DOCSLIB.ORG

List of the Singers Admitted to the Competition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
List of the Singers Admitted to the Competition LIST OF THE SINGERS ADMITTED TO THE COMPETITION FIRST NAME SURNAME COUNTRY VOICE TYPE NOTES 1 Gamid Abdulov RUSSIA / AZERBAIJAN baritone Recommendation by The 2 Alina Adamski POLAND soprano International Opera Studio (IOS), Opernhaus Zurich Not evaluated by: Matthias 3 Stefan Astakhov GERMANY baritone Rexroth (according to point II.6 of Selection Panel’s Statute) Not evaluated by: Matthias 4 Dagmara Barna POLAND soprano Rexroth (according to point II.6 of Selection Panel’s Statute) 5 Eliza Boom NEW ZEALAND soprano 6 Paweł Brożek POLAND tenor Not evaluated by: Matthias 7 Monika Buczkowska POLAND soprano Rexroth (according to point II.6 of Selection Panel’s Statute) Prizewinner of Leyla Gencer 8 Piotr Buszewski POLAND tenor Voice Competition 9 Vladislav Buyalskiy UKRAINE bass-baritone Not evaluated by: Matthias 10 Paride Cataldo ITALY tenor Rexroth (according to point II.6 of Selection Panel’s Statute) Recommendation by Opera 11 Anna El-Khashem RUSSIA soprano Studio of the Bayerische Staatsoper 12 Frische Felicitas GERMANY soprano 13 Margrethe Fredheim NORWAY soprano 14 Kseniia Galitskaia RUSSIA soprano 15 Kim Gihoon SOUTH KOREA baritone 16 William Goforth USA tenor Not evaluated by: Matthias Agnieszka 17 Grochala POLAND soprano Rexroth (according to point II.6 Jadwiga of Selection Panel’s Statute) Not evaluated by: Matthias 18 Yuriy Hadzetskyy UKRAINE baritone Rexroth (according to point II.6 of Selection Panel’s Statute) 19 Anna Harvey UK mezzo-soprano Not evaluated by: Matthias 20 Mateusz Hoedt POLAND bass Rexroth (according to point II.6 of Selection Panel’s Statute) 21 Lilly Jørstad NORWAY mezzo-soprano Prizewinner of Ada Sari coloratura 22 Aleksandra Jovanović SERBIA International Vocal Artistry soprano Competition 23 Inna Kaluhina UKRAINE soprano 24 Sergey Kaydalov RUSSIA baritone 25 Diana Kazaryan RUSSIA soprano Not evaluated by: Matthias 26 Joanna Kędzior POLAND soprano Rexroth (according to point II.6 of Selection Panel’s Statute) Prizewinner of The International 27 Zlata Khershberg RUSSIA / ISRAEL mezzo-soprano Singing Competition NEUE STIMMEN 28 Seunghee Kho SOUTH KOREA soprano 29 Nastassia Khrapitskaya BELARUS soprano SOUTH KOREA / Recommendation by Opera 30 Jaeil Kim tenor GERMANY Studio of the Oper Frankfurt Recommendation by The Bolshoi 31 Ruslana Koval UKRAINE soprano Theatre Young Artists Opera Program 32 Sławomir Kowalewski POLAND baritone 33 Maria Kublashvili GEORGIA soprano KAZAHSTAN / 34 Abildin Kudaibergen tenor NETHERLANDS Not evaluated by: Matthias 35 Nataliia Kukhar UKRAINE mezzo-soprano Rexroth (according to point II.6 of Selection Panel’s Statute) Recommendation by Paris Opera 36 Maciej Kwaśnikowski POLAND tenor Academy 37 Dmytro Kyforuk UKRAINE tenor 38 Andrei Kymach UKRAINE baritone 39 Taisiya Labetskaya RUSSIA mezzo-soprano 40 Anastasia Lebedyantseva RUSSIA / LATVIA mezzo-soprano Recommendation by The Jette Parker Young Artists 41 Haegee Lee SOUTH KOREA soprano Programme, Royal Opera House, London 42 Myungin Lee SOUTH KOREA tenor Not evaluated by: Matthias 43 Karolina Makuła POLAND mezzo-soprano Rexroth (according to point II.6 of Selection Panel’s Statute) 44 Mykhailo Malafii UKRAINE tenor Not evaluated by: Matthias 45 Anna Malesza POLAND soprano Rexroth (according to point II.6 of Selection Panel’s Statute) 46 Palesa Malieloa SOUTH AFRICA soprano 47 Minami Matsubara JAPAN soprano 48 Demian Matushevskyi UKRAINE bass Recommendation by Paris Opera 49 Danylo Matviienko UKRAINE baritone Academy Recommendation by The 50 Jamez McCorkle USA / SWITZERLAND tenor International Opera Studio (IOS), Opernhaus Zurich 51 Mihail Mihaylov BULGARIA tenor 52 Daniel Mirosław POLAND bass-baritone 53 Megan Moore USA mezzo-soprano 54 Maria Motolygina RUSSIA soprano 55 Bryan Murray USA baritone Not evaluated by: Matthias 56 Sławomir Naborczyk POLAND tenor Rexroth (according to point II.6 of Selection Panel’s Statute) 57 Kseniia Nikolaieva UKRAINE mezzo-soprano Prizewinner of The Kościuszko 58 Alexandra Nowakowski USA / POLAND soprano Foundation Marcella Sembrich International Voice Competition Recommendation by The 59 Thobela Ntshanyana SOUTH AFRICA tenor International Opera Studio (IOS), Opernhaus Zurich 60 Diana Nurmukhametova RUSSIA soprano 61 Tigran Ohanyan ARMENIA tenor Prizewinner of Ada Sari 62 Hanna Okońska-Ratajczak POLAND soprano International Vocal Artistry Competition 63 Natalia Ołów POLAND mezzo-soprano 64 Maria Ostroukhova RUSSIA mezzo-soprano 65 Changdai Park SOUTH KOREA bass-baritone Not evaluated by: Matthias 66 Monika Pleškytė LITHUANIA soprano Rexroth (according to point II.6 of Selection Panel’s Statute) Not evaluated by: Matthias 67 Valentina Pluzhnikova UKRAINE mezzo-soprano Rexroth (according to point II.6 of Selection Panel’s Statute) 68 Matheus Pompeu BRAZIL tenor 69 Ekaterina Protsenko RUSSIA / AUSTRIA soprano Recommendation by Opera 70 Boris Prýgl CZECH REPUBLIC baritone Studio of the Bayerische Staatsoper Recommendation by Dutch 71 Cody Quattlebaum USA bass-baritone National Opera Studio 72 Luis Quiros COSTA RICA baritone Not evaluated by: Matthias 73 Mariam Ravashdekh UKRAINE soprano Rexroth (according to point II.6 of Selection Panel’s Statute) 74 Maria Belen Rivarola ARGENTINA soprano coloratura 75 Maria Rozynek-Banaszak POLAND soprano 76 Natalia Rubiś POLAND soprano Not evaluated by: Brenda 77 Benjamin Russell IRELAND baritone Hurley (according to point II.6 of Selection Panel’s Statute) 78 Inna Safronova RUSSIA soprano 79 Galeano Salas MEXICO / USA tenor Recommendation by The 80 Dara Savinova ESTONIA mezzo-soprano International Opera Studio (IOS), Opernhaus Zurich Recommendation by Paris Opera 81 Sarah Shine IRELAND soprano Academy Not evaluated by: Matthias 82 Leonid Shoshyn UKRAINE tenor Rexroth (according to point II.6 of Selection Panel’s Statute) SWITZERLAND / Prizewinner of ARD International 83 Milan Siljanov bass-baritone GERMANY Music Competition 84 Petr Sokolov RUSSIA baritone 85 Rodrigo Sosa Dal Pozzo VENEZUELA / ITALY countertenor 86 Matthew Swensen USA tenor Recommendation by Paris Opera 87 Varon Timothée FRANCE baritone Academy 88 Vladyslav Tlushch UKRAINE baritone Not evaluated by: Matthias 89 Rafał Tomkiewicz POLAND countertenor Rexroth (according to point II.6 of Selection Panel’s Statute) Recommendation by Opera 90 Mikołaj Trąbka POLAND baritone Studio of the Oper Frankfurt Prizewinner of Ada Sari 91 Paweł Trojak POLAND baritone International Vocal Artistry Competition 92 Vadim Volkov RUSSIA countertenor 93 Natalie Weinberg USA soprano Not evaluated by: Matthias 94 Damian Wilma POLAND baritone Rexroth (according to point II.6 of Selection Panel’s Statute) 95 Swiatoslav Wynnyk UKRAINE baritone 96 Sen Xu CHINA tenor Prizewinner of The Kościuszko 97 WooYoung Yoon SOUTH KOREA tenor Foundation Marcella Sembrich International Voice Competition 98 Łukasz Załęski POLAND tenor 99 Slávka Zámečníková SLOVAKIA soprano Prizewinner of The Kościuszko 100 Hubert Zapiór POLAND baritone Foundation Marcella Sembrich International Voice Competition Prizewinner of International 101 Yajie Zhang CHINA mezzo-soprano Vocal Competition s-Hertogenbosch Recommendation by Opera 102 Long Zhang CHINA tenor Studio of the Bayerische Staatsoper 103 Olga Zharikova RUSSIA soprano 104 Park Zoe Juhyun SOUTH KOREA soprano Not evaluated by: Matthias 105 Jan Żądło POLAND baritone Rexroth (according to point II.6 of Selection Panel’s Statute) .
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.
    [Show full text]
  • Oratorio Society of New York Performing Handel's
    Contact: Jennifer Wada Communications 718-855-7101 [email protected] 1440 Broadway, 23rd Floor www.wadacommunications.com New York, NY 10018 212–400–7255 ORATORIO SOCIETY OF NEW YORK PERFORMING HANDEL’S MESSIAH AT CARNEGIE HALL = A NEW YORK TRADITION OF THE HIGHEST ORDER Kent Tritle Conducts OSNY’s 143rd Annual Performance of the Holiday Classic on Wednesday, December 21, 2016, at 8:00 pm Kathryn Lewek, Jakub Józef Orliński, William Ferguson, and Adam Lau are Soloists Kent Tritle leading the Oratorio Society of New York at Carnegie Hall (photo by Tim Dwight) “A vibrant and deeply human performance, made exciting by the sheer heft and depth of the chorus's sound.” -The New York Times (on Messiah) The Oratorio Society of New York has the distinction of having performed Handel’s Messiah every Christmas season since 1874, and at Carnegie Hall every year the hall has been open since 1891 – qualifying the OSNY’s annual rendition of the holiday classic as a New York tradition of the highest order. On Wednesday, December 21, 2016, Music Director Kent Tritle leads the OSNY, New York’s champion of the grand choral tradition, in its 143rd performance of Messiah, at Carnegie Hall. The vocal soloists are Kathryn Lewek, soprano; Jakub Józef Orliński, countertenor; William Ferguson, tenor; and Adam Lau, bass. Oratorio Society of New York’s 143 Performance of Handel’s Messiah – Dec. 21, 2016 - Page 2 of 4 “Each performance is fresh” -Kent Tritle Performing an iconic work such as Messiah every year presents the particular challenge of avoiding settling into a groove.
    [Show full text]
  • TURANDOT Cast Biographies
    TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
    [Show full text]
  • The KF International Marcella Sembrich International Voice
    The KF is excited to announce the winners of the 2015 Marcella Sembrich International Voice Competition: 1st prize – Jakub Jozef Orlinski, counter-tenor; 2nd prize – Piotr Buszewski, tenor; 3rd prize – Katharine Dain, soprano; Honorable Mention – Marcelina Beucher, soprano; Out of 92 applicants, 37 contestants took part in the preliminary round of the competition on Saturday, November 7th, with 9 progressing into the final round on Sunday, November 8th at Ida K. Lang Recital Hall at Hunter College. This year's competition was evaluated by an exceptional jury: Charles Kellis (Juilliard, Prof. emeritus) served as Chairman of the Jury, joined by Damon Bristo (Vice President and Artist Manager at Columbia Artists Management Inc.), Markus Beam (Artist Manager at IMG Artists) and Dr. Malgorzata Kellis who served as a Creative Director and Polish song expert. About the KF's Marcella Sembrich Competition: Marcella Sembrich-Kochanska, soprano (1858-1935) was one of Poland's greatest opera stars. She appeared during the first season of the Metropolitan Opera in 1883, and would go on to sing in over 450 performances at the Met. Her portrait can be found at the Metropolitan Opera House, amongst the likes of Luciano Pavarotti, Placido Domingo, and Giuseppe Verdi. The KF's Marcella Sembrich Memorial Voice Competition honors the memory of this great Polish artist, with the aim of popularizing Polish song in the United States, and discovering new talents (aged 18-35) in the operatic world. This year the competition has turned out to be very successful, considering that the number of contestants have greatly increased and that we have now also attracted a number of International contestants from Japan, China, South Korea, France, Canada, Puerto Rico and Poland.
    [Show full text]
  • Progrmne the DURABILITY Of
    PRoGRmnE The DURABILITY of PIANOS and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions. This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion— The Mason & Hamlin Tension Resonator Catalogue Mailed on Jtpplication Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Establishea;i854 Opp. Institute of Technology 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON 6-MASSACHUSETTS AVENUES , ( Ticket Office, 1492 J Telephones_, , Back^ ^ Bay-d \ Administration Offices. 3200 \ TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor prngramm^ of % Nineteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MARCH 18 AT 2.30 O'CLOCK SATURDAY EVENING, MARCH 19 AT 8.00 O'CLOCK COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1417 Mme. TERESA CARRENO On her tour this season will use exclusively j^IANO. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY 6. L SGHIRMER & CO., 338 Boylston Street, Boston, Mass. Boston Symphony Orchestra PERSONNEL |J.M.^w^^w^»l^^^R^^^^^^^wwJ^^w^J^ll^lu^^^^wR^^;^^;^^>^^^>u^^^g,| Perfection in Piano Makinrf THE -^Mamtin Qaartcr Grand Style V, in figured Makogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece of piano building^. It IS Cnickering & Sons most recent triumpLi, tke exponent of EIGHTY-SEVEN YEARS experience in artistic piano tuilding, and tlie lieir to all tne qualities tkat tke name of its makers implies.
    [Show full text]
  • Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
    Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.
    [Show full text]
  • The Inventory of the Phyllis Curtin Collection #1247
    The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C.
    [Show full text]
  • June 1926) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1926 Volume 44, Number 06 (June 1926) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 44, Number 06 (June 1926)." , (1926). https://digitalcommons.gardner-webb.edu/etude/735 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. MUSIC STUDY 1 EX AI^TSUFeT i MVS I C die ETVDE MAGA ZINE JUNE 1926 Everything Count, i in Musical Success, by Lawrence Tibbett jZ? Practical Points for Practical Teachers, by C reorg Liebling zZ? Getting Up a School Band, by J. E. Maddy zzz Studying Music Late iri Life, by J. M. Williams zz? Twenty-Four Excellent Pieces, by Wagner, Bolzoni, 1 'riml, Mrs. Beach, Rolfe, Bliss, Krentzlin, Himmelreich, and others JUNE 1926 Page k05 THE ETUDE Just Music Teachers— -Think! Awake to This Real’ Opportunity YOU WHY NOT DEVOTE SOME OF YOUR LEISURE HOURS THIS SUMMER TO CAN CONDUCTING A THEORY CLASS IN YOUR COMMUNITY? HAVE Activity is the best publicity.
    [Show full text]
  • Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M
    Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M. Groth B.M. University of Wisconsin, 2013 M.M. University of Missouri, 2017 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Musical Arts College of Music 2020 1 2 3 Abstract The purpose of this document is to identify and explain the key ideals of bel canto singing and provide reasoned suggestions of exercises, vocalises, and repertoire choices that are readily available both to teachers and students. I provide a critical evaluation of the fundamental tenets of classic bel canto pedagogues, Manuel Garcia, Mathilde Marchesi, and Julius Stockhausen. I then offer suggested exercises to develop breath, tone, and legato, all based classic bel canto principles and more recent insights of voice science and physiology. Finally, I will explore and perform a brief survey into the vast expanse of Italian repertoire that fits more congruently with the concepts found in bel canto singing technique in order to equip teachers with the best materials for more rapid student achievement and success in legato singing. For each of these pieces, I will provide the text and a brief analysis of the characteristics that make each piece well-suited for beginning university students. 4 Acknowledgements Ever since my first vocal pedagogy class in my undergraduate degree at the University of Wisconsin-Madison, I have been interested in how vocal pedagogy can best be applied to repertoire choices in order to maximize students’ achievement in the studio environment.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • COLORATURA and LYRIC COLORATURA SOPRANO
    **MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau
    [Show full text]