in Thrace and Macedonia by many organizations. and in Heraklion of Crete by Rotary, while a key point of her career was her collaboration with the great violinist G. Demertzis, performing with him and with the Chamber Orchestra of the New Conservatory of Thessaloniki the well-known aria of G.F Haendel "Lascia ch 'io pianga", her appearance at Maronia at the Ancient Theater of Maronia with maestros A. Trikoupis, as well as the recital-tribute for the forty years since the death of Maria Callas on November 2017 in Trikala, Thessaly, organized by the Association of Friends of Music of Trikala, under the auspices of the Municipality of Trikala, which was repeated twenty days later in Kalambaka. She has sung with the Association of Friends of Music of Trikala with conductors Christos and Dimitris Ktistakis. She performed the Easter concert "Ave Maria" on April 2019 at the Tsitsani’s Museum accompanied by Natasa Papastathis on piano, as well as the Music School Symphony Orchestra and a two-voices choir. She has starred as Barbarina in "Le nozze di Figaro" by W. A Mozart on January 2018, directed by Kassandra Dimopoulou at the Thessaloniki Concert Hall. She has starred also as a Second Woman in H. Purcell's opera "Dido and Aeneas" directed by Dwight Coleman at the Archaeological Museum of Thessaloniki on July 2018. She has starred as Pamina in the opera "Magic Flute" by W. A. Mozart on June 2019 at the theater of the Philippos Nakas Conservatory in Athens under the direction of the famous tenor of the National Opera, Stamatis Beris. On 2021 if coronavirus allows she will star as Violetta Valery in the opera La Traviata by G. Verdi and as Musetta in the opera La Boheme by G. Puccini in Athens, as well as in other operatic performances throughout Greece. She has studied the role of Despina from W. A. Mozart's opera Cosi fan tutte entirely, which is not yet performed on stage by her. She has attended master-classes with D. Kavrakos, A. Christofellis, D. Evangelatou, D. Tiliakos, Ch. Glavopoulou. D. Coleman, Teru Yoshihara, Inga Balabanova, Eleni Calenos, Myrto Papatanasiou as an active member, while the great Greek soprano Myrto Papatanasiou is her vocal coach right now. She has taught in seminars for voice technique in theater departments for teenagers and adults, while at the same time she has theater lessons by the actress Antonella Hira. From the school year 2018-2019 till now she works as a teacher of Singing and Maestro of Vocal Ensembles at the Municipal Conservatory of Trikala .
Recommended publications
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [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]
  • Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers
    UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices.
    [Show full text]
  • The Evolution of the Heldentenor
    THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased.
    [Show full text]
  • The Baritone to Tenor Transition
    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2018 The Baritone to Tenor Transition John White University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation White, John, "The Baritone to Tenor Transition" (2018). Dissertations. 1586. https://aquila.usm.edu/dissertations/1586 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE TENOR TO BARITONE TRANSITION by John Charles White A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. J. Taylor Hightower, Committee Chair Dr. Kimberley Davis Dr. Jonathan Yarrington Dr. Edward Hafer Dr. Joseph Brumbeloe ____________________ ____________________ ____________________ Dr. J. Taylor Hightower Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2018 COPYRIGHT BY John Charles White 2018 Published by the Graduate School ABSTRACT Many notable opera singers have been virtuosic tenors; Franco Corelli, Plácido Domingo, James King, José Carreras, Ramón Vinay, Jon Vickers, and Carlo Bergonzi. Besides being great tenors, each of these singers share the fact that they transitioned from baritone to tenor. Perhaps nothing is more destructive to the confidence of a singer than to have his vocal identity or voice type challenged.
    [Show full text]
  • Download Singer Bios
    SOPRANO Susanna Andersson Her very high lyric toned soprano voice and dynamic performances have taken Susanna to important concert and opera stages worldwide. Recent and future engagements include Queen of the Night in Weimar, Wolfgang Rihm's Die Eroberung von Mexico in Salzburg Festival and Köln Opera, Violetta LA TRAVIATA in Stockholm, Pamina DIE ZAUBERFLÖTE in Turku and Queen of the Night at the Gothenburg Opera. In addition concerts all over Europe with Ingo Metzmacher conducting PROMETEO. Summer 2018 Susanna sang her favourite role Adina at the famous Swedish operafestival Opera på Skäret in Donizetti's opera L' ELISIR D' AMORE. 2018/19 brings engagements with Gustav Mahler orchestra in Berlin and concerts with orchestras in Denmark, Sweden and Finland. Sine Bundgaard Sine Bundgaard has performed extensively all over Europe and has a soloist contract with the Royal Opera in Copenhagen. She is exploring new repertoire and made her debut as Desdemona OTELLO in 2017/18. Other central roles in her current repertoire are Contessa LE NOZZE DI FIGARO, Donna Elvira DON GIOVANNI, title role in LULU, Liú in TURANDOT. She has performed with conductors like Gianandrea Noseda, Jeremie Rhorer, Michael Boder, Carlo Rizzi, Ingo Metsmacher, Rene Jacobs, Phillippe Herreweghe, Kent Nagano, Bertrand de Billy, James Conlon, Pinchas Steinberg, Michael Schønwandt, Enrique Mazzola, Matthias Pintscher, Andreas Spering, Manfred Honeck, Peter Schneider and Thomas Søndergård, Clara Cecilie Thomsen Clara Thomsen is one of the most significant Danish talents in recent years. Following her Royal Danish Opera debut in Mozart’s Le Nozze di Figaro (Barbarina) in 2017, she has appeared in the company’s production of Kuhlau’s Lulu (Second Witch) and sung the title role in the Opera Academy’s production of Handel’s Alcina at the Copenhagen Opera House.
    [Show full text]
  • Major Prof Es Or Minor Profe
    REMARKS AND REFLECTIONS ON FRENCH RECITATIVE: AN INQUIRY INTO PERFORMANCE PRACTICE BASED ON THE OBSERVATIONS OF BENIGNE DE BACILLY, JEAN-LEONOR DE GRIMAREST, AND JEAN-BAPTISTE DUBOS APPROVED: Major Prof es or Minor Profe s r Dean o the School of Music Dean o the Gra ate School ~19 REMARKS AND REFLECTIONS ON FRENCH RECITATIVE: AN INQUIRY INTO PERFORMANCE PRACTICE BASED ON THE OBSERVATIONS OF BENIGNE DE BACILLY, JEAN-LEONOR DE GRIMAREST, AND JEAN-BAPTISTE DUBOS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Michael Alan Reid, B.M. Denton, Texas August, 1985 Copyright by Michael Alan Reid 1985 iii Reid, Michael A., Remarks and Reflections on French Reci- tative: an Inquiry into Performance Practice Based on the Observations of Benigne de Bacilly, Jean-Leonor de Grimarest, and Jean-Baptiste Dubos. Master of Music (Musicology), August 1985, 177 pp., 6 figures, 11 musical examples, bibliography, 86 titles. This study concerns the declaimed performance of recita- tive in early French opera. Because the dramatic use of the voice was crucial to the opera genre, this investigation begins with a survey of historical definitions of declamation. Once the topic has been described, the thesis proceeds to thoroughly study three treatises dealing with sung recitation: Bacilly's Remarques curieuses, Grimarest's Traits de recitatif, and Dubos' Reflexions critiques. Principles from these sources are then applied to representative scenes from the literature. The pa- per closes with a commentary on the relationship between spoken and sung delivery and on the development of different declama- tory styles.
    [Show full text]
  • Operaville: November 2018
    Operaville: November 2018 More Create Blog Sign In OPERAVILLE MONDAY, NOVEMBER 19, 2018 BLOG ARCHIVE Leoncavallo Meets Hitchcock ▼ 2018 (13) ▼ November (1) Opera San Leoncavallo Meets Hitchcock Jose’s ► September (4) Pagliacci November 17, ► August (2) 2018 ► July (1) ► June (1) Stage director Chuck ► April (3) Hudson and a ► February (1) strongly theatrical cast ► 2017 (9) have come up ► 2016 (13) with a ► 2015 (25) Pagliacci for ► 2014 (271) the ages, downright ► 2013 (52) Hitchcockian ► 2012 (24) in its ability to ► 2011 (21) deliver the layers of ► 2010 (14) tension in ► 2009 (20) Cooper Nolan as Canio. All photos by Pat Kirk. Leoncavallo’s ► 2008 (23) work. It’s a stunning, suspenseful night at the opera. ABOUT ME To deliver strong effects, of course, you need strong weapons, and this is evident from the start with baritone Anthony Clark Evans’ Prologue. This Prologue is a peculiar piece in opera, a musical highlight, often performed at recitals, that arrives before the “real” story has even begun. Evans alternates between affable and ominous in his MICHAEL J. VAUGHN monodrama of actors and their hidden identities, and his intense Michael J. Vaughn is the author of presence plays well into the sometimes-overlooked subplot of Tonio, seventeen novels, including The the hunchback whose spurning at the hands of Nedda turns him into Popcorn Girl and Billy Saddle. His an Iago-like schemer. poetry has appeared in more than 100 journals, and he works as a The more direct threat, of course, is Canio, the clown (Paglioccio) of competitions judge for Writer's http://operaville.blogspot.com/2018/11/[11/20/2018 2:27:52 PM] Operaville: November 2018 the troupe.
    [Show full text]
  • Fishing for Talent Yehuda Shapiro Visits the Solti Accademia Di Bel Canto, Which Begins a Partnership with the Verbier Festival This Summer
    FISHING FOR TALENT Yehuda Shapiro visits the Solti Accademia di Bel Canto, which begins a partnership with the Verbier Festival this summer t the mention of bel canto, the work of Georg Solti is unlikely to spring to mind, but there can be no doubt that he understood about fine singing. After his early days as a répétiteur, he went on to collaborate with the greatest singers of his Atime, and while central and northern Europe were crucial to his trajectory, it was in Italy—the cradle, of course, of both bel canto and Solti’s idol Toscanini—that he bought his first home. His low-slung modernist house, nestled in a pine grove near the seaside town of Castiglione della Pescaia in Southern Tuscany, was where he spent many summers with his family, relaxing and, ever a stickler for hard work, studying scores and background literature. In 2004, seven years after the conductor’s death, the Georg Solti Accademia di Bel Canto arrived on the scene in Castiglione della Pescaia. Since then, the three-week summer school has become an annual event under the artistic direction of the pianist and vocal coach Jonathan Papp. On the staff at the Royal Academy of Music, he also performs with a number of leading singers and has enjoyed a long association with Kiri Te Kanawa, one of Solti’s sopranos of choice. In the Accademia’s second season she became the first star guest to give masterclasses in Castiglione della Pescaia. Te Kanawa’s charitable foundation now numbers among the school’s supporters, and over the past decade visiting teachers have included Mirella Freni, Angela Gheorghiu, ■ Piazza Solti: a rehearsal underway at Castligione della Pescaia, home of the Solti Accademia di Bel Canto Opera, April 2014 399 ■ Class of 2012: singers at the Solti Accademia two summers ago Luciana Serra, Daniela Dessì, Frederica von Stade, José Carreras, Dennis O’Neill (now the Accademia’s official Principal Guest Vocal Coach and Artistic Patron), Thomas Allen and Richard Bonynge.
    [Show full text]
  • Here Is a PDF File of the First 14 Pp. from a Chapter
    The Metropolitan Opera Archives The Metropolitan 158 lauri-volpi vs. the verismo style FC: Old-style heroic tenors such as Giacomo Lauri-Volpi sang the center and bottom notes lightly and sweetly but let loose on top. Lauri-Volpi’s repertory was vast, but the operas that suited him best were Tell, Puritani, Poliuto, Turandot,a Luisa Miller and Ugonotti, heroic works where he could neglect the center notes and seek to display brilliance and high notes and where he could emphasize classical style and purity of tone over passion. In contrast verismo singers favor the center notes and sing with portamento and heart. In verismo the theatrical effect of the phrase is more important than purity of tone. Words sometimes are more important than music, and you have to use the center notes to interpret them. SZ: What are the characteristics of the verismo tenor? FC: The verismo tenor has a round, strong middle voice and push- es high notes with his guts. Caruso gave us this manner of singing. As a verismo tenor you do try to sing beautifully, lightly and sweet- ly, at moments. You must have this chiaroscuro, this contrast. But a In common with Iris Adami Corradetti, Gina Cigna, Magda Olivero, Rosa Raisa and Eva Turner Corelli always pronounced the name “Turando.” Opposite: Giacomo Lauri-Volpi as il Duca, Met, 1923. He called Rigoletto “the opera that made my fortune.” He made his Scala and Met debuts in it and sang it more than 300 times. 159 you can’t sing some notes in falsettoneb—no more of that!—you’ve got to sing with your real voice even when you sing softly.
    [Show full text]
  • TRACING OPERATIC PERFORMANCES in the LONG NINETEENTH CENTURY Practices, Performers, Peripheries
    9 DocMus Research Publications TRACING OPERATIC PERFORMANCES IN THE LONG NINETEENTH CENTURY Practices, Performers, Peripheries Edited by Anne Kauppala, Ulla-Britta Broman-Kananen and Jens Hesselager 9 DocMus Research Publications ULLA-BRITTA BROMAN-KANANEN is a university HANNELE KETOMÄKI received her Doctor of Music degree researcher at the Sibelius Academy (University of the Arts from the Sibelius Academy in 2012. Her study examines Helsinki). In 2010–2013 she worked on the project “The Oskar Merikanto's national ideals and his activities in the Finnish Opera Company (1873–1879) from a Microhistorical music festivals by the Finnish Kansanvalistusseura. She Perspective: Performance Practices, Multiple Narrations is the manager of Academic Development at the Sibelius and Polyphony of Voice”, and later in “Opera on the Move: Academy (University of the Arts Helsinki). Transnational Practices and Touring Artists in the Long 19th Century Norden”. HILARY PORISS is Associate Dean of Academic and Faculty Affairs, and Associate Professor of Music in the College of GÖRAN GADEMAN has been since 2006 the dramaturgist Arts, Media and Design at Northeastern University. Her and casting coordinator and since 2007 associate professor research interests include the 19th-century Italian and French at the Gothenburg Opera. In his doctoral thesis he studied re- opera performance culture and aesthetics. She has authored alism and opera (Realismen på Operan, Stockholm University, Changing the Score: Arias, Prima Donnas, and the Authority 1996). His book Operabögar (Gay Opera Lovers) appeared in of Performance (2009) and co-edited Fashions and Legacies 2004. He also contributed to the New Swedish Theatre History of Nineteenth-Century Italian Opera (2010) and The Arts of (2007).
    [Show full text]
  • Bel Canto’ a Dream to Aspire To, Or an Achievable Reality
    ‘Bel Canto’ A dream to aspire to, or an achievable reality. ‘Quite a bit about the concept of bel canto has long been open to interpretation, including the meaning of this loose term itself, which literally translates as beautiful singing’1. As a passionate operatic tenor, I am fascinated in exploring bel canto singing, otherwise known as ‘The Golden Age of Song.’ What is it about those early singers that won that acclaimed title compared to opera singers today? Were they superior in their vocal instrument and was it purely through the teachings of the bel canto technique, or were there other factors at play? Tommasini from the New York Times explains that “The term did not come into fashion until midway through the 19th century”2. Does this mean the term should perhaps not become exclusive to an era and rather a term used to describe a sound quality? “Opera buffs today use the term bel canto all the time. Yet we each seem to bring a different set of assumptions to the concept”2. Over the course of this year I have significantly developed my technique as a classical singer, but the question I want to ask myself is ‘could I in this present day develop a bel canto voice?’ In order to explore these questions, I will focus on two contrasting songs. The first, ‘O del mio dolce ardor’ from Christoph Willibald Gluck’s 1770 opera Paride ed Elena and the second, ‘Bring Him Home’ from the 1980 musical Les Miserables by Claude Michel Schonberg and Alain Boublil.
    [Show full text]