The Cambridge Companion to Seventeenth-Century Opera Edited by Jacqueline Waeber Frontmatter More Information
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
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 -
Indice Dei Nomi E Delle Opere Citate
INDICE DEI NOMI E DELLE OPERE CITATE A Sonate a tre, op. 1, 135 AA.VV. Aldrovandini, Giuseppe Antonio Il Demofoonte, 258 155, 171 Zenobia in Palmira, 255 Cesare in Alessandria, 155 Abbarelli, Luigi, 161 Eurilla e Nesso, 155 Abbatini, Antonio Maria, 65 Mirena e Floro, 155 La comica del cielo, 68, 75, 84 Semiramide, 155, 171 Abos, Girolamo, 357 Alessandro VII (Chigi, Fabio), Accademico Palladio (G.B.), 296 papa, 63 Intermezzi in musica, 296 Alessandro VIII (Pietro Vito Acciaiuoli (Acciaoli), Filippo, 69‑ O��oboni), papa, 64, 118, 120‑122, 70, 83, 96, 109 129, 135‑136, 139, 149‑150 Chi è cagion del suo mal pianga Alfani, Francesco, 297‑298 sé stesso, 69, 88 Alfonso II d’Este, duca di Ferrara, L’Empio punito, 66‑67, 69, 77, 18 79, 84, 90‑91, 93, 100, 109, Alfonso VI, re del Portogallo, 132 111, 115 AlfonzeLi, Beatrice, 305 Il Girello, 66, 69, 71, 76, 78, 85, Aliprandi, Ines, 165 89‑90, 94, 101, 109, 115 Allacci, Lione (Leone), 6, 17, 224 Il silenzio d’Arpocrate, 83 Allouache, Joan E., 118 La sincerità con la sincerità Alm, Irene M., 68, 78, 84‑85, 88, 90, ovvero il Tirinto, 67, 69, 74, 109 81, 83, 101, 103, 110, 114 Altamura, Antonio, 350, 362, 379, Il Tito, 68‑69, 75, 77, 80, 88, 90, 384‑386, 388, 391, 393, 399, 412‑ 96‑97 413, 415, 421, 425‑428, 434, 436, Ademollo, Alessandro, 63, 80 439 Agazzari, Agostino, 17 Altieri, famiglia, 71‑72 Eumelio, 17 Altieri, Emilio Bonaventura, v. Intermedi, 17 Clemente X, papa Agostini, Lodovico, 14 Álvarez‑Ossorio Alvariño, Il Nuovo Echo, 14 Antonio, 255 Agostini, Pietro Simone, 69 Amaini, Carlo, 224, 229 Gl’inganni innocenti, overo Amati, Antonio, 285, 297‑298 L’Adalinda, 67, 69, 76, 80‑81, Ambrosio, Luca, 63, 66, 70 84, 103‑104, 112, 114 Amicone, Antonio, 359 Ajola, Filippo, 296 Andreini, Giovanni BaLista, 19 Albani, Giovan Francesco, v. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation. -
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. -
THE MESSA DI VOCE and ITS EFFECTIVENESS AS a TRAINING EXERCISE for the YOUNG SINGER D. M. A. DOCUMENT Presented in Partial Fulfi
THE MESSA DI VOCE AND ITS EFFECTIVENESS AS A TRAINING EXERCISE FOR THE YOUNG SINGER D. M. A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Diane M. Pulte, B.M., M.M. *** The Ohio State University 2005 Dissertation Committee: Dr. Karen Peeler Approved by Dr. C. Patrick Woliver ______________ Adviser Dr. Michael Trudeau School of Music ABSTRACT The Messa di voce and Its Effectiveness as a Training Device for the Young Singer This document is a study of the traditional Messa di voce exercise (“placing of the voice”) and it’s effectiveness as a teaching tool for the young singer. Since the advent of Baroque music the Messa di voce has not only been used as a dynamic embellishment in performance practice, but also as a central vocal teaching exercise. It gained special prominence during the 19th and early 20th century as part of the so-called Bel Canto technique of singing. The exercise demonstrates a delicate balance between changing sub-glottic aerodynamic pressures and fundamental frequency, while consistently producing a voice of optimal singing quality. The Messa di voce consists of the controlled increase and subsequent decrease in intensity of tone sustained on a single pitch during one breath. An early definition of the Messa di voce can be found in Instruction Of Mr. Tenducci To His Scholars by Guisto Tenducci (1785): To sing a messa di voce: swelling the voice, begin pianissimo and increase gradually to forte, in the first part of the time: and so diminish gradually to the end of each note, if possible. -
Ariodante G.F
FUNDACIÓN TEMPORADA BALUARTE 2017-2018 #13 FUNDAZIOA DENBORALDIA deAriodante G.F. Haendel Ópera en concierto LES ARTS FLORISSANTS DIRECTOR: WILLIAM CHRISTIE Viernes 16 Marzo 2018 20:00h/etan 2018ko martxoak 16, ostirala C M Y CM MY CY CMY K FUNDACIÓN TEMPORADA BALUARTE 2017-2018 FUNDAZIOA DENBORALDIA Ariodante Ópera en versión concierto Les Arts Florissants Dirección: William Christie Ópera en tres actos. Música de Georg Friedrich Haendel (1685-1759). Libreto de Antonio Salvi, basado en el libreto de ‘Ginevra, Principessa di Scozia’ (1708) de Giacomo Antonio Perti, sobre los cantos IV y VI del poema ‘Orlando furioso’ (1532) de Ludovico Ariosto. Estrenada en el Covent Garden Theatre de Londres el 8 de enero de 1735. C M Y CM Ariodante Kate Lindsey, mezzo-soprano MY Ginevra Chen Reiss, soprano CY Dalinda Hila Fahima, soprano CMY Polinesso Christophe Dumaux, contratenor Lurcanio Rainer Trost, tenor K Rey de Escocia Wilhelm Schwinghammer, bajo Odoardo Anthony Gregory, tenor DURACIÓN APROXIMADA Parte I: 75 MIN. / Descanso / Parte II: 90 MIN. TEMPORADA 2017-2018 DENBORALDIA 3 Honor, amor, perdón Londres, 8 enero de 1735. Georg Friedrich Haendel (Halle, 1685 - Londres, 1759) estrenaba su Ariodante en el Covent Garden de Londres. Sería la primera de sus partituras para las temporadas de este teatro londinense, tras su ruptura con el King’s Theatre. En la capital británica se sostenía por aquel entonces una pugna entre el citado Covent Garden y la Ópera de la Nobleza. La prime- ra contaba con el apoyo de la Casa Real (no en vano pervive hoy en día su nombre como Royal Opera House) si bien la segunda disfrutaba del respaldo del Príncipe de Gales. -
A Systematic Approach to Voice the Art of Studio Application
A Systematic Approach to Voice The Art of Studio Application Kari Ragan 5521 Ruffin Road San Diego, CA 92123 e-mail: [email protected] Website: https://www.pluralpublishing.com Copyright © 2020 by Plural Publishing, Inc. Typeset in 11/13 Garamond by Flanagan’s Publishing Services, Inc. Printed in the United States of America by Integrated Books International All rights, including that of translation, reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording, or otherwise, including photocopying, recording, taping, Web distribution, or information storage and retrieval systems without the prior written consent of the publisher. For permission to use material from this text, contact us by Telephone: (866) 758-7251 Fax: (888) 758-7255 e-mail: [email protected] Every attempt has been made to contact the copyright holders for material originally printed in another source. If any have been inadvertently overlooked, the publisher will gladly make the necessary arrangements at the first opportunity. Library of Congress Cataloging-in-Publication Data: Names: Ragan, Kari, author. Title: A systematic approach to voice : the art of studio application / Kari Ragan. Description: San Diego, CA : Plural Publishing, Inc., [2020] | Includes bibliographical references and index. Identifiers: LCCN 2020006683 | ISBN 9781635502237 (paperback) | ISBN 1635502233 (paperback) | ISBN 9781635502305 (ebook) Subjects: MESH: Voice -
Musique De L'œil
ARTAMAG' FOCUS MUSIQUE DE L’ŒIL 13 NOVEMBRE 2015 | JEAN-CHARLES HOFFELÉ La musique se voit dans la peinture vénitienne, mieux, elle se montre, de la trompette de la Gloire de Giuseppe Angeli au « concertino » qui accompagne les joueurs de cartes de Pietro Longhi nommant d’ailleurs son tableau. Instruments pour les scènes mythologiques ou les « moralités », fresques où se mirent la dramaturgie du théâtre d’opéra que Venise invente puis réinvente sans cesse, concerts de cordes et de bois qui rappellent la pratique instrumentale intimement liée aux Ospedali, c’est tout ce répertoire pictural qu’Olivier Lexa parcourt au long des deux cent pages du livre d’art qu’il consacre à ce sujet inusable : « La musique à Venise ». Période : de Monteverdi à Vivaldi ; sujet : toiles, fresques, apparat, pratique domestique, et évidemment opéra où entre décors, costumes, dramaturgie, l’auteur suit l’évolution du goût vénitien. En refermant cet ouvrage magnifique qui va chercher parfois dans les parts les moins courues du répertoire pictural de la Sérénissime, je me dis que le sujet n’avait pas été traité avec tant d’à propos et une si profonde sensibilité. C’est qu’Olivier Lexa « entend » cette peinture musicale dans les deux acceptations du terme. Il est l’auteur de la première biographie française de l’autre père de l’opéra vénitien avec Monteverdi, Francesco Cavalli – en fait pour moi, son véritable créateur – un ouvrage très documenté au style enlevé que l’on retrouve toujours aussi brillant et juste dans le nouveau venu, comme dans le prologue qui pare le magnifique livre-disque concocté par Mariana Florès et Leonardo García Alarcón, où se résume en ses pages les plus éloquentes ou les plus touchantes tout le théâtre lyrique de Cavalli. -
Profiling Women in Sixteenth-Century Italian
BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and -
Les Arts Florissants William Christie Direction Emmanuelle De Negri Soprano Katherine Watson Soprano Tim Mead Contreténor James Way Ténor Padraic Rowan Basse
2019 20:00 07.10.Grand Auditorium Lundi / Montag / Monday Voyage dans le temps – musique ancienne et baroque / Greatest Hits Les Arts Florissants William Christie direction Emmanuelle de Negri soprano Katherine Watson soprano Tim Mead contreténor James Way ténor Padraic Rowan basse 80’ — 70’ Le clavecin de ce concert est un instrument à 2 claviers, à 16’, fait par M. Kramer d’après Chr. Zell (Hambourg, première moitié du 18e siècle). Georg Friedrich Händel (1685–1759) Messiah (Le Messie / Der Messias) HWV 56. A Sacred Oratorio (Charles Jennens) (1741) First Part Scene 1: Isaiah’s prophecy of salvation N° 1: Sinfonia: Grave – Allegro moderato N° 2: Accompagnato (tenor): «Comfort ye my people» (Isa 40, 1-3) N° 3: Air (tenor): «Ev’ry valley shall be exalted» (Isa 40, 4) N° 4: Chorus: «And the glory of the Lord shall be revealed» (Isa 40, 5) Scene 2: The coming judgment N° 5: Accompagnato (bass): «Thus saith the Lord of Hosts» (Hag 2, 6-7; Mal 3, 1) N° 6: Air (alto): «But who may abide the day of His coming» (Mal 3, 2) N° 7: Chorus: «And He shall purify» (Mal 3, 3) Scene 3: The prophecy of Christ’s birth Recitative (alto): «Behold, a virgin shall conceive» (Isa 7, 14; Matt 1, 23) N° 8: Air (alto) and Chorus: «O thou that tellest good tidings to Zion» (Isa 40, 9; 60, 1) N° 9: Accompagnato (bass): «For behold, darkness shall cover the earth» (Isa 60, 2–3) N° 10: Air (bass): «The people that walked in darkness» (Isa 9, 2) N° 11: Chorus: «For unto us a Child is born» (Isa 9, 6) Scene 4: The annunciation to the shepherds N° 12: Pifa: Larghetto -
Plates, Maps, Figures and Tables
PLATES, MAPS, FIGURES AND TABLES Plates 1 Porta S. Gallo, the northern-most medieval gate of the city of Florence. Photo: Author. 2 A model of the ghetto in early modern Florence. By permission of the Ghetto Mapping Project and the Eugene Grant Research Program on Jewish History and Culture in Early Modern Europe, Medici Archive Project, Florence. 3 Luigi Baccio del Bianco, The Plague in Florence in 1630 (late seventeenth century). Venerabile Arciconfraternita della Misericordia di Firenze. Akg-images / Rabatti and Domingie. 4 Justus Sustermans, Ferdinando II de’ Medici as a Young Man (1628). Palazzo Pitti, Florence. 5 Stefano Bonsignori, Map of the City of Florence (1584). Details: a. Hospital of Messer Bonifazio; b. Convent of S. Onofrio (1584); c. Hospital of S. Maria Nuova. By permission of DECIMA. 6 Tickets sent by the Sanità to the Misericordia. a. Monna Lisabetta vedova; b. Benedetto di Antonio Confortini. AVamfi, Morini C 253, under dates, 16 and 28 June 1633. By permission of the Venerabile Arciconfraternita della Misericordia di Firenze / Photo: Author. 7 Louis Rouhier, Fumigators Disinfecting Household Objects, from The Diligent Orders and Measures Undertaken in the City of Rome during the Plague (Rome, 1657). Wellcome Collection. 8 A Physician Wearing a Seventeenth-century Plague Preventive Costume (c. 1910). Wellcome Collection. 9 A handbill with a recipe for an unguent against plague (1630). ASF, Miscellanea Medicea 389, XVIII, 3.26. By permission of the Ministero per i Beni e le Attività Culturali / Archivio di Stato di Firenze, Prot. ix x PLATES, MAPS, FIGURES AND TABLES N.1233/CL 28.28.01/1184 / Photo: Author.