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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. -
Doctor Atomic
John Adams Doctor Atomic CONDUCTOR Opera in two acts Alan Gilbert Libretto by Peter Sellars, PRODUCTION adapted from original sources Penny Woolcock Saturday, November 8, 2008, 1:00–4:25pm SET DESIGNER Julian Crouch COSTUME DESIGNER New Production Catherine Zuber LIGHTING DESIGNER Brian MacDevitt CHOREOGRAPHER The production of Doctor Atomic was made Andrew Dawson possible by a generous gift from Agnes Varis VIDEO DESIGN and Karl Leichtman. Leo Warner & Mark Grimmer for Fifty Nine Productions Ltd. SOUND DESIGNER Mark Grey GENERAL MANAGER The commission of Doctor Atomic and the original San Peter Gelb Francisco Opera production were made possible by a generous gift from Roberta Bialek. MUSIC DIRECTOR James Levine Doctor Atomic is a co-production with English National Opera. 2008–09 Season The 8th Metropolitan Opera performance of John Adams’s Doctor Atomic Conductor Alan Gilbert in o r d e r o f v o c a l a p p e a r a n c e Edward Teller Richard Paul Fink J. Robert Oppenheimer Gerald Finley Robert Wilson Thomas Glenn Kitty Oppenheimer Sasha Cooke General Leslie Groves Eric Owens Frank Hubbard Earle Patriarco Captain James Nolan Roger Honeywell Pasqualita Meredith Arwady Saturday, November 8, 2008, 1:00–4:25pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from the Neubauer Family Foundation. Additional support for this Live in HD transmission and subsequent broadcast on PBS is provided by the Alfred P. Sloan Foundation. Ken Howard/Metropolitan Opera Gerald Finley Chorus Master Donald Palumbo (foreground) as Musical Preparation Linda Hall, Howard Watkins, Caren Levine, J. -
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. -
01-25-2020 Boheme Eve.Indd
GIACOMO PUCCINI la bohème conductor Opera in four acts Marco Armiliato Libretto by Giuseppe Giacosa and production Franco Zeffirelli Luigi Illica, based on the novel Scènes de la Vie de Bohème by Henri Murger set designer Franco Zeffirelli Saturday, January 25, 2020 costume designer 8:00–11:05 PM Peter J. Hall lighting designer Gil Wechsler revival stage director Gregory Keller The production of La Bohème was made possible by a generous gift from Mrs. Donald D. Harrington Revival a gift of Rolex general manager Peter Gelb This season’s performances of La Bohème jeanette lerman-neubauer and Turandot are dedicated to the memory music director Yannick Nézet-Séguin of Franco Zeffirelli. 2019–20 SEASON The 1,344th Metropolitan Opera performance of GIACOMO PUCCINI’S la bohème conductor Marco Armiliato in order of vocal appearance marcello muset ta Artur Ruciński Susanna Phillips rodolfo a customhouse serge ant Roberto Alagna Joseph Turi colline a customhouse officer Christian Van Horn Edward Hanlon schaunard Elliot Madore* benoit Donald Maxwell mimì Maria Agresta Tonight’s performances of parpignol the roles of Mimì Gregory Warren and Rodolfo are underwritten by the alcindoro Jan Shrem and Donald Maxwell Maria Manetti Shrem Great Singers Fund. Saturday, January 25, 2020, 8:00–11:05PM MARTY SOHL / MET OPERA Roberto Alagna as Chorus Master Donald Palumbo Rodolfo and Maria Musical Preparation Caren Levine*, Joshua Greene, Agresta as Mimì in Jonathan C. Kelly, and Patrick Furrer Puccini’s La Bohème Assistant Stage Directors Mirabelle Ordinaire and J. Knighten Smit Met Titles Sonya Friedman Stage Band Conductor Joseph Lawson Children’s Chorus Director Anthony Piccolo Italian Coach Loretta Di Franco Prompter Joshua Greene Associate Designer David Reppa Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ladies millinery by Reggie G. -
[Collection Title]
1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................ -
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 -
Metropolitan Opera 19-20 Season Press Release
Updated: November 12, 2019 New Productions of Porgy and Bess, Der Fliegende Holländer, and Wozzeck, and Met Premieres of Agrippina and Akhnaten Headline the Metropolitan Opera’s 2019–20 Season Yannick Nézet-Séguin, in his second season as Music Director, conducts the new William Kentridge production of Wozzeck, as well as two revivals, Met Orchestra concerts at Carnegie Hall, and a New Year’s Eve Puccini Gala starring Anna Netrebko Sunday matinee performances are offered for the first time From Roberto Alagna to Sonya Yoncheva, favorite Met singers return Debuting conductors are Karen Kamensek, Antonello Manacorda, and Vasily Petrenko; returning maestros include Valery Gergiev and Sir Simon Rattle New York, NY (February 20, 2019)—The Metropolitan Opera today announced its 2019–20 season, which opens on September 23 with a new production of the Gershwins’ classic American opera Porgy and Bess, last performed at the Met in 1990, starring Eric Owens and Angel Blue, directed by James Robinson and conducted by David Robertson. Philip Glass’s Akhnaten receives its Met premiere with Anthony Roth Costanzo as the title pharaoh and J’Nai Bridges as Nefertiti, in a celebrated staging by Phelim McDermott and conducted by Karen Kamensek in her Met debut. Acclaimed visual artist and stage director William Kentridge directs a new production of Berg’s Wozzeck, starring Peter Mattei and Elza van den Heever, and led by the Met’s Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin. In another Met premiere, Sir David McVicar stages the black comedy of Handel’s Agrippina, starring Joyce DiDonato as the conniving empress with Harry Bicket on the podium. -
Music of Samuel Barber
July 24, 2016 :: Las Puertas :: Albuquerque :: #418 Music of Samuel Barber (1910–1981) 6-year-old Moxie is attending her A performance to share the music of Samuel Barber, composer of the opera very first Chatter concert. Vanessa, performed for the first time this summer at The Santa Fe Opera. G-Ma and Poppa love Moxie. Rebecca Krynski Cox soprano | Jarrett Ott baritone Robert Tweten piano Del Sol String Quartet featuring Benjamin Kreith, Rick Shinozaki violin Charlton Lee viola | Kathryn Bates cello CHATTER SUNDAY Three Songs Opus 10 (1936) Sunday, July 31 @ 10:30am III I Hear an Army Peter Gilbert Intermezzi, world premiere Love at the Door (1934) Philip Glass Etudes No. 3, 2, 8, and 9 Four Songs Opus 13 (1940) III Sure on this Shining Night Aaron Jay Kernis Air for Violin and Piano Frederic Rzewski ABQ Slam Team poets Winnsboro Cotton Mill Blues Emanuele Arciuli piano Dover Beach Opus 3 (1931) David Felberg violin String Quartet Opus 11 (1936) Rich Boucher poet I Molto allegro e appassionata II Molto adagio (attacca) CHATTER SUNDAY III Molto allegro (come prima) 50 weeks every year at 10:30am Las Puertas, 1512 1st St NW, Abq Celebration of Silence :: Two Minutes Subscribe to eNEWS at ChatterABQ.org Videos at YouTube.com/ChatterABQ Share/follow us on social media: Hermit Songs Opus 29 (1953) · facebook.com/ChatterABQ I At Saint Patrick’s Purgatory VI Sea-Snatch · twitter.com/ChatterABQ II Church Bells at Night VII Promiscuity · instagram.com/ChatterABQ III St. Ita’s Vision VIII The Monk and His Cat Tix at ChatterABQ.org/boxoffice IV The Heavenly Banquet IX The Praises of God V The Crucifixion X The Desire of Hermitage Chatter is grateful for the support of the National Endowment for the Arts About Vanessa by Samuel Barber :: A Company Premiere Sung in English with Opera Titles in English and Spanish. -
Partenope Director Biography
Partenope Director Biography Revival Director Roy Rallo began his career at Long Beach Opera, where he helped produce 15+ new productions, and directed Mozart’s Lucio Silla, Bartok’s Bluebeard’s Castle and Strauss’ Elektra. For San Francisco Opera Center, he directed La Finta Giardiniera, The Barber of Seville, Transformations and the Schwabacher Summer Concerts. For San Francisco Opera, he revived productions of The Barber of Seville and Pique Dame and has been a staff director for 23 seasons. Long-time collaboration with Christopher Alden includes co- directing Gluck’s rarely performed comedy L’Isle de Merlin for the Spoleto Festival USA, Verdi’s Aida for Deutsche Oper Berlin and Carmen for the National theater Mannheim. Rallo made his European directing debut with Der Rosenkavalier for Den Jyske Opera; a production that was nominated for Denmark’s prestigious Reumert Prize. In Germany, he directed a critically acclaimed production of Don Pasquale for the National theater and Staatskapelle Weimar; he returned to create an original music theater piece based on the lives of Germans who grew up in the rubble of WWII called Methusalem Projekt. In France, he directed a new production of Ariadne auf Naxos for Opéra National de Bordeaux. He recently directed a new production of Così fan tutte for Portland Opera, and is a founding member of Canada’s Le Chimera Project, whose debut production of Schubert’s Winterreise has toured Canada and France. A CD recording of the project, which arranged the piece for bass-baritone Philippe Sly and klezmer ensemble, will be released in March 2019 on Analekta. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Misinterpretations of the Taming of the Shrew: Adaptations and Their Emphasis on Gender
La Salle University La Salle University Digital Commons HON499 projects Honors Program Spring 2019 Misinterpretations of The aT ming of the Shrew: Adaptations and Their mphE asis on Gender Brianna Reisenwitz [email protected] Follow this and additional works at: https://digitalcommons.lasalle.edu/honors_projects Part of the English Language and Literature Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Reisenwitz, Brianna, "Misinterpretations of The aT ming of the Shrew: Adaptations and Their mpE hasis on Gender" (2019). HON499 projects. 24. https://digitalcommons.lasalle.edu/honors_projects/24 This Honors Project is brought to you for free and open access by the Honors Program at La Salle University Digital Commons. It has been accepted for inclusion in HON499 projects by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. Brianna Reisenwitz Dr. Vincent Kling Honors 499 25 April, 2019 Misinterpretations of The Taming of the Shrew: Adaptations and Their Emphasis on Gender Certain elements of Shakespeare’s The Taming of the Shrew lead it to be viewed as a misogynistic play. It focuses on Katherine, a “shrew” who needs to get married so that her younger sister, Bianca, can get married. While she comes from a wealthy family, Katherine is not the typical wife men seek; her sister Bianca has many suitors, and they convince another man, Petruchio, to marry Katherine. After they marry, Katherine gives a long, uncharacteristic retraction speech honoring her husband and preaching why women should be submissive. -
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence.