DOCSLIB.ORG

Anastasia Casting Breakdown

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anastasia Casting Breakdown FENWICK BLACKFRIARS THEATRE GUILD ANASTASIA CASTING NOTICE Required: Please prepare a brief contemporary musical theatre song in the style of Ahrens and Flaherty. Must show range and legit voice. Please slate (Name, Age, Title of Audition Piece) before singing. Actors must submit their 60 second (32 bar) cut HERE no later than 5PM on August 25, 2021. Suggested: Upload a copy of your headshot and resume to the same submission form. See HERE for suggested resume template/style. BREAKDOWN ANYA: 24-27 When we first meet Anya she is a lost soul but with great strength, pride, determination, and dignity; as the story progresses, she begins to discover her sense of self and the possibility that she may be the missing daughter of Tsar Nicholas; not looking for a fairy tale princess; when Anya is transformed into the beautiful Anastasia it should have the same effect and surprise as Eliza Doolittle entering the ball Vocal Part: Soprano with belt range Vocal Range: A3-Eb4 DOWAGER EMPRESS: 60-74 The formidable and imperious grandmother of Anastasia; Anastasia is her favorite grandchild and she loves her with all her heart; she never truly gives up the belief that her granddaughter might be alive, but finally after years of enduring Anastasia pretenders she becomes hardened and bitter; it is only when she meets Anya that her old spirit begins to return; even when she knows that Anya may not be Anastasia, she realizes that we all need our dreams and we need the truth; actress must have elegance, beauty, and a regal bearing Vocal Part: alto or actress who is very comfortable with singing Vocal Range: F3-Bb4 FENWICK BLACKFRIARS THEATRE GUILD DMITRY: 24-27 An opportunist trying to make it on the streets of Russia by selling stolen objects from the Tsarist past; he is the prince of St. Petersburg's black market; he creates the scheme to find an Anastasia impersonator in order to gain the reward for her safe return; he is smooth, persuasive, and a real operator; must have a sense of danger, edginess, and charisma; not a typical romantic leading man, although he and Anya eventually fall in love Vocal Part: baritenor Vocal Range: A2-G4 (A4) VLAD POPOV: 44-54 Before the revolution Vlad was a minor functionary at the imperial court; he is Dmitry's right-hand man and because of his romantic relationship with Lily he arranges a meeting between Anya and the Dowager Empress; actor must have wit, style, and be a character comedian with panache Vocal Part: baritone Vocal Range: A2-F4 GLEB: 34-39 A member of the Chekist secret police; a zealot with tremendous intensity and a dangerous desirability; as the play progresses, we see him rise in power and position within the political party; he is in love with Anya but would not be above killing her if necessary Vocal Part: baritenor Vocal Range: A2-Gb4 COUNTESS LILY MALEVSKY-MALEVITCH; early 50s The voluptuous confidante/lady-in-waiting to the Dowager Empress. She’s delightful when she’s not with the Dowager but also compassionate, respectful, and good at her job. She doesn’t take her romantic relationship with Vlad too seriously. Must be a juicy character comedienne with strong physicality Vocal Part: Mezzo Soprano with comic belt. YOUNG ANYA: 6 The daughter of the Tsar of Russia; a sweet and impressionable young princess; beautiful soprano voice. FENWICK BLACKFRIARS THEATRE GUILD SUPPORTING ROLES: Tsarina Alexandra / Isadora Duncan Suitor/Hotel Manager Suitor/Prince Siegfried in Swan Lake Comrade/Coco Chanel Tsar Nicholas II/Count Ipolitov Comrade/Gertrude Stein Gorlinsky/Pablo Picasso Comrade/Ernest Hemingway/Count Leopold Maria Romanov/Marfa/Odette in Swan Lake Tatiana Romanov/Tatyana/Josephine Baker Comrade/Russian Doorman Von Rothbart in Swan Lake / Django Reinhardt Olga Romanov/ Comrade/ Cygnet in Swan Lake DIVERSITY/INCLUSION Fenwick BFG is committed to diversity and strives to engage in a policy of equal opportunity designed to promote a positive model of inclusion. As such, BFG encourages students of all ethnicities, gender identities, and ages, as well as performers with disabilities, to audition. QUESTIONS Please direct any questions/concerns to Mr. Faille at [email protected].
Load more

Recommended publications
  • Gioachino Rossini
    GIOACHINO ROSSINI: DESTREZAS VOCALES EN SU DISCURSO MELÓDICO Proyecto de grado para optar al título de MAESTRO EN MÚSICA CON ÉNFASIS EN CANTO LÍRICO Autor: JULIO CÉSAR SALAZAR MOLINA Asesor: CARLOS GODOY PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES CARRERA DE ESTUDIOS MUSICALES BOGOTA – 20/07/2010 ÍNDICE OBJETIVOS 3 INTRODUCCIÓN 4 1. METODOLOGÍA 5 2. CONTEXTO HISTÓRICO 5 3. EL ESPLENDOR DE LOS CASTRATI 7 4. LA TRADICIÓN DEL BEL CANTO 8 4.1 EL LEGATO 8 4.2 EL VIBRATO 8 4.3 EL PORTAMENTO 9 4.4 LA COLORATURA 10 5. ROSSINI Y LA DESTREZA VOCAL 10 5.1. MOZART, UN ANTECEDENTE EN EL CLASICISMO 11 5.2. EL CROMATISMO Y LA EXPRESIÓN DE EMOCIONES 12 5.3. LA HOMOGENEIDAD DEL TIMBRE 13 5.4 LA ACENTUACIÓN DE LAS PALABRAS 16 5.5 ASPECTOS VOCALES DEL TENOR ROSSINIANO 18 6. CONCLUSIONES 19 7. BIBLIOGRAFÍA 20 APÉNDICES 21 2 GIOACCHINO ROSSINI: DESTREZAS VOCALES EN SU DISCURSO MELÓDICO UN ANÁLISIS INTERPRETATIVO BASADO EN PIEZAS ROSINIANAS PARA TENOR OBJETIVO GENERAL Observar las principales características del discurso melódico rosiniano e identificar las destrezas vocales requeridas con el fin de tomar decisiones interpretativas para el repertorio tratado, basadas en el conocimiento adquirido durante la carrera. OBJETIVOS ESPECÍFICOS Contextualizar el tratamiento rosiniano del instrumento vocal dentro de los lineamientos estéticos del bel canto y reconocer sus posibles antecedentes en el clasicismo para así definir una línea evolutiva en el desarrollo del estilo. Reconocer la manera particular en la cual se deben aplicar dentro de este estilo los elementos técnicos trabajados durante el proceso de formación vocal adquirido en la carrera, como son: el legato, el vibrato, el fraseo, la respiración, la ornamentación, la coloratura, las dinámicas, la articulación y la dicción, entre otros.
    [Show full text]
  • Sixth Sunday After Pentecost Sexto Domingo Después De Pentecostés
    click below to see the service bulletin / haga clic a continuación para ver el boletín de servicio: Sixth Sunday after Pentecost Sexto Domingo después de Pentecostés 1 St. John’s Episcopal Church on the Green Welcomes You July 4, 2021 Sixth Sunday after Pentecost Holy Eucharist: Rite Two 9:30 Prelude Music Opening Sentences BCP 355 Blessed be God: Father, Son, and Holy Spirit. And blessed be his kingdom, now and for ever. Amen. Almighty God, to you all hearts are open, all desires known, and from you no secrets are hid: Cleanse the thoughts of our hearts by the inspiration of your Holy Spirit, that we may perfectly love you, and worthily magnify your holy Name; through Christ our Lord. Amen. Gloria BCP 356 Glory to God in the highest, and peace to his people on earth. Lord God, heavenly King, almighty God and Father, we worship you, we give you thanks, we praise you for your glory. Lord Jesus Christ, only Son of the Father, Lord God, Lamb of God, you take away the sin of the world: have mercy on us; you are seated at the right hand of the Father: receive our prayer. For you alone are the Holy One, you alone are the Lord, you alone are the Most High, Jesus Christ, with the Holy Spirit, in the glory of God the Father. Amen. 2 The Collect of the Day BCP 357 The Lord be with you. And also with you. Let us pray. O God, you have taught us to keep all your commandments by loving you and our neighbor: Grant us the grace of your Holy Spirit, that we may be devoted to you with our whole heart, and united to one another with pure affection; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever.
    [Show full text]
  • 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]
  • Kenneth E. Querns Langley Doctor of Philosophy
    Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c.
    [Show full text]
  • Musical Voices of Early Modern Women 1St Edition Pdf, Epub, Ebook
    MUSICAL VOICES OF EARLY MODERN WOMEN 1ST EDITION PDF, EPUB, EBOOK Thomasin LaMay | 9781351916288 | | | | | Musical Voices of Early Modern Women 1st edition PDF Book Charles C. The band formed in , with folk musician Mike Settle guitar and backing vocals and the operatically-trained Thelma Camacho lead vocals completing the lineup. Learn how and when to remove these template messages. Most serious collectors want the 'true first edition' - the 'first edition, first printing' - and sometimes detective work is required to identify which edition that is. There are a number of these type of sellers out there. The third single from the album, a version of Merle Haggard 's "Today I Started Loving You Again" reached the lower regions of the country charts in mid Choral Opera Lied Vocables. Monumental tried to give them just this. The Guardian notes that Tolkien inscribed it with a poem in Old English, which roughly translates to:. American country rock group. As with the Ordinary, the earliest settings are in plainchant, and troping also existed in the Propers. The current retail value of your book is probably somewhere in that neighborhood. Slowly growing apart from the others, Camacho began to feel restricted by the band in a number of ways. Today is National Voter Registration Day! Each time a publisher releases a new instance of the same title, or when a book is released in a new format, these may also be considered first edition books. Women are typically divided into three groups: soprano , mezzo-soprano , and contralto. Recorded over six months in , and released in March , The Ballad of Calico was written by future star Michael Murphey and the First Edition's musical director and arranger Larry Cansler.
    [Show full text]
  • In the United States Bankruptcy Court for the District of Delaware
    IN THE UNITED STATES BANKRUPTCY COURT FOR THE DISTRICT OF DELAWARE In re: ) Chapter 11 ) PACIFIC ENERGY RESOURCES LTD., et al.,' ) Case No. 09-10785 (KJC) ) (Jointly Administered) Liquidating Debtors. ) AFFIDAVIT OF SERVICE STATE OF CALIFORNIA ) ) ss: COUNTY OF LOS ANGELES ) Ann Mason, being duly sworn according to law, deposes and says that she is employed by the law firm of Pachulski Stang Ziehl & Jones LLP, attorneys for the Debtors in the above- captioned action, and that on the 5 th day of October 2012 she caused a copy of the following documents to be served upon the parties on the attached service lists in the manner indicated: Liquidating Debtors’ Notice of Motion for Order Approving Assignment of Assets to Hilcorp Alaska, LLC and Distribution of the Proceeds Thereof ("Notice") Liquidating Debtors’ Motion for Order Approving Assignment of Assets to Hilcorp Alaska, LLC and Distribution of the Proceeds Thereof ("Motion") Because the service list was so large (nearly 9,000 parties), the copies of the Motion that were served on parties in interest other than the core service list did not contain copies of Exhibits A, B or D. However, the service copies of the Motion and the Notice advised parties in interest that they can obtain copies of Exhibits A, B and D by making a request, in writing, to counsel for the Liquidating Debtors at the address listed in the signature block to the Motion. The Liquidating Debtors (and the last four digits of each of their federal tax identification numbers) are: Pacific Energy Resources Ltd. (3442); Pacific Energy Alaska Holdings, LLC (tax I.D.
    [Show full text]
  • Songs by Title
    Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C.
    [Show full text]
  • Anastasia May 28- June 2, 2019
    Anastasia May 28- June 2, 2019 Tuesday, Wednesday, and Sunday Evening Price Level Group (10+) Premium $89.10 A $74.25 B $64.35 C $49.50 D $39.60 Inspired by the beloved films, the romantic and Thursday Evening, Saturday Matinee, and Sunday adventure-filled new musical ANASTASIA is on a journey Matinee to Fort Worth at last! Price Level Group(10+) Premium $113.85 From the Tony Award®-winning creators of the A $94.05 Broadway classic Ragtime, this dazzling show transports B $84.15 us from the twilight of the Russian Empire to the C $64.35 euphoria of Paris in the 1920s, as a brave young woman D $54.45 sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, Anya *Please note: There is NO group discount available for enlists the aid of a dashing conman and a lovable ex- Friday and Saturday Evening performances aristocrat. Together, they embark on an epic adventure Payment Policies and Procedure: to help her find home, love, and family. Group minimum is 10. ANASTASIA features a book by celebrated playwright 25% is due within two (2) weeks of placing the Terrence McNally, a lush new score by Stephen Flaherty reservation. (music) and Lynn Ahrens (lyrics) with direction by Tony Final payment is due 30 days prior to the show’s Award® winner Darko Tresnjak. opening night performance. All groups have a one-time $10 processing fee. All sales are final. There are no exchanges or Anastasia refunds given on group orders.
    [Show full text]
  • Tokyo Takarazuka Theater(TOKYO) Jan.8-Feb.21 2021
    Tokyo Takarazuka Theater(TOKYO) Jan.8-Feb.21 2021 Mitsui-Sumitomo Card Musical "ANASTASIA THE MUSICAL" Book:TERRENCE McNALLY Music:STEPHEN FLAHERTY Lyrics:LYNN AHRENS Inspired by the Twentieth Century Fox Motion Picture by special arrangement with Buena Vista Theatrical From the play by Marcelle Maurette as adapted by Guy Bolton Adaptation and direction by Daichi Inaba Exclusive Representation in Japan By BROADWAY ASIA COMPANY, LLC www.broadwayasia.com Commissioned by Dmitry Bogachev Original Broadway Producers: Stage Entertainment, Bill Taylor, Tom Kirdahy, Hunter Arnold On sale from: December 27, 2020, at 10:00 AM(JST) - Price SS Seat : 12,500 / S Seat : 9,500 / A Seat : 5,500 / B Seat : 3,500 Unit: Japanese Yen (tax included) Story --- "ANASTASIA THE MUSICAL" The story begins in the early 20th century in St. Petersburg, Russia. One winter night, Anastasia, the youngest daughter of Tsar Nicholas II, receives a music box from her beloved grandmother, the Dowager Empress Maria, with the words "Think of me when you play it." After then, the Dowager Empress moves to Paris. Years later, Anastasia has grown into a beautiful 17-year-old princess. However, the Romanovs are attacked by the Bolsheviks during a ball at the palace. The execution of the royal family brings an end to the glorious Romanov dynasty. Ten years have passed since the Russian Revolution. While St. Petersburg is still in turmoil, there is a rumor going around that one Romanov daughter Anastasia may have survived. Dmitry, a con man who has committed petty crimes to survive in the chaotic times, hears that the Dowager Empress is offering a huge reward for finding Anastasia.
    [Show full text]
  • Harpercollins Canada, Limited, 1998 Anastasia Meets Rasputin Marco Pavia 1998 9780061070860 12 Pages
    HarperCollins Canada, Limited, 1998 Anastasia Meets Rasputin Marco Pavia 1998 9780061070860 12 pages Anastasia Meets Rasputin Anastasia My First Jumbo Book of Letters Introducing Anastasia and Friends Anastasia Goes to a Party P.J. Funnybunny's Bag of Tricks Big Bear, Little Bear Pooka Visits Paris anastasia meets rasputin. crowfeathers , Published on Feb 19, 2017. 4,754 views. Anastasia - Once upon a December (Eu Portuguese). Disney em pt-pt. Anastasia Trailer 1997. AnimatedMoviesC. Anastasia - The Reunion English (BluRay HD). Anastasia Romanov. Bartok the Magnificent. YamiBakura. Arcadia Praline. Anastasia - Dimitri meets Anya fandub collab w/ alanb2013. Snowlette VA. Il mio inizio sei tu - Anastasia. Llampross. Anastasia - Once Upon A December. Abbie Rooney. Anastasia fight rasputin Anastasia tries kill rasputin Anastasia kill rasputin. "You think you can banish the great Rasputin?" Anastasia fight rasputin. Anastasia tries kill rasputin. Anastasia kill rasputin. Add a photo to this gallery. Retrieved from "http://foxsanastasia.wikia.com/wiki/Rasputin? oldid=6877". Categories: Characters. Anastasia Meets Rasputin by Marco Pavia, Fox Animation 368 x 400 jpeg 28 КБ. www.pinterest.com. gingerbreadlily: fuckyeahnondisney: Anastasia: Rasputin 600 x 315 jpeg 25 КБ. www.youtube.com. Anastasia 1997-Anastasia vs Rasputin part 1 - YouTube. 1280 x 720 jpeg 65 КБ. yurikoschneide.deviantart.com. Anastasia by YurikoSchneide on DeviantArt. 900 x 1148 png 1043 КБ. tardypodcast.com. Tardy to the Party episode 27: Anastasia ⓠTardy to the 1249 x 801 png 474 КБ. Disney Movie Walt Disney Movie Anastasia Anastasia Meets Rasputin Anastasia and Rasputin Cartoon Disney Anastasia Rasputin Young Rasputin Grigori Rasputin 996 x 575 png 382kB.
    [Show full text]
  • Reforma Política No Brasil 01 272.P65 1 01/08/06, 17:27 Programa Das Nações Unidas UNIVERSIDADE FEDERAL DE MINAS GERAIS Para O Desenvolvimento
    Reforma Política no Brasil_01_272.p65 1 01/08/06, 17:27 Programa das Nações Unidas UNIVERSIDADE FEDERAL DE MINAS GERAIS para o Desenvolvimento Reitor: Ronaldo Tadêu Pena Vice-Reitora: Heloisa Maria Murgel Starling Representante Residente: Kim Bolduc Representante Residente Adjunto: Lucien Muñoz Editora UFMG Diretor: Wander Melo Miranda Unidade de Governo Vice-Diretora: Silvana Cóser Coordenador: Francisco Gaetani Conselho Editorial Wander Melo Miranda (presidente) Carlos Antônio Leite Brandão José Francisco Soares Juarez Rocha Guimarães Maria das Graças Santa Bárbara Maria Helena Damasceno e Silva Megale Paulo Sérgio Lacerda Beirão Silvana Cóser Reforma Política no Brasil_01_272.p65 2 01/08/06, 17:27 Leonardo Avritzer Fátima Anastasia Organizadores Belo Horizonte Editora UFMG 2006 Reforma Política no Brasil_01_272.p65 3 01/08/06, 17:27 © 2006, Programa das Nações Unidas para o Desenvolvimento | © 2006, Editora UFMG Este livro ou parte dele não pode ser reproduzido por qualquer meio sem autorização escrita do Editor. R322 Reforma política no Brasil / Leonardo Avritzer, Fátima Anastasia (organizadores). – Belo Horizonte: Editora UFMG, 2006. 271 p. ; il. – Inclui referências. ISBN: 85-7041-536-2 1. Brasil – Política e Governo. 2. Brasil – História. I. Avritzer, Leonardo. II. Anastasia, Fátima. CDD: 981 CDU: 981 Elaborada pela Central de Controle de Qualidade da Catalogação da Biblioteca Universitária da UFMG Coordenação Técnica: Francisco Gaetani (PNUD) Editoração de textos: Ana Maria de Moraes Revisão e normalização: Maria do Carmo Leite Ribeiro Revisão de provas: Michel Gannam e Marco Marinho Projeto gráfico e capa: Paulo Schmidt Formatação: Paulo Schmidt Produção gráfica: Warren M. Santos Editora UFMG Programa das Nações Unidas para o Desenvolvimento Av.
    [Show full text]
  • Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century
    Cambridge Opera Journal, 32,1,1–26 © The Author(s), 2020. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http:// creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0954586720000099 Rethinking Operatic Masculinity: Nicola Tacchinardi’s Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy PARKORN WANGPAIBOONKIT* Abstract: This article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women’s feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi’s criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self- definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d’Irminsul, La donna del lago and Norma demonstrate how singers established the compo- nents of masculine-heroic conventions through sensitive consideration of dramaturgy.
    [Show full text]