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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. -
Kirchschlager 1997
ANGELIKA KIRCHSCHLAGER Ein Gespräch im Jänner 1997 Österreichs jüngster Opernstar, hat die Wiener im Sturm erobert, eine CD mit Liedern des Fin-de-siècle herausgebracht und bereitet sich auf ihr "Idomeneo"- Debüt an der Seite Placido Domingos vor. Die Mezzosopranistin im Gespräch. Der Erfolg ist ihr offenbar nicht zu Kopf gestiegen: Während der letzten zwei oder drei Jahre hat die junge österreichische Mezzosopranistin Angelika Kirchschlager prestissimo Karriere gemacht. Kaum hatte sie ihr Studium bei Walter Berry absolviert, war sie schon in Graz engagiert, sang dort die Rosina im "Barbier von Sevilla" und den Jänner 1997 SINKOTHEK Rosenkavalier - und hatte einen Vertrag für die beiden großen Wiener Opernhäuser in der Tasche. Auf eine bemerkenswerte Massenet-Rarität, "Cherubin", an der Kammeroper folgten diverse Kleinrollen im Haus am Ring - und im Vorjahr das Wien-Debüt als Octavian im "Rosenkavalier". Der scheint die Schicksalsrolle Angelika Kirchschlagers zu sein. "Als Rosenkavalier würde ich auch immer und überall einspringen. Auch ohne Proben", sagt sie. Warum sie sich gerade in dieser Partie so firm fühlt: "Das war eigentlich die einzige Rolle, die ich mit einem guten Regisseur Punkt für Punkt erarbeitet habe. Das war Michael Wallner in Graz. Seither fühle ich mich so sicher, daß ich mich in Jänner 1997 SINKOTHEK jeder Rosenkavalier-Produktion zurecht finde. Es ist wunderbar, wenn ein Regisseur vom Schauspiel kommt", lautet ihr Bekenntnis - ganz gegenläufig zur in der Opernwelt herrschenden Meinung. "Wenn der Dirigent nicht gerade Muti heißt", so Kirchschlager weiter, "dann ist meist die Regie wichtiger als das, was vom Dirigentenpult kommt". Mit Muti hat sie für die Wiederaufnahme der umjubelten "Cosi fan tutte" im Theater an der Wien gearbeitet, eine Produktion, an der sie auch bei den kommenden Aufführungsserien mitwirken wird. -
Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality. -
The Wedding of Kevin Roon & Simon Yates Saturday, the Third of October
The wedding of Kevin Roon & Simon Yates Saturday, the third of October, two thousand and nine Main Lounge The Dartmouth Club at the Yale Club New York City Introductory Music Natasha Paremski & Richard Dowling, piano Alisdair Hogarth & Malcolm Martineau, piano Welcome David Beatty The Man I Love music by George Gershwin (1898–1937) arranged for piano by Earl Wild (b. 1915) Richard Dowling, piano O Tell Me the Truth About Love W. H. Auden (1907–1973) Catherine Cooper I Could Have Danced All Night from My Fair Lady music by Frederick Loewe (1901–1988) lyrics by Alan Jay Lerner (1918–1986) Elizabeth Yates, soprano Simon Yates, piano Sonnet 116 William Shakespeare (1564–1616) Lilla Grindlay Allemande from the Partita No.4 in D major, BWV 828 Johann Sebastian Bach (1685–1750) Jeremy Denk, piano Prayer of St. Francis of Assisi Eileen Roon from Liebeslieder Op. 52 Johannes Brahms (1833–1897) text by Georg Friedrich Daumer (1800–1875) translations © by Emily Ezust Joyce McCoy, soprano Jennifer Johnston, mezzo-soprano Matthew Plenk, tenor Eric Downs, bass-baritone Alisdair Hogarth & Malcolm Martineau, piano number 8 Wenn so lind dein Auge mir When your eyes so gently und so lieblich schauet, and so fondly gaze on me, jede letzte Trübe flieht, every last sorrow flees welche mich umgrauet. that once had troubled me. Dieser Liebe schöne Glut, This beautiful glow of our love, lass sie nicht verstieben! do not let it die! Nimmer wird, wie ich, Never will another love you so treu dich ein Andrer lieben. as faithfully as I. number 9 Am Donaustrande On the banks of the Danube, da steht ein Haus, there stands a house, da schaut ein rosiges and looking out of it Mädchen aus. -
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. -
January 19, 2020 Luc De Wit 3:00–4:40 PM
ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J. -
Travestis and Caractères in the Early Modern French Theatre
Early Theatre 15.1 (2012) Virginia Scott Conniving Women and Superannuated Coquettes: Travestis and Caractères in the Early Modern French Theatre In his 1651 Roman comique that depicts the adventures of an itinerant theat- rical troupe in the French provinces, Paul Scarron describes a conventional representation of older female characters in French comedy: ‘Au temps qu’on était réduit aux pièces de Hardy, il [La Rancune] jouait en fausset et, sous les masques, les roles de nourrice’ [In the period when troupes were reduced to the plays of Hardy, he played in falsetto, wearing a mask, the roles of the nurse].1 The nourrice was a character type from Roman and Italian Renais- sance comedy, often an entremetteuse or go-between as well as a confidant. Juliet’s Nurse in Romeo and Juliet, although she participates in a story that ends tragically, is an essentially comic character and a familiar example from the English repertory. La Rancune, an actor of the second rank, also played confidents, ambas- sadors, kidnappers, and assassins. This mixed emploi — confidents et nour- rices — was not an unusual line of business for an actor in the early years of the seventeenth century. A comparable emploi at the end of that century would be known as confidentes et caractères. The difference is that the former was an emploi for men while the latter was for women. Female character roles became more and more important in the last decades of the seventeenth century, when comedy dominated the Paris repertory and the bourgeoisie dominated the Paris theatre audience. When the professional theatre was established in Paris in the 1630s, no women specialized in comic charac- ter roles; by the end of that century, the troupe of the Comédie-Française included Mlles Desbrosses, Godefroy, Champvallon, and Du Rieu in the emploi of caractères. -
Background to Voice Types and Opera Genres
1 HOW DID WOLFGANG AMADEUS MOZART ADJUST HIS COMPOSITIONAL TECHNIQUE WHEN WRITING FOR A MEZZO- SOPRANO EN TRAVESTI? A comparison between the roles of Cherubino and Sesto. Ané Sophia Pretorius PRTANE002 Town A minor dissertation submitted in partial fulfilment of the requirements for the award of the degreeCape of Masters in Music by Performanceof and Dissertation University Faculty of the Humanities University of Cape Town 2018 Supervisor: Dr. Rebekka Sandmeier [Type here] The copyright of this thesis vests in the author. No quotation from it or information derivedTown from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes Capeonly. of Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University 2 COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: 19/02/2018 [Type here] 3 Acknowledgments I would like to extend a heartfelt thank you to everyone who assisted me in the completion of this thesis. • To the one and only God for giving me this opportunity and upholding me throughout. • To my supervisor Dr Rebekka Sandmeier for her constant professional advice and guidance. • To my parents for their love and support throughout my studies. • To my sister for her guidance and technical assistance in this endeavour. -
FY19 Annual Report View Report
Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut. -
Topical Weill: News and Events
Volume 27 Number 1 topical Weill Spring 2009 A supplement to the Kurt Weill Newsletter news & news events Summertime Treats Londoners will have the rare opportunity to see and hear three Weill stage works within a two-week period in June. The festivities start off at the Barbican on 13 June, when Die Dreigroschenoper will be per- formed in concert by Klangforum Wien with HK Gruber conducting. The starry cast includes Ian Bostridge (Macheath), Dorothea Röschmann (Polly), and Angelika Kirchschlager (Jenny). On 14 June, the Lost Musicals Trust begins a six-performance run of Johnny Johnson at Sadler’s Wells; Ian Marshall Fisher directs, Chris Walker conducts, with Max Gold as Johnny. And the Southbank Centre pre- sents Lost in the Stars on 23 and 24 June with the BBC Concert Orchestra. Charles Hazlewood conducts and Jude Kelly directs. It won’t be necessary to travel to London for Klangforum Wien’s Dreigroschenoper: other European performances are scheduled in Hamburg (Laeiszhalle, 11 June), Paris (Théâtre des Champs-Elysées, 14 June), and back in the Klangforum’s hometown, Vienna (Konzerthaus, 16 June). Another performing group traveling to for- eign parts is the Berliner Ensemble, which brings its Robert Wilson production of Die Dreigroschenoper to the Bergen Festival in Norway (30 May and 1 June). And New Yorkers will have their own rare opportunity when the York Theater’s “Musicals in Mufti” presents Knickerbocker Holiday (26–28 June). Notable summer performances of Die sieben Todsünden will take place at Cincinnati May Festival, with James Conlon, conductor, and Patti LuPone, Anna I (22 May); at the Arts Festival of Northern Norway, Harstad, with the Mahler Chamber Orchestra led by HK Gruber and Ute Gfrerer as Anna I (20 June); and in Metz, with the Orchestre National de Lorraine, Jacques Mercier, conductor, and Helen Schneider, Anna I (26 June). -
En Travesti: the Operatic Mezzo-Soprano As Leading Man Andrea Fuss, Angela Nieman, and Dr
En Travesti: The Operatic Mezzo-Soprano as Leading Man Andrea Fuss, Angela Nieman, and Dr. Mitra Sadeghpour, Mentor, University of Wisconsin-Eau-Claire Abs trac t Application PttifRhPresentation of Research In the seventeenth and eighteenth centuries, an operatic tradition began that Based on the three phases of preliminary research, the team then Combining Research and Practice selected and examined individual operas where the pants role was some roles originally intended for male castrato singers were now sung by The student researchers will present their final research project in a lecture recital along prevalent. The two operatic roles chosen were Serse from Handel’s women. After the disappearance of castrati, these roles were sung entirely by with a group of four volunteer student performers, displaying a variety of pants roles Serse and Orfeo from Gluck’s Orfeo ed Euridice. Each team member women. Also, gradually during this time period, some composers began to while discussing the history and development of the pants role in opera. write male roles expressly for female singers. Though the term “mezzo- filled out and completed the guide according to her character. soprano” (medium soprano) was not used until the end of the eighteenth century, that classification describes those women’s voices: a strong middle Completion of Guide register with both upper and lower extensions and a richer, darker sound than a soprano (similar to the sound and range of the male castrati). This research project explored how the tradition of “pants roles” began and a time line of the Completion of GOTE Sheet How do gestures work? major roles of this type was created and compared to other non-pants mezzo- Chose movement adjectives that can Orfeo be applied to your character soprano female roles in the same period. -
THE JOURNEY with ANGEL BLUE New Episodes Tuesdays at 1:00 P.M
THE JOURNEY WITH ANGEL BLUE New Episodes Tuesdays at 1:00 p.m. Central Time Premiered August 25, 2020 TDO Network presents The Journey with Angel Blue, hosted by one of the world’s most engaging and beloved sopranos, Angel Blue. Her new TDO Network series is designed to lift the spirit by finding the “silver lining” in even the most challenging circumstances. Ms. Blue will reflect on her own personal journey through life, offer unique perspectives, and share her ideas on how to accentuate the positive every day. ABOUT THE HOST: Incandescent American soprano Angel Blue has performed, to date, in more than 35 countries with companies including the Vienna State Opera, Semperoper Dresden, San Francisco Opera, Frankfurt Opera, the Aix-en-Provence Festival, La Scala (where she was the first black singer to portray Violetta), and the Royal Opera House, Covent Garden. Her most recent triumph was headlining the Metropolitan Opera’s 2019/20 season-opener, Porgy and Bess. The Gershwin classic was seen in theaters all around the world as part of the Metropolitan Opera’s “Live in HD,” and was also featured on PBS’s “Great Performances.” Over the course of her career, Ms. Blue has earned enthusiastic acclaim in numerous roles, including the title role of Tosca, Violetta in La traviata, Liù in Turandot, Marguerite in Gounod’s Faust, Elena in Boito’s Mefistofele, Giulietta in Les Contes d’Hoffmann, Micaëla in Carmen, and both Clara and Bess in Porgy and Bess. She is perhaps most popularly associated with Puccini’s La bohème, making her U.S.