Lawrence Brownlee Damien Sneed
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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. -
Lawrence Brownlee Classes and Repertoire
Statement of Acknowledgement of Traditional Land: We wish to acknowledge this land on which the University of Toronto operates. For thousands of years it has been the traditional land of the Huron- Wendat, the Seneca, and most recently, the Mississaugas of the Credit River. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land. The John R. Stratton Visitor in Music - Lawrence Brownlee, Tenor October 6, 2020 12:00pm - 2:30pm Named for a great collector of vocal music and historical recorded sound, the Stratton Visitor brings distinguished specialists in the field of voice, opera and collaborative piano to the Faculty of Music. This year we are delighted to welcome acclaimed tenor, Lawrence Brownlee who has been hailed as “an international star in the bel canto operatic repertory” (The New York Times), “one of the world’s leading bel canto stars” (The Guardian), and “one of the most in-demand opera singers in the world today” (NPR). Brownlee was named 2017 “Male Singer of the Year” by the International Opera Awards, and also serves as Artistic Advisor at Opera Philadelphia, helping the company to expand their repertoire, diversity efforts and community initiatives. This is the first of three master classes to concentrate on Art Song, Opera and Bel Canto featuring singers from our graduate and undergraduate Voice programs and pianists from our graduate program in Collaborative Piano. Art Song Master Class Morgan Reid, soprano Let the Florid Music Praise Benjamin Britten Vladimir Soloviev, piano (On this Island) Lissy Meyerowitz, mezzo-soprano La chevelure Claude Debussy Dakota Scott-Digout, piano (Trois chansons de Bilitis) Leandra Dahm, soprano St. -
Charlie Parker's YARDBIRD Music by Daniel Schnyder Libretto By
Charlie Parker’s YARDBIRD Music by Daniel Schnyder Libretto by Bridgette A. Wimberly Performed in English with English supertitles NEW YORK PREMIERE A co-production of the Apollo Theater and Opera Philadelphia April 1 and 3, 2016 The Apollo Theater PHOTOGRAPHS BY SOFIA NEGRON IMAGE 1: Tenor Lawrence Brownlee stars as Charlie Parker in the New York premiere of Charlie Parker’s YARDBIRD. IMAGES 2-3: Lawrence Brownlee as Charlie Parker, with soprano Angela Brown as his mother, Addie. IMAGE 4: Tenor Lawrence Brownlee stars as Charlie Parker in the New York premiere of Charlie Parker’s YARDBIRD. IMAGE 5: Mezzo-soprano Chrystal E. Williams as Rebecca Parker, Charlie’s first wife, with Angela Brown as Addie Parker. IMAGE 6: Doris Parker (soprano Elena Perroni), Charlie’s second wife in the opera, visits Charlie (Lawrence Brownlee). IMAGES 7-8: Dizzy Gillespie (baritone Will Liverman) and Charlie (Lawrence Brownlee) reminisce about the bebop revolution that changed the world. IMAGES 9-10: Chan Parker (soprano Emily Pogorelc), Charlie’s third wife in the opera, meets Dizzy (baritone Will Liverman) and Charlie (tenor Lawrence Brownlee) at Birdland. IMAGE 11: Dizzy Gillespie (baritone Will Liverman). IMAGE 12: Charlie Parker (tenor Lawrence Brownlee) IMAGE 13: Addie Parker (soprano Angela Brown) sings “My Boy.” IMAGE 14: The opera dramatizes Charlie’s (tenor Lawrence Brownlee, center) stay in the Camarillo mental hospital in California. IMAGES 15-16: Charlie (tenor Lawrence Brownlee) sings of his one true love, his saxophone. IMAGE 17: Addie (soprano Angela Brown) insists she will bury Charlie in Kansas City, not New York. IMAGE 18: Baroness Pannonica “Nica” de Koenigswarter (mezzo Tamara Mumford), in whose apartment Charlie died on March 12, 1955. -
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 -
Harvard College Opera Guest Artist Series Masterclass & Discussion
Harvard College Opera Guest Artist Series Masterclass & Discussion with Lawrence Brownlee Friday, December 4, 2020 12:00 PM EST “Prendi per me sei libero” from L'Elisir d'Amore G. Donizetti (1797-1848) Hagar Adam, soprano Ian Chan, Piano “Kuda, kuda, kuda vi udalilis” from Eugene Onegin P.I. Tchaikovsky (1840-1893) Alex Chen, baritone “Spiagge amate” from Paride ed Elena C.W. Gluck (1714-1787) Rebecca Araten, soprano Ian Chan, Piano “Parto, parto, ma tu ben mio” from La Clemenza di Tito W.A. Mozart (1756-1791) Benjamin P. Wenzelberg, countertenor This event was hosted by Harvard College Opera and made possible by the generous support of the Office for the Arts at Harvard and Opera for Peace. Performer Biographies HCO alumna Hagar Sara Adam is from Jerusalem, Israel-Palestine. She earned her BM in Voice Performance at The Boston Conservatory, and is currently obtaining her MM in OPera Performance at Binghamton University, NY, in collaboration with Tri-Cities OPera. Her roles include Pamina (Die Zauberflöte), Susanna (cover) and Barbarina (Le nozze de Figaro), Suor Genovieffa (Suor Angelica), Noémie (Cendrillon) and more. Alex Chen ’22 is a 20-year-old singer hailing from London. Having sung baritone roles such as Anthony (Sweeney Todd), Guglielmo (Così fan tutte), SPeaker of the TemPle (Die Zauberflöte) and Pandolfe (Cendrillon) for HCO and the Lowell House OPera, Alex has been vocally transitioning to tenor rePertoire for the Past year. He also sings as a Fellow of the Harvard University Choir and has been studying with Frank Kelley for the last two years. Hailing from New York City, Rebecca Araten ’23 studies History and Literature and Women, Gender, and Sexuality. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Antonio Salieri Stefanie Attinger, Krüger & Ko
Aufnahme / Recording: World Premiere Recordings 28./29.1.07; 29./30.9.07; 28./29.10.07 Gesellschaftshaus Heidelberg, Pfaffengrund Toningenieur und Schnitt / Sound engineer and editing: Eckhard Steiger, Tonstudio van Geest, Sandhausen Musikalischer Berater und Einführungstext / Music consultant and critical editions: Timo Jouko Herrmann English Translation: Für weitere Informationen / For further information: Dr. Miguel Carazo & Association Mannheimer Mozartorchester - Tourneebüro Foto / Photo: Classic arts gmbh · Bergstr. 31 · D-69120 Heidelberg Rosa-Frank.com Tel.: +49-(0) 6221-40 40 16 · Fax: +49-(0) 6221-40 40 17 Grafik / Coverdesign: [email protected] · www.mannheimer-mozartorchester.de Antonio Salieri Stefanie Attinger, Krüger & Ko. Vol. 1 & 2007 hänssler CLASSIC, D-71087 Holzgerlingen Ouvertüren & Ballettmusik Mit freundlicher Unterstützung von Prof. Dr. Dietrich Götze, Heidelberg Overtures & Ballet music Außerdem erschienen / Also available: Felix Mendelssohn Bartholdy Symphony No. 1 C Minor op. 11 / String Symphony No. 8 (Version with winds) / String Symphony No. 13 (Symphonic Movement) Heidelberger Sinfoniker / Thomas Fey CD-No. 98.275 Felix Mendelssohn Bartholdy Symphony No. 4 „Italian“ / String Symphonies Nos. 7 & 12 Heidelberger Sinfoniker / Thomas Fey CD-No. 98.281 Eine große Auswahl von über 700 Klassik-CDs und DVDs finden Sie bei hänssler CLASSIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Downloadmöglichkeiten und Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern Mannheimer Mozartorchester unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Thomas Fey Enjoy a huge selection of more than 700 classical CDs and DVDs from hänssler CLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens
2011 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens Robert Ward Robert Ward NATIONAL ENDOWMENT FOR THE ARTS 2011 John Conklin’s set design sketch for San Francisco Opera’s production of The Ring Cycle. Image courtesy of John Conklin ii 2011 NEA OPERA HONORS Contents 1 Welcome from the NEA Chairman 2 Greetings from NEA Director of Music and Opera 3 Greetings from OPERA America President/CEO 4 Opera in America by Patrick J. Smith 2011 NEA OPERA HONORS RECIPIENTS 12 John Conklin Scenic and Costume Designer 16 Speight Jenkins General Director 20 Risë Stevens Mezzo-soprano 24 Robert Ward Composer PREVIOUS NEA OPERA HONORS RECIPIENTS 2010 30 Martina Arroyo Soprano 32 David DiChiera General Director 34 Philip Glass Composer 36 Eve Queler Music Director 2009 38 John Adams Composer 40 Frank Corsaro Stage Director/Librettist 42 Marilyn Horne Mezzo-soprano 44 Lotfi Mansouri General Director 46 Julius Rudel Conductor 2008 48 Carlisle Floyd Composer/Librettist 50 Richard Gaddes General Director 52 James Levine Music Director/Conductor 54 Leontyne Price Soprano 56 NEA Support of Opera 59 Acknowledgments 60 Credits 2011 NEA OPERA HONORS iii iv 2011 NEA OPERA HONORS Welcome from the NEA Chairman ot long ago, opera was considered American opera exists thanks in no to reside within an ivory tower, the small part to this year’s honorees, each of mainstay of those with European whom has made the art form accessible to N tastes and a sizable bankroll. -
Les Talens Lyriques the Ensemble Les Talens Lyriques, Which Takes Its
Les Talens Lyriques The ensemble Les Talens Lyriques, which takes its name from the subtitle of Jean-Philippe Rameau’s opera Les Fêtes d’Hébé (1739), was formed in 1991 by the harpsichordist and conductor Christophe Rousset. Championing a broad vocal and instrumental repertoire, ranging from early Baroque to the beginnings of Romanticism, the musicians of Les Talens Lyriques aim to throw light on the great masterpieces of musical history, while providing perspective by presenting rarer or little known works that are important as missing links in the European musical heritage. This musicological and editorial work, which contributes to its renown, is a priority for the ensemble. Les Talens Lyriques perform to date works by Monteverdi (L'Incoronazione di Poppea, Il Ritorno d’Ulisse in patria, L’Orfeo), Cavalli (La Didone, La Calisto), Landi (La Morte d'Orfeo), Handel (Scipione, Riccardo Primo, Rinaldo, Admeto, Giulio Cesare, Serse, Arianna in Creta, Tamerlano, Ariodante, Semele, Alcina), Lully (Persée, Roland, Bellérophon, Phaéton, Amadis, Armide, Alceste), Desmarest (Vénus et Adonis), Mondonville (Les Fêtes de Paphos), Cimarosa (Il Mercato di Malmantile, Il Matrimonio segreto), Traetta (Antigona, Ippolito ed Aricia), Jommelli (Armida abbandonata), Martin y Soler (La Capricciosa corretta, Il Tutore burlato), Mozart (Mitridate, Die Entführung aus dem Serail, Così fan tutte, Die Zauberflöte), Salieri (La Grotta di Trofonio, Les Danaïdes, Les Horaces, Tarare), Rameau (Zoroastre, Castor et Pollux, Les Indes galantes, Platée, Pygmalion), Gluck -
Quaderni D'italianistica : Revue Officielle De La Société Canadienne
Maiilyn Migiel Secrets of a Sorceress: Tasso's Armida Armida appears in Canto 4 of Torquato Tasso 's Gerusalemme liber- ata. Her mission? To disseminate confusion in the Christian camp. This she accomplishes with expert techniques. She is both sorceress and seductress, hke the characters of classical and Renaissance lit- erature on whom her character is modelled: Circe, Medea, Alcina, and so forth. But though Armida is introduced as a sorceress and has infernal and magical connections through her uncle Idraote, she does not rely on her magic in order to entice the Christian soldiers into accompanying her and therefore abandoning their cause. Magic is not what keeps Rinaldo, the Christian warrior with whom she falls in love, in her power; nor is Armida' s magic effective when Rinaldo abandons her in Canto 16. Thus it seems that Armida' s magical powers come to be viewed as a function of youth and sexual charm, which can fade. But even youth and sexuality, important as they are to Armida's temporary victory, do not fully explain the tenacity of her hold on her Christian opponents. Armida's power over the Chris- tian warriors is particularly strong precisely because neither magic nor sexuality is her primary tool, and because her victims remain unaware of the source of her power. As I propose to show here, Armida's initial triumphs over the Christians and the fascination she exercises as a character derive from the unthreatened superiority of her gaze and from her control of the linguistic medium, in particular from the irrefutability of the story she narrates about her origins. -
1 a Riod a N Te
1 University of Maryland School of Music’s Maryland Opera Studio Presents ARIODANTE Music by George Frideric Handel Libretto by Antonio Salvi KAY THEATRE at The Clarice November 21 - 25, 2019 November PROGRAM University of Maryland School of Music’s Maryland Opera Studio Presents ARIODANTE Music by George Frideric Handel Libretto by Antonio Salvi Performed in Italian, with English Supertitles ABOUT MARYLAND OPERA CAST Ariodante ................................... Esther Atkinson (Nov 22, 25), Jazmine Olwalia (Nov 21, 24) MARYLAND OPERA STUDIO King of Scotland ......................................Jack French (Nov 21, 24), Jeremy Harr (Nov 22, 25) Craig Kier, Director of Maryland Opera Studio Ginevra .............................................. Judy Chirino (Nov 22, 25), Erica Ferguson (Nov 21, 24) Amanda Consol, Director of Acting Justina Lee, Principal Coach | Ashley Pollard, Manager Lurcanio...............................................Charles Calotta (Nov 21, 24) Mike Hogue (Nov 22, 25) Polinesso ..........................................................................................................Jesse Mashburn Dalinda ..........................Michele Currenti (Nov 22, 25), Joanna Zorack-Greene (Nov 21, 24) Odoardo .............................................Charles Calotta (Nov 22, 25), Mike Hogue (Nov 21, 24) ABOUT THE MARYLAND OPERA STUDIO’S CHORUS FALL OPERA PRODUCTION Abigail Beerwart, Andy Boggs, Amanda Densmoor, Henrique Carvalho, Maryland Opera Studio (MOS) singers perform in two fully staged operas. The first of these,