Practical Vocal Method (Vaccai) - High Voice: Soprano/Tenor - Book/Cd Pdf
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From the Vocal Studio to the Practice Room: an Overview of the Literature on Effective Practicing and an In-Depth Study of Vocal Exercise Books
ABSTRACT Title of Document: FROM THE VOCAL STUDIO TO THE PRACTICE ROOM: AN OVERVIEW OF THE LITERATURE ON EFFECTIVE PRACTICING AND AN IN-DEPTH STUDY OF VOCAL EXERCISE BOOKS. Rebecca Bell Echols, Doctor of Musical Arts, 2013 Directed By: Professor Dominic Cossa, School of Music The purpose of this dissertation was to compile a list of resources to aid singers in their pursuit toward effective practicing. A survey was given to one hundred anonymous participants: fifty vocal students and fifty vocal teachers. The data collected from this survey showed that vocal students would like more resources available to aid in practicing more effectively. Additionally, the study reveals that many of the vocalise books that are in the vocal repertoire have fallen from tradition for reasons unknown, while one composer’s vocalise book, Nicola Vaccai’s, still remains in the teacher and student repertoire. This study provides resources culled from journals, text books, and musical scores. Also provided is a library of vocalises, which are divided into categories on specific vocal matters. The vocalises are categorized alphabetically, by both the category and composer. The final chapter shows the results of the surveys. FROM THE VOCAL STUDIO TO THE PRACTICE ROOM: AN OVERVIEW OF THE LITERATURE ON EFFECTIVE PRACTICING AND AN IN-DEPTH STUDY OF VOCAL EXERCISE BOOKS. By Rebecca Bell Echols Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of DMA 2013 Advisory Committee: Professor Dominic Cossa, Chair Professor Martha L. Randall Professor Timothy McReynolds Professor Delores Ziegler Professor Denny Gulick, Dean’s Representative © Copyright by Rebecca Bell Echols 2013 Dedication I’d like to thank my friends, family, and mentors for all of their support not only throughout this process, but throughout my entire musical career. -
Shakespeare in the Music Library (PDF)
If music be the food of love: Shakespeare in the Music Library An exhibit in commemoration of the 400th anniversary of the death of William Shakespeare Curated and written by John Bewley, Ph.D. Associate Librarian Music Library University at Buffalo April 2016-June 2016 Music provides a kaleidoscopic array of perspectives through which scholars can view the works and influences of William Shakespeare. While many people are familiar with the most famous uses of Shakespeare in music in such works as Tchaikovsky’s Romeo and Juliet Overture-Fantasy, Verdi’s Shakespeare operas (Falstaff, Macbeth, and Otello), Mendelssohn’s incidental music for A Midsummer Night’s Dream, and Prokofiev’s Romeo and Juliet ballet, this exhibit will highlight some of the most significant topics related to the intersections of Shakespeare and music with some lesser-known examples from the holdings of the Music Library. The use of music in Shakespeare’s plays Music plays a significant role in Shakespeare’s plays through three guises: music performed as part of the play, references in the text to song titles, and the use of words with musical connotations. Shakespeare’s use of performed music in his plays was so extensive that only The Comedy of Errors is without music. One of the remarkable aspects of Shakespeare’s use of music is how integral it is to the dramatic structure in the plays. Some of the music serves as a direct part of the action, such as fanfares associated with processions or to mark royal entrances. In other instances Shakespeare used music as an agent for an action, such as when a lullaby is sung to put a character to sleep. -
Adetu, E.G.: Biblical and Religious Symbols in Italian Romantic Opera
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 13(62) No.2 - 2020 https://doi.org/10.31926/but.pa.2020.13.62.2.1 Biblical and religious symbols in Italian romantic opera. Perspectives of musical hermeneutics Edith Georgiana ADETU1 Abstract: The 19th century brings in opera music new ways of thematic and stylistic approach. The escalation of revolutionary and political events influences the artistic life of the Italian nation, awakening in composers such as Rossini, Donizetti, Verdi another kind of spirituality. During this period, the Italian lyrical theater is moving towards new ways of expression, emphasizing the relationship between man and divinity. In these conditions, we can observe a stylistic evolution of the musical discourse, dominated by the influence of the biblical themes that the opera composers develop through dramaturgy. Numerous scenes taken from the Old Testament are found in the music of Italian operas from this period, marking an initiatory path of Italian spirituality and ethos of the nineteenth century. In this research we will present relevant musical examples from works such as Mose in Egitto - Rossini, Il diluvio universale - Donizetti, Nabucco - Verdi, Jerusalem – Verdi, highlighting the symbolic elements taken from the biblical text, rendered through music and stage action. Key-words: Opera, Italian Romanticism, Biblical symbols, Hermeneutics 1. Introduction: the science of hermeneutics and the understanding of opera music According to historical evidence and testimonies, the hermeneutic sciences developed accordingly with the evolution of society. “Plato approaches a hermeneutics of symbols, Aristotle leaves as a legacy a treatise on interpretation, Jewish and Christian theology deepens the understanding of holy books, and later, in the Middle Ages and Renaissance patristic theology and the art of interpreting philological texts stand out as branches of hermeneutic sciences” (Coroiu 2018, 34). -
Malibran Harps
Malibran recalled (Harps and tears) Alexander Weatherson No one knows when this multicomposer cantata in memory of Maria Malibran was actually conceived, nor who was responsible for the idea in the first place. Vaccai's letters tell us nothing of significance, nor do those of Donizetti and Mercadante. How and when its short list of composers was decided-upon too is a mystery, only the state of their autograph material - showing haste or otherwise - can supply a clue. This five-composer cantata came and went very quickly - it was performed just once and then went the way of all such lachrymose ephemera. Ephemera? Above is the frontispiece of the vocal score that followed in its wake, that is, after its single appearance on the stage at the Teatro alla Scala in Milan on 17 March 1837, five months or so after the disappearance of the great diva at the height of her fame. No one can accuse the theatre of failing her (as she failed the theatre on so many occasions) but her memorial cantata failed to survive. Now it is to reappear. Its protagonists were the very best that could be got together at short notice: Sofia Dell’Oca Schoberlechner, Francesco Pedrazzi, Pietro Milesi, Benedetta Colleoni-Corti, Marietta Brambilla, Teresa Brambilla, Ignazio Marini, Orazio Cartagenova, Carlo Marcolini, Carolina Lusignani and Felicità Baillou- Hilaret - a starry roster including all those in the current scaligero stagione with an added artist or two. And the cantata ended the season, the great theatre did not reopen again until the beginning of the following July. -
La Ópera En México, 1841-1843
HISTORIA La ópera en México, 1841-1843 por José Octavio Sosa emodelado el Teatro de los Gallos o Provisional, como se le conocía, y al que después se llamó Teatro de la Ópera, se Rpresentó en julio de 1841 la Compañía de Ópera Italiana de Anaide Castellan de Giampietro (Lyon, 1821 - París, 1861) y del empresario Roca. El 9 de octubre de 1822 se había inaugurado ese modesto coliseo, llamado así porque en ese sitio había funcionado un palenque con peleas de gallos, con la obra teatral Aradín Barba Roja o Los piratas en el bosque de los sepulcros, de cuyo autor se desconoce el nombre. El teatro estaba ubicado en la calle Las Moras, actualmente República de Colombia. Un incendio lo destruyó, casi en su totalidad, en 1824. Su propietario, Diego Ramón Somera lo hizo reconstruir, añadiéndole techo de vigas y otras mejoras notables, reinaugurándolo con el nombre de Teatro Provisional, el 21 de agosto de 1825, con la comedia La niña en casa y la madre en las máscaras. Se anunciaron para la temporada de ópera abonos para 90 representaciones, dos o tres por semana, con los siguientes precios: palcos con seis asientos para la temporada, 540 pesos; balcón, 96 pesos; luneta, 86 pesos; galería en primeras filas, 30 pesos; segunda y siguientes, 22 pesos. La orquesta estaba formada por 36 elementos italianos y mexicanos, y el coro por 12 damas y 14 caballeros mexicanos e italianos, destacando en la orquesta el compositor, pianista y violinista irlandés William Vincent Wallace (1812-1865), que fue concertino y director sustituto, además de Vincenzo Bellini (1801-1835) José Ma. -
Liste Annuelle 2017 Pour
NOUVEAUTÉS ANNUELLES 2017 Une institution Ville de Genève www.bge-geneve.ch/musicale Cette liste concerne les nouvelles acquisitions cataloguées durant la période de janvier à décembre 2017 : si vous désirez la recevoir sous forme électronique, il vous suffit de nous communiquer votre adresse e-mail. Pour les nouveautés récentes, vous les trouverez à l’adresse suivante : http://institutions.ville-geneve.ch/fr/bibliotheque-de- geneve/collections/musiques/acquisitions/ Table des matières Méthodes et ouvrages didactiques p. 4 Musiques d’influences afro-américaines p. 12 Rock et genres apparentés p. 14 Musique instrumentale classique et musique de chambre p. 17 Musique orchestrale classique p. 35 Musique vocale classique p. 39 Genres musicaux divers p. 50 Musique de film, Comédie musicale p. 52 Chanson et variétés internationales p. 54 Musique du monde p. 56 Généralités et divers p. 59 Bibliothèque de Genève Bastions : Musique et danse p. 60 Ill. de la couverture : Kingston rasta / Christophe Leu. Musique facile pour 4 guitares. Cote : 9.93 LEU Polyphonies Est paru en 2017 aux éditions Loisirs et pédagogie : Polyphonies : les instruments en classe de formation musicale de Patrick Mamie. Grâce à son expérience, ce professeur au Conservatoire populaire de musique, danse et théâtre de Genève propose une nouvelle approche de la formation musicale en incluant les instruments dans les cours de solfège. Faisant suite à Progressions : formation musicale par les chansons , les quatre volumes constituent également une progression sur les cinq premières années d'étude : initiation, débutant, moyen et avancé. Le "répertoire varié, stimulant et ludique, convient adéquatement à la création d'orchestres en classes de tous niveaux. -
1 Bibbia E Melodramma 1
BIBBIA E MELODRAMMA 1 - Non è questa la sede per affrontare il tema della conoscenza della Bibbia nei paesi cattolici (ben diverso è il rapporto col testo sacro del cristianesimo che i fedeli hanno nei paesi protestanti), ma alcune brevi note sono necessarie per capire meglio le considerazioni che saranno oggetto di questo testo dedicato alla presenza di storie e personaggi biblici nel melodramma. Nel primo millennio la Chiesa non sentì la necessità di promulgare regole circa la lettura della Bibbia, cui si accostavano solo i chierici, poiché l’analfabetismo (diffuso anche fra persone di alto rango) e il costo dei libri non ne permettevano la diffusione. Solo nel secolo XIII la Chiesa iniziò a contrastarne la lettura in lingua volgare, onde evitare interpretazioni eretiche, come si può desumere da quanto fu dichiarato nel Sinodo di Tolosa del 1229: “Proibiamo che qualsiasi laico possieda i libri del vecchio o del nuovo Testamento tradotti in lingua volgare” (bisogna comunque sottolineare che non si tratta di un concilio ecumenico e che le deliberazioni di un Sinodo hanno limiti territoriali). La riforma luterana ammise che la Bibbia potesse essere letta (e la traduzione di Lutero sta alla base del tedesco moderno) e interpretata da qualunque cristiano. Il concilio di Trento, per contro, nella sessione IV dell’8 aprile 1546, specificò che la Bibbia autentica era la Vulgata latina di san Girolamo, approvata ormai da secoli dalla Chiesa, la quale doveva essere guida “nelle lezioni pubbliche, nelle dispute, nella predicazione e spiegazione -
Naples and the Emergence of the Tenor As Hero in Italian Serious Opera
NAPLES AND THE EMERGENCE OF THE TENOR AS HERO IN ITALIAN SERIOUS OPERA Dave William Ekstrum, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 201 8 APPROVED: Jeffrey Snider, Major Professor Peter Mondelli, Committee Member Stephen Morscheck, Committee Member Molly Fillmore, Interim Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies of the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Ekstrum, Dave William. Naples and the Emergence of the Tenor as Hero in Italian Serious Opera. Doctor of Musical Arts (Performance), May 2018, 72 pp., 1 table, bibliography, 159 titles. The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples. -
Table of Contents
2 Gateway to Italian Art Songs Table of Contents About This Edition . 3 Gaetano Donizetti Page CD Track Leonora . 108. 18 The Composers and Their Times . 5 Se a te d’intorno scherza Songs (Romanza) . 113. 19 Luigi Rossi Page CD Track Che vuoi di piú? (Duet) . 117. 20 Anime voi (Cantata) . 9. 1 Vincenzo Bellini Mario Savioni Per pietà, bell’idol mio (Arietta) . 125. 21 Fugga Amor/Segua Amor (Duet) . 18. 2 Vaga luna, che inargenti (Arietta) . 130. 22 Il zeffiro (Arietta) . 136. 23 Alessandro Scarlatti Alfin m’ucciderete (Cantata) . 26 Marietta Brambilla Recitative: Alfin m’ucciderete . 29. 3 L’allegro (Ballata) . 140. 24 Aria: Io morirei contento . 32. 4 Recitative: Clori mia, Clori bella . 36. 5 Giuseppe Verdi Aria: Faría la pena mia . 38. 6 In solitaria stanza (Romanza) . 146. 25 Deh, pietoso, o Addolorata Francesco Conti (Romanza) . 153. 26 Dopo tante e tante pene (Cantata) . 44 Aria: Dopo tante e tante pene . 46. 7 Luigi Arditi Recitative: Dubbio di vostra fede . 49. 8 Il bacio (Valzer) . 162. 27 Aria: Quella fiamma che m’accende . 50. 9 Amilcare Ponchielli Dimenticar, ben mio (Romanza) . 174. 28 Francesco Durante Alfin m’ucciderete (Duet) . 57. 10 Francesco Paolo Tosti Donna, vorrei morir (Melodia) . 179. 29 Giovanni Battista Pergolesi Ideale (Melodia) . 182. 30 Dite ch’ogni momento (Aria) . 67. 11 Ruggiero Leoncavallo Vincenzo Righini Mattinata . 188. 31 Nò, non vedrete mai (Arietta) . 74. 12 Lasciati amar . 192. 32 Isabella Colbran-Rossini Giacomo Puccini Già la notte s’avvicina (Barcarola) . 80. 13 Sole e amore . 198. 33 E l’uccellino (Ninna-nanna) . 202. -
Changing Vocal Style and Technique in Britain During the Long Nineteenth Century Sarah Potter
Changing Vocal Style and Technique in Britain during the Long Nineteenth Century Sarah Potter Submitted in accordance with the requirements for the degree of Ph. D. The University of Leeds School of Music May 2014 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Sarah Potter to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. © 2014 The University of Leeds and Sarah Potter. ACKNOWLEDGEMENTS Facilities and staff at the University of Leeds have been fundamental to the completion of this project, particularly those within the School of Music and at the Brotherton Library. I have received considerable support from Sue Wheater, Dave Barraclough, and Paul Fawcett in the arrangement and facilitation of recording sessions in the Clothworkers’ Centenary Concert Hall at the School of Music. There are numerous other members of the department who have offered assistance and advice at one time or another; I am grateful to each and every one, however incidental they might have thought these exchanges at the time. Jude Brereton and Helena Daffern (York Centre for Singing Science, University of York) have generously shared their knowledge throughout the preparation of this thesis, and I am extremely grateful for the numerous hours of fruitful discussion and support they have freely volunteered. -
Giacomo Meyerbeer
1 La Fenice prima dell’Opera 2013-2014 1 2013-2014 Fondazione Stagione 2013-2014 Teatro La Fenice di Venezia Lirica e Balletto Giacomo Meyerbeer L fricaine L’africana ’africaine l A eyerbeer m iacomo g FONDAZIONE TEATRO LA FENICE DI VENEZIA Incontro con l’opera FONDAZIONE lunedì 18 novembre 2013 ore 18.00 AMICI DELLA FENICE GUIDO ZACCAGNINI e OLGA VISENTINI L’africaine STAGIONE 2013-2014 martedì 14 gennaio 2014 ore 18.00 SANDRO CAPPELLETTO La scala di seta lunedì 20 gennaio 2014 ore 18.00 GIORGIO PESTELLI La clemenza di Tito martedì 25 febbraio 2014 ore 17.30 GIOVANNI GAVAZZENI Il campiello lunedì 24 marzo 2014 ore 18.00 GIORGIO PESTELLI Elegy for Young Lovers mercoledì 16 aprile 2014 ore 18.00 ALBERTO MATTI La bohème Madama Butterfly Tosca lunedì 23 giugno 2014 ore 18.00 LUCA MOSCA The Rake’s Progress martedì 9 settembre 2014 ore 18.00 DANIELE SPINI Il trovatore mercoledì 8 ottobre 2014 ore 18.00 PAOLO COSSATO Don Giovanni lunedì 27 ottobre 2014 ore 18.00 Clavicembalo francese a due manuali copia dello MARIO MESSINIS e PAOLO FURLANI strumento di Goermans-Taskin, costruito attorno La porta della legge alla metà del XVIII secolo (originale presso la Russell Collection di Edimburgo). Incontro con il balletto Opera del M° cembalaro Luca Vismara di Seregno (MI); ultimato nel gennaio 1998. lunedì 16 dicembre 2013 ore 18.00 Le decorazioni, la laccatura a tampone e le SERGIO TROMBETTA chinoiseries – che sono espressione di gusto Onegin tipicamente settecentesco per l’esotismo orientaleggiante, in auge soprattutto in ambito francese – sono state eseguite dal laboratorio dei fratelli Guido e Dario Tonoli di Meda (MI). -
The Development and Implementation of Coloratura Technique
THE DEVELOPMENT AND IMPLEMENTATION OF COLORATURA TECHNIQUE IN SELECTED ROSSINI ARIAS FOR MEZZO-SOPRANO A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY LAUREN E. MASTERS DISSERTATION ADVISOR: DR. MEI ZHONG BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2019 THE DEVELOPMENT OF COLORATURA TECHNIQUE IN ROSSINI ARIAS 2 ABSTRACT DISSERTATION: The Development and Implementation of Coloratura Technique in Selected Rossini Arias for Mezzo-Soprano STUDENT: Lauren E. Masters DEGREE: Doctor of Arts COLLEGE: Fine Arts DATE: December 2019 PAGES: 154 The mezzo-soprano arias in Rossini operas have captivated audiences for the last two centuries with their impressive and extensive vocal gymnastics, or coloratura. A strong coloratura technique is necessary for the successful performance of Rossini arias by mezzo- sopranos. This dissertation seeks to establish a systematic method of developing coloratura technique and implementing it in seven Rossini arias. An original correlation is made between coloratura development and the Accent Method. Historical and modern pedagogical resources affirm the practical importance of a systematic technique based on abdicostal breath support for singing, upon which the Accent Method is based. Facets of the Accent Method as previously applied to the singing voice will be applied specifically to the development of coloratura. This method has proven effective in building vocal stamina, pitch accuracy, and speed, among other qualities necessary in coloratura development. Various means of applying this method to the melismatic choices of the mezzo-soprano are then explored, along with multiple interpretations of Rossini arias by current and past performing artists. Examples of appropriate melismas are given, along with a series of technical vocal factors for each mezzo-soprano to consider.