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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. -
Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer. -
American Spiritual Program Spring 2009
American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall -
The Psychiatry of Opera
Psychiatric Bulletin (1990), 14,417-421 The psychiatry ofopera Don Giovanni MARK J?NES, Registrar, Department ofPsychological Medicine, St Bartholomew's HospItal, London EC3 In the second ofthis occasional series, Mark Jones looks at his composer father, the move to Vienna came in Mozartand his 1788 masterpiece, DonGiovanni and inter 178~/81 and was accompanied by a blossoming ofhis views Tom Sutcliffe, opera critic ofThe Guard;m; about his portra~al genIus. It was here that the vital meeting with the views on this problematical work and its on the powerful poet and intellectual, Lorenzo da Ponte stage. ~rred in 1782, and so began probably the most In these articles different aspects of our under Important collaboration of librettist and composer standing ofhuman nature as illustrated in opera will to date. Interestingly, da Ponte was a political exile tx: looked ~t. ~he title ~The Psychiatry ofOpera' you from Italy and had come to Vienna in 1782 with a tnlght feel IS shghtly mIsleading when you look at the letter of recommendation to Salieri! Mozart was a content of the articles. Yet I only intend it to be Germancomposer anxious to write Italian opera in a a broad blanket description for what I hope will city already dominated by Paisiello, Salieri and be thought-provoking pieces encompassing both the Cimarosa. These composers had far more success in 'hard' and 'soft' aspects ofpsychiatry. It is after all a their day and on 'home ground' than Mozart. complex discipline which must now take account of Certainly he was viewed with suspicion and seen as sociological and philosophical thought. -
The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. -
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's Revenge
Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip. -
Magnus Tessing Schneider Mozart Og Hans Venner Om Luigi Bassi Og Uropførelsen Af Don Giovanni
Magnus Tessing Schneider Mozart og hans venner Om Luigi Bassi og uropførelsen af Don Giovanni PUFF - en skriftserie om pædagogisk udvikling, forskning og formidling i musiklivet - 1 - PUFF Skriftserie fra VMK om pædagogisk udvikling, forskning og formidling i musiklivet Magnus Tessing Schneider Mozart og hans venner. Om Luigi Bassi og uropførelsen af Don Giovanni PUFF nr. 14-09 Esbjerg, september 2009 VMK Forlag Vestjysk Musikkonservatorium Kirkegade 61, 6700 Esbjerg. Tlf: +45 76104300 ⋅ Fax: 76104310 ⋅ e-mail: [email protected] http://www.vmk.dk/ Redaktion: Carl Erik Kühl (ansvarshavende) Anne Helle Jespersen Margrethe Langer Bro E-mail: [email protected] Tryk: Fællestrykkeriet - SUN Aarhus Universitet Universitetsparken, bygn. 1163 8000 Århus C. ISBN 978-87-89919-05-8 - 2 - - 3 - Magnus Tessing Schneider MOZART OG HANS VENNER Om Luigi Bassi og uropførelsen af ’Don Giovanni’ Indledning I 1700-tallet blev italienske operaer i vid udstrækning skrevet til bestemte kompagnier, og sjældent med genopsætning i tankerne. Fra et historisk synspunkt vil det sige, at partiturerne i yderste konsekvens er at betragte som levn fra teateropsætninger, der aldrig kan genskabes, snarere end som selvstændige kunstværker. Mozarts operaer var ingen undtagelse, skønt han i 1800-tallet blev taget til indtægt for en ny, romantisk, musikopfattelse, der dyrkede det ideale, afsluttede værk. Om Don Giovanni skal han f.eks. have sagt, at den ikke var ”skrevet til Wien, mere til Prag, men først og fremmest til mig og mine venner”. – Det morede ham åbenbart, at operaens fulde indhold kun blev fattet af de indforståede, men den var stadig skrevet med henblik på én konkret opsætning. Det vil også sige, at den blev skabt til et helt bestemt hold af sangere, og skønt Mozart fastholdt, at ”hvad terzetter og kvartetter angår, da må man give komponisten frie hænder”, indrømmede han selv, at han holdt af ”at få en arie til at passe godt til en sanger, ligesom en skrædder kan lide at lave den rette dragt til en kunde”. -
The Cleveland Opera: Don Giovanni at First Baptist Church (April 8)
The Cleveland Opera: Don Giovanni at First Baptist Church (April 8) by Robert Rollin On Saturday night, April 8, The Cleveland Opera gave an outstanding performance of Mozart’s Don Giovanni at First Baptist Church in Shaker Heights. Despite the venue’s awkward acoustics and lack of a pit for the sizeable orchestra, conductor Grzegorz Nowak led a well-balanced performance that allowed the singers to be heard clearly. The opera flowed beautifully through its many intricate arias, recitatives, and ensembles, and all eight leads were in fine voice. Baritone Lawson Alexander was terrific as Don Giovanni. His powerful, darkly-hued voice brought the character’s callous licentiousness to life. Pacing was excellent during the famous duet “Là ci darem la mano,” when Don Giovanni attempts to seduce the peasant girl Zerlina. Bass Nathan Baer was outstanding as the servant Leporello, especially during the “Catalogue Aria,” when he lists the womanizing title character’s many “conquests” by country. Baer possesses a magnificent voice, although at times it was difficult to hear him over the thick accompaniment. Soprano Dorota Sobieska sparkled as Donna Anna. Her light soprano floated beautifully in the highest range. She and her love interest Don Ottavio (sung by tenor Kyle Kelvington) skillfully negotiated their virtuosic coloratura passages. Rachel Morrison, as Donna Elvira, sang with a gorgeous full tone, as did fellow soprano Susan Fletcher, as Zerlina, while bass Christopher Aldrich depicted Masetto’s peasant background with fine vocal color and strong delivery. Bass Adam E. Shimko, as the Commendatore, was vocally solid but lacked the dark timbre needed for the character. -
Idomeneo Synopsis
Idomeneo Synopsis Background Helen, the beautiful wife of King Menelaus of Greece, was carried off by Paris, son of King Priam of Troy, triggering the Trojan War. Agamemnon, Menelaus's brother, rallied the other Greek kings and joined forces to lay siege to the city of Troy. One of Agamemnon's allies was King Idomeneo of Crete, whose army helped to deliver a victory over the Trojans. After ten long years of war, Idomeneo is finally on his way home. Some of his forces have already returned, bringing back Trojan captives including Priam's daughter, Princess Ilia. The ship carrying Ilia was hit by a storm and sank, but she was rescued from the waves by Idomeneo's son, Idamante. Upon his own return from war, Agamemnon was murdered by his wife, Clytemnestra, and her lover, Aegisthus; Elettra's brother, Orestes, took revenge on the unfaithful by killing them both. Elettra fled from their home in Argos, and is now taking refuge in Crete. ACT I Island of Crete, c. 1200 B.C. At the palace, Ilia is grieving for her father and brothers who were killed by the Greek army in the siege on Troy. But while she hates Idomeneo, she has fallen in love with his son, Idamante, who has ruled Crete in his father's absence ("Padre, germani, addio!"-Father, brothers, farewell!). Although Idamante proclaims his love for her, Ilia, cannot bring herself to admit her feelings for him ("Non ho colpa"-I am not guilty). As a gesture of goodwill, Idamante releases the Trojan captives; they join the Cretans in rejoicing this newfound peace ("Godiam la pace"-Let us enjoy peace). -
Frances Stark's the Magic Flute
FRANCES STARK’S THE MAGIC FLUTE (ORCHESTRATED BY DANKO DRUSKO) A PEDAGOGICAL OPERA - CONDUCTOR AS COLLABORATOR by Danko Drusko Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Arthur Fagen, Research Director & Chair ______________________________________ Gary Arvin ______________________________________ Betsy Burleigh ______________________________________ Walter Huff November 30, 2018 ii Copyright © 2018 Danko Drusko iii To my mother, who has always been my greatest role model, supporter, and inspiration in mastering life. To my father, who died 22 years ago, and with whom I wish I had just spent a little more time. I will always remember you. To Ameena, who supported me throughout this process. iv Acknowledgements I would like to express the deepest appreciation to my committee research director, Professor and Maestro Arthur Fagen, who has given me the opportunity to study under him and learn his craft. He continually supported my endeavors and spirit of adventure in regard to repertoire and future projects, as well as inspired in me an excitement for teaching. Without his guidance throughout the years this dissertation would not have been possible. I would like to thank my committee members, Professor Betsy Burleigh and Professor Walter Huff, whose professional and human approach to music-making demonstrated to me that working in this field is more than merely fixing notes and also involves our spirit. -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct.