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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wifi indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 AN ANTHOLOGY OF NINETEENTH-CENTURY RUSSIAN ARIAS FOR TENOR: A GUIDE TO PERFORMANCE D. M. A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University by Larry Wayne Fralick, Jr., B.M., M.M. * * * * * The Ohio State University 1995 Dissertation Committee: Approyed by Karen Peeler C A dvisor Margarita Mazo School of Music C. Patrick W oliver UMI Number: 9533919 Copyright 1995 by Fralick, Larry Wayne, Jr. All rights reserved. UMI Microform 9533919 Copyright 1995, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ACKNOWLEDGMENTS I wish to express my sincere appreciation to the following people for their support in this effort: Tym Rondomanski, for his assistance in translating the the Pushkin arias; Professor Eileen Davis, for helping me locate an IPA font; Amy Rosine, for acquiring scores through inter-library loan; my advisor, Dr. Karen Peeler, who has helped me "long-distance"; my aunt and uncle, Edwina and Jim Chaney, for supplying me with a place to stay as I wrote this document; and my parents, Anna and Larry for encouraging me throughout my college career. VITA 21 October 1963 ............................................. Bom - Kansas City, Missouri 1985.................................................................. B. M., Friends University, Wichita, Kansas 1988.................................................................. M. M., Kansas State University, Manhattan, Kansas 1990.................................................................. Ph. D., ABD, The Ohio State University, Columbus, Ohio FIELD OF STUDY Major Field: Music Studies in Vocal Music Education, Music History, Vocal Performance TABLE OF CONTENTS ACKOWLEDGMENTS................................................................................................ ii VITA ............................................................................................................................ iii TABLE OF C O N T E N T S ............................................................................................ iv RECITAL I ................................................................................................................... vi RECITAL I I ................................................................................................................ vii RECITAL I I I ...............................................................................................................viii RECITAL I V .................................................................................................................. x CHAPTER PAGE I. INTRODUCTION ................................................................................. 1 II. RUSSIAN PHILOSOPHICAL AND SOCIAL DEVELOPMENT DURING THE GENESIS AND GROWTH OF RUSSIAN OPERA ...................................................................................................6 III. A HISTORY OF RUSSIAN OPERATIC DEVELOPMENTS THROUGH THE NINETEENTH CEN TU RY ...............................10 IV. A CATALOGUE OF THE NINETEENTH-CENTURY RUSSIAN ARIAS FOR TENOR BY ARIA T Y P E .............................................27 V. ARIA TRANSLATIONS AND INFORMATION .... 43 APPENDICES A. A Chronological List of the Nineteenth-Century Russian Arias for T e n o r........................................................................................... 209 i v B. A List of Nineteenth-Century Russian Operas .... 219 BIBLIOGRAPHY ...................................................................................................... 224 v RECITAL I JR Fralick, tenor Jonathan Smith, piano Friday, October 8,1993,8:00 p.m. Weigel Hall Auditorium PROGRAM Comfort Ye My People...Ev'ry Valley George Frederic Handel from Messiah (1685-1759) All mein Gedanken Op. 21, No. 1 Richard Strauss Allerseelen Op. 10, No. 8 (1864-1949) Wie sollten wir geheim sie halten Op. 19, No. 4 Standchen Op. 17, No. 2 Zueignung Op. 10, No. 1 II mio tesoro intanto Wolfgang Amadeus Mozart from Don Giovanni K. 527 (1756-1791) INTERMISSION Cinq melodies populaires hebraiques Maurice Ravel Chanson de la Mariee (1875-1937) La-bas, vers L'eglise Quel galant m'est comparable Chanson des cueilleuses de lentisques Tout gai! CHpeHb Op. 21, No. 5 Sergei Rachmaninoff B t MOJiHaHbH homh TaRHOR Op. 4, No. 3 (1873-1943) O h* OTB-bMajiH Op. 21, No. 4 y M oero OKHa Op. 26, No. 10 HaBHo-nb, mor jip yrb Op. 4, No. 6 BeceHHHH BOflbi Op. 14, No. 11 vi RECITAL II JR Fralick, tenor Patrick O'Donnell, piano Philip Baldwin, violin Dorothy Blankenship, violin Chi-Chuan Teng, viola Paolo Rabelo, violoncello Wednesday, May 25,1994,6:00 p.m. Hughes Recital Hall PROGRAM Auf dem Wasser zu singen, D. 774 Franz Schubert (1797-1828) Du bist die Ruh, D. 776 Das Rosenband, D. 280 Ganymed, D. 544 Four Poems of Victor Hugo Franz Liszt (1811-1886) S'il est un charmant gazon Enfant, si j'^tais Roi Comment, disaient-ils Oh! quand je dors INTERMISSION On Wenlock Edge Ralph Vaughan Williams (1872-1958) On Wenlock Edge From Far, From Eve and Morning Is My Team Ploughing Oh, When I Was in Love with You Bredon Hill Clun RECITAL III JR Fralick, tenor Patrick O'Donnell, piano Friday, February 3,1995,8:00 p.m. Weigel Hall Auditorium PROGRAM Four Russian Songs Igor Stravinsky (1882-1971) C ejie3eH b 3an-bBHafl IloflbnioflHafl CeKTaHTCKan Pastorale W alking Charles Ives (1874-1954) The World's Highway There is a Lane The Side Show Serenity The Cage Waldseligkeit Joseph Marx (1882-1964) Selige Nacht Ein goldenes Kettlein Hat dich die Liebe beriihrt INTERMISSION Genius Child Ricky Ian Gordon (b. 1956) Winter Moon Genius Child Kid in the Park viii To Be Somebody Troubled Woman Strange Hurt Prayer Border Line My People Joy RECITAL IV JR Fralick, tenor Patrick O'Donnell, piano Friday, April 28,1995,1:30 p.m. Weigel Hall Auditorium NINETEENTH-CENTURY RUSSIAN ARIAS FOR TENOR: AN INTRODUCTION TO A NEW REPERTOIRE A LECTURE RECITAL Hto HaM MeTenb! Mikhail Ivanovich Glinka from A Life for the Tsar (1804-1857) MHe Bee 3necb Ha naMHTb Alexander Sergeyevich Dargomizhsky npHBOflHT ObiJioe (1813-1869) from Rusalka 3x! MepeBHK, HepeBHKL. Modest Petrovich Musorgsky 3aneM Tbi, c e p n u e , p b in aeu ib h cTOHeuib? (1839-1881) from Sorochintsi Fair 0 , mto MHe MaTb, h t o MHe OTeu! Pyotr Illyich Tchaikovsky from Cherevichki (1840-1893) He cnecTb ajiM a30B Nikolay Andreyevich Rimsky-Korsakov b KaMeHHbix nemepax (1844-1908) from Sadko CHAPTER I INTRODUCTION Due to cultural and linguistic differences as well as to the pre- perestroika political relations between Russia and the West, the nineteenth- century Russian operatic repertoire is still virtually unknown in the United States. Gratefully, since the “detente" of the late 1980s, there is an increasing interest in the exchange of ideas between Russia and the West. Consequently, it is now time to become acquainted with the immense treasure of nineteenth-century opera that has remained undiscovered for so long. Although study and discussion of the repertoire will be essential to this process, it is finally through performance that this unique and valuable repertoire will soon take its place in the Western musical canon. Only a few of the approximately eighty operas that comprise the Russian operatic repertoire from about 1800 to the 1917 revolution are familiar or even known in the United States.1 In the past, the lack of knowledge and exposure to the repertoire as well as the virtual inaccessibility of the music have been the primary results of the aforementioned political and social situations. A cursory review of opera reference books and records of opera productions in the United States will reveal how infrequently this repertoire is represented in accepted Western literature. ' A complete list of operas of this repertoire is included in Appendix B. 1 The Definitive Kobbe's Opera Book (which describes 319 operas, six of them by the rarely-performed contemporary composer Hans Werner Henze) records a
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