DOCSLIB.ORG

A Sampling of Repertoire for Solo Voice and Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Sampling of Repertoire for Solo Voice and Orchestra A SAMPLING OF REPERTOIRE FOR SOLO VOICE AND ORCHESTRA Adams, John The Wound Dresser (1988) Baritone and orchestra Adler, Samuel Symphony No. 5: “We are the echoes” (1974-75) Mezzo-soprano and orchestra 22’ Andriessen, Louis Nocturne (1959) Soprano and orchestra Argento, Dominick Casa Guidi: “A Cycle of Five Songs” (1983) Mezzo-soprano and orchestra 20’ Ode to the West Wind (1956) Concerto for soprano and orchestra 28’ Variations for Orchestra: The Mask of Night Soprano and orchestra 28’ Songs about Spring Soprano and orchestra 12’ Barber, Samuel Andromache’s Farewell, Op. 39 (1962) Soprano and orchestra 12’ Four Songs, Op. 13 Voice and orchestra 9’ Nocturne Sure on this Shining Night Monks and Raisins I Hear an Army Knoxville, Summer of 1915, Op. 24 (1947) Soprano and orchestra 15’ Bartok, Bela Five Songs (1915-16) Solo voice and orchestra 17’ Beethoven, Ludwig Ah, perfido!, Op. 65 (1796) Soprano and orchestra 14’ Bennett, Richard Rodney Five Sonnets of Louise Label (1984) 20’ Soprano and orchestra Ophelia (1987) Countertenor and orchestra 15’ Songs before Sleep (2002) Baritone and orchestra 17’ Tenor and orchestra 14’ Lovesongs (1984 Tenor and orchestra 22’ Sonnet Sequence (1974) Tenor and orchestra 13’ Rev. 08-11 Berg, Alban Der Wein (1929) 15’ Soprano and orchestra Fünf orchesterlieder, op. 4 (1912) 10’ High voice and orchestra Bernstein, Leonard Jeramiah Symphony (1942) Mezzo-soprano and orchestra Berio, Luciano Epifanie (1959) Soprano and orchestra 40’ Folk Songs (1968) Soprano or mezzo-soprano and chamber orchestra 23’ Berkeley, Sir Lennox Four Ronsard Sonnets (1963) Soprano or tenor and orchestra 16’ Berlioz, Hector Cleopatra (1829) Soprano and orchestra 22’ Les Nuits d’Été, Op. 7 (1843) Soprano and orchestra 30’ Bliss, Arthur The Enchantress (1952) Contralto and orchestra 17’ Bloch, Ernest Deux Psaumes (1914) Soprano and Orchestra 9’ Poemes d’automne (1906) Mezzo soprano and orchestra 21’ Prelude and two psalms (1906 Soprano and orchestra 12’ Britten, Benjamin Our Hunting Fathers, Op. 8 (1936) Soprano and orchestra 27’ Quatre chansons francaise (1928) High voice and orchestra 15’ Les Illuminations, Op. 18 (1939) High voice and orchestra 21’ Serenade (1943) Tenor, horn and strings 24’ Canteloube, Joseph Chants d’Auvergne (1923-30) Soprano and orchestra 85’ Carter, Elliott A mirror on which to dwell (1975) Soprano and orchestra 20’ Of Rewaking (20020) Mezzo soprano and orchestra 13’ Copland, Aaaron Old American Songs (1950) Medium voice and orchestra 13’ Eight Poems of Emily Dickinson (1958-70) Solo voice and chamber orchestra 20’ Corigliano, John The Cloisters (1965) Voice and orchestra Rev. 08-11 Mr. Tambourine Man Seven poems of Bob Dylan (2003) Soprano and orchestra 37’ One Sweet Morning Mezzo soprano and orchestra Poem in October (1970) Tenor and orchestra 17’ Vocalise (1999) Soprano and orchestra 20’ Danielpour, Richard Pastime (2006) Baritone and orchestra 22’ Songs of Solitude (2004) Baritone and orchestra 30’ Three Players (2007) Soprano and orchestra 13’ Triptych (2006) Mezzo-soprano and orchestra 15’ A Woman’s Life (2007) Soprano and orchestra 28’ Sonnets to Orpheus, Book I (1992) Sonnets to Orpheus, Book II (1994) Baritone and orchestra 28’ Davis, Anthony Amistad Symphony (2009) Mezzo soprano and orchestra 35’ In the Beginning of Light of Time Passing (1986) Voice and orchestra 25’ Lost Moon Sisters (1990) Soprano and orchestra 23’ Debussy, Claude Le Livre de Baudelaire (Four Songs from Cinq Poemes de Baudelare) arr. John Adams (1994) Soprano and orchestra 22’ Del Tredici, David Adventures Underground (1977) Soprano and orchestra 23’ All in the Golden Afternoon (1981) Soprano and orchestra 35’ In Memory of a Summer Day (1980) Soprano and orchestra 28’ An Alice Symphony (1976) Soprano and orchestra 41’ Syzygy (1966) Soprano and chamber orchestra Delius, Frederick Cynara (1929) Bass or baritone and orchestra 9’ Rev. 08-11 Four Songs from the Danish (1897) Medium voice and orchestra 12’ Druckman, Jacob Counterpoise (1994) Soprano and orchestra 19’ Lamia (1974-1975) Soprano and orchestra 24’ The Sound of Time (1965) Soprano and orchestra 12’ Dvorak, Anton Biblical Songs, Op. 99 High voice and orchestra Zigeunerlieder (Gypsy Songs) Op. 55, arr. Isaccs Low voice and orchestra Elgar, Edward Sea Pictures, Op. 37 (1899) Mezzo-soprano and orchestra 24’ deFalla, Manuel El Amor Brujo (1922) Mezzo-soprano and orchestra 26’ Finzi, Gerald Dies Natalis, Op. 8 (1938-39) Cantata for soprano or tenor and strings Let us Garlands Bring, Op. 18 (1942) Baritone and strings Floyd, Carlisle The Mystery: “Five Songs of Motherhood) (1966) Soprano and orchestra 17’ Pilgrimage (1956) Baritone and orchestra 20’ Foss, Lucas Song of Songs: A Biblical Solo Cantata (1922) Soprano or mezzo-soprano and orchestra 27’ Time Cycle—Four Songs (1959/60) Soprano and orchestra 22’ Ginastera, Alberto Milena, Op. 37 (1971) Cantata for soprano and orchestra 8’ Sinfonia “Don Rodrigo” Op. 42 Soprano and orchestra 25’ Glass, Philip Songs of Milarepa (1997) Baritone and orchestra 25’ Gerhard, Roberto Cancionero de Pedrell (1942) Soprano and chamber orchestra 18’ Six Catalan Folksongs (1931) Soprano or tenor and chamber orchestra Gliere, Reinhold Concerto for solo and orchestra (1943) Coloratura soprano and orchestra 13’ Golijov, Osvaldo How Slow the Wind (2001-02) Soprano and orchestra 8’ Three Songs (2002) Soprano and orchestra 22’ Rev. 08-11 Gorecki, Henryk Symphony No. 3, Op. 36 (1976) Soprano and chamber orchestra 54’ Granados, Enrique Dante: A Symphony Poem (1908) Mezzo-soprano and chamber orchestra 18’ Gretchaninov, Alexander Five Popular Songs (La Sente) Op. 89 Voice and orchestra Poeme Dramatique: Five Songs Voice and orchestra Seven Romances, Op. 93 Voice and orchestra Gubaldulina, Sofia Fatselya (1956) Soprano and orchestra 14’ Hour of the Soul (1976) Mezzo-soprano, percussion and orchestra 28’ Harris, Roy Give me the Splendid Silent Sun (1959) Baritone and orchestra 15’ Harbison, John Elegaic Songs (1974) Mezzo-soprano and orchestra 20’ Milosz Songs (2006) Soprano and orchestra 34’ Hindemith, Paul Das Marienieben, Op. 27 (1948) Soprano and chamber orchestra 23’ Hoddinott, Alun A Contemplation upon Flowers, Op. 90 (1974) Soprano and orchestra 16’ Hoiby, Lee I was There (1993) Baritone and orchestra 15’ The Tides of Sleep, Op. 22 (1967) Low voice and orchestra 10’ Holst, Gustav The Dream City (1904 Voice and orchestra 25’ The Mystic Trumpeter (1912) Soprano and orchestra 20’ Hindemith, Paul Das Marienieben, Op. 27 (1948) Soprano and chamber orchestra 23’ Kagel, Mauricio Ein Brief: Konzertszene (1986-86) Mezzo-soprano and orchestra 9’ Khachaturian, Aram Three Concert Arias (1946) For high voice and orchestra 20’ Ballad about the Motherland (1961) Bass and orchestra 8’ Kirchner, Leon Lily (1973) Soprano and orchestra 22’ Kodaly, Zoltan Two Songs, Op. 5 (1913-16) Bass and orchestra 13’ Rev. 08-11 Lambro, Phillip Four Songs (1967) Soprano and orchestra 19’ Lees, Benjamin Echoes of Normandy (1994) Tenor and orchestra 25’ Symphony No. 4, “Memorial Candles” (1985) Mezzo-soprano, violin and orchestra 60’ Levy, David One Person (1960) Contralto and chamber orchestra 19’ Lieberson, Peter Neruda Songs (2005) Mezzo-soprano and orchestra 30’ Songs of Love and Sorrow (2010) Baritone and orchestra 25’ Loeffler, Charles Canticum fratis solis (Canticle of the Brother Sun) (1925) Medium voice and orchestra (1925) Five Irish Fantasies (1920) Tenor or soprano and orchestra 30’ Lutoslawski, Witold Chantefleurs et Chantefables (1990 Soprano and orchestra 20’ Les Espaces du Sommeil (1975) Baritone and orchestra 15’ Silesian Triptych (1951) Soprano and orchestra 9’ Woven Words (1985) Tenor and orchestra 15’ Maccombie, Bruce The Leaden Echo and the Golden Echo (1989) Soprano and chamber orchestra 16’ Mahler, Gustav Songs from Des Knaben wunderhorn (1892-99) Medium voice and orchestra Kindertotenlieder (190l-04) Mezzo/contralto/baritone with orchestra 29’ Lieder eines fahrenden Gesellen (1884) Medium voice and orchestra 25’ Five Ruckert Lieder (1901-04) Contralto/baritone with orchestra 18’ Matthias, William Elegy for a Prince, Op. 59 (1972) Bass or baritone with orchestra 16’ Mendelssohn, Felix Infelice, Op. 94 (1843) Soprano and orchestra 10’ Messiaen, Olivier Poemes pour mi (1908) Soprano and orchestra 27’ Milhaud, Darius Cantate nuptiale, Op. 168 (1937) High voice and chamber orchestra 15’ Chansons de Ronsard Op. 223 (1941) High voice and orchestra 10’ Rev. 08-11 Mussorgsky/Shostakovich Songs and Dances of Death, arr. Shostakovich Voice and orchestra Musgrave, Thea Triptych (1959) Tenor and orchestra 11’ Musto, John Encounters (1992) Tenor and orchestra Dove Sta Amore (1996) Soprano and chamber orchestra 15’ Quiet Songs (2009) Soprano and chamber orchestra 12’ Litany Medium voice and seven instruments Nelson, Ron Five Pieces for Orchestra (after paintings of Andrew Wyeth (1976) Baritone and orchestra 22’ Trilogy JFK/MLK/RFK (1969) Soprano and orchestra 26’ Poulenc, Francis Poemes de Ronsard (1934) Mezzo-soprano and orchestra 20’ Prokofieff/Shchedrin Cinq Melodies (san paroles) Op. 35 (1920) For voice and orchestra 13’ Prokofieff/Rozhdestvensky Cinq Poesies, Op. 23 (1920) Tenor and orchestra 29’ The Ugly Duckling, Op. 18 (1914) Mezzo-soprano and orchestra 12’ Quilter, Roger Three Shakespeare Songs, Op. 6 Solo voice and orchestra Rands, Bernard Wildtrack 2 (1973) Soprano and orchestra 14’ Canti del Sole (1983) Tenor and orchestra 29’ Canti dell’ Eclisse (1992) Bass and orchestra 30’ “now again”—fragments from Sappho Mezzo-soprano and orchestra 17’ Ravel, Maurice Don
Load more

Recommended publications
  • A Comparison of the Alto Voice in Early and Modern Opera
    View metadata, citation and similar papers at core.ac.uk • w #*>* brought to you by CORE provided.'V by Illinois Digital Environment for Access to Learning and Scholarship... J HUTCHINS A Comparison of the Alio Voice in Early mii Modern Opera j A ' Tw V ill, .^ i%V** i i • i ! 1 i i 4 Music j • 19 15 i • * THE UNIVERSITY OF ILLINOIS LIBRARY Digitized by the Internet Archive in 2013 http://archive.org/details/comparisonofaltoOOhutc COMPARISON OF THE ALTO VOICE IN EARLY AND MODERN OPERA BY MARJORIE HUTCHINS THESIS FOR THE DEGREE OF BACHELOR OF MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1915 , ftfy UNIVERSITY OF ILLINOIS June I 19235. SUPERVISION BY THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY MARJORIS HUTCHIUS, - MODERN ENTITLED A COMPARISON OF THE ALTO VOICE IN EARLY JJffl OPERA, - - FOR THE IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS DEGREE QF BACHELOR OF MUSIC. , Instructor in Charge 1 IG HEAD OF DEPARTMENT OF .S • u»uc H^T A COMPARISON OP THE ALTO VOICE IN EARLY AND MODERN OPERA. The alto voice is, in culture and use, as an important solo instrument, comparatively modern. It must be well understood that the alto voice, due to its harmonic relation to the soprano, has always been the secondary voice. The early opera writers, such as Monteverde, Cavalli, Lully, and Scarlatti, although they wrote for this voice when it was sung only by the male artificial con- tralli or counter-tenor, have done much toward putting it where it is today.
    [Show full text]
  • Alban Berg – Sieben Frühe Lieder
    DOI: 10.2478/ajm-2020-0012 Studies Alban Berg – Sieben frühe Lieder. Performance perspectives IONELA BUTU, Associate Professor PhD “George Enescu” National University of Arts ROMANIA∗ Bergʼs worldwide reputation had been consolidated with orchestral and chamber works and the opera Wozzeck. (...) For different reasons, his dimension as a composer of songs does not seem to be very large, and yet it is fundamental to his personality nevertheless. Mark DeVoto Abstract: The study presents several interpretative suggestions made from the perspective of the accompanying pianist that played Alban Bergʼs Sieben frühe Lieder. Why this topic? Because in the Romanian music literature, there is nothing written about the song cycle Sieben frühe Lieder by Alban Berg, which is a representative work in the history of the art song. The theme, addressed in the literature written abroad, is treated mostly from a musicological standpoint. That is why we considered it useful to make some observations of an interpretative nature. They will become relevant if read in parallel with the PhD thesis entitled Alban Bergʼs “Sieben frühe Lieder”: An Analysis of Musical Structures and Selected Performances, written by Lisa A. Lynch (the only documentary source that proposes in-depth syntactic analyses of the work, associated with valuable interpretative suggestions made from a vocal perspective). We also considered useful, during the study, the comparison between the two variants of the work: the chamber/voice-piano version and the orchestral version. The analysis of the symphonic text was carried out intending the observation of significant details useful for realizing an expressive duo performance. Of course, our interpretative suggestions are a variant between many others.
    [Show full text]
  • Soldier Songs Production Photos from the Atlanta Opera, San Diego Opera, and Beth Morrison Projects Tough Questions and Tough Stories David T
    Soldier Songs production photos from The Atlanta Opera, San Diego Opera, and Beth Morrison Projects Tough Questions and Tough Stories David T. Little (1978– ) has so far composed 8 operas/oratorios, 15 instrumental pieces for orchestra and large ensemble, 21 works for small ensemble, 7 choral and vocal works, and 11 solo compositions. Peruse titles on his website—Dog Days, JFK, A Nest of Shadows, Haunted Topography, Conspiracy Theory—and it is clear that he tackles thorny subject matter, asks tough questions, and tells tough stories. The New Yorker describes Little as “one of the most Music and Libretto by David Music T.andDavid Libretto by Little imaginative young composers” on the scene Select works by David T. Little: and The New York Times stated that he has “a knack Soldier Songs A 60-minute multimedia for overturning musical work for baritone and amplified septet that Soldier Songs conventions.” explores the perceptions versus the realities of a soldier, the exploration of loss For Soldier Songs, Little and exploitation of innocence, and the gathered tough stories, difficulty of expressing the truth of war. added elements of theater, opera, rock-infused-concert Am I Born An oratorio for soprano, music, and animation, and children's chorus, and orchestra that then delivered an evening- explores lost histories, altered places, and length event meant to be a the spiritual bleed at the intersection of vehicle for reflection, modernity and antiquity. engagement, and emotional connection. Vinkensport, or The Finch Opera If the purpose of the arts is A one-act operatic comedy about the not to produce products, Flemish folk-sport of finch-sitting.
    [Show full text]
  • The Voice and Singing Sample Pages.Pdf
    2 THE VOICE AND SINGING FRANCIS KEEPING AND ROBERTA PRADA Originally LA VOIX ET LE CHANT TRAITÉ PRACTIQUE J. FAURE PARIS 1886 this book, translated and expanded contains Faure’s original exercises with all the transpositions as indicated by the author. 3 Copyright © 2005 Francis Keeping and Roberta Prada. All rights reserved. No part of this book may be reproduced in any form, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2005 by Vox Mentor LLC. For sales please contact: Vox Mentor LLC. 343 East 30th street, 12M. New York, NY. 10016 phone: 212-684-5485 Email: [email protected] Website: www.voxmentor.biz Printed in USA. Awaiting Library of congress Cataloging-in-Publication Data ISBN 10: 0-9777823-0-1 Originally La Voix et le Chant, J. Faure, Paris, 1886, AU Menestrel, 2 bis, Rue Vivienne, Henri Heugel. The present volume is set in Times New Roman 12 point, on 28 lb. bright white acid free paper and wire bound for easy opening on the music stand. Page turns have been avoided wherever possible in the exercises, meaning that there are intentional blank spaces throughout. The cover photo of J. Faure as a younger man is from the collection of Bill Ecker of Harmonie Autographs, New York City. The present authors have faithfully translated the words of Faure, taking care to preserve the original intent of the author making changes only where necessary to assist modern readers. The music was written using Sibelius 3 and 4™ software.
    [Show full text]
  • The Shaping of Time in Kaija Saariaho's Emilie
    THE SHAPING OF TIME IN KAIJA SAARIAHO’S ÉMILIE: A PERFORMER’S PERSPECTIVE Maria Mercedes Diaz Garcia A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS May 2020 Committee: Emily Freeman Brown, Advisor Brent E. Archer Graduate Faculty Representative Elaine J. Colprit Nora Engebretsen-Broman © 2020 Maria Mercedes Diaz Garcia All Rights Reserved iii ABSTRACT Emily Freeman Brown, Advisor This document examines the ways in which Kaija Saariaho uses texture and timbre to shape time in her 2008 opera, Émilie. Building on ideas about musical time as described by Jonathan Kramer in his book The Time of Music: New Meanings, New Temporalities, New Listening Strategies (1988), such as moment time, linear time, and multiply-directed time, I identify and explain how Saariaho creates linearity and non-linearity in Émilie and address issues about timbral tension/release that are used both structurally and ornamentally. I present a conceptual framework reflecting on my performance choices that can be applied in a general approach to non-tonal music performance. This paper intends to be an aid for performers, in particular conductors, when approaching contemporary compositions where composers use the polarity between tension and release to create the perception of goal-oriented flow in the music. iv To Adeli Sarasola and Denise Zephier, with gratitude. v ACKNOWLEDGMENTS I would like to thank the many individuals who supported me during my years at BGSU. First, thanks to Dr. Emily Freeman Brown for offering me so many invaluable opportunities to grow musically and for her detailed corrections of this dissertation.
    [Show full text]
  • First Glimpse 2018: Songs from the Great Room
    presents First Glimpse 2018: Songs from the Great Room World Premiere Songs rom e 17-19 omosers e oie series Composers & the Voice Artistic Director - Steven Osgood Musical Direction by Mila Henry & Kelly Horsted 2017-19 Composers & the Voice Composer and Librettist Fellows Laura Barati Pamela Stein Lynde Sokunthary Svay Matthew Browne Scott Ordway Amber Vistein Kimberly Davies Frances Pollock Alex Weiser 2017-18 Composers & the Voice Resident Singers Tookah Sapper, soprano Jennifer Goode Cooper, soprano Blythe Gaissert, mezzo-soprano* Blake Friedman, tenor Mario Diaz Moresco, baritone Adrian Rosas, bass-baritone *Songs written for mezzo-soprano will be performed tonight by Kate Maroney Resident Stage Manager - W. Wilson Jones May 19 & 20, 2018 - 7:30 PM SOUTH OXFORD SPACE, BROOKLYN FROM THE ARTISTIC DIRECTOR I always have mixed emotions when a cycle of Composers and the Voice arrives at the First Glimpse concerts. It is thrilling to FINALLY throw open the doors of this room and share some of the wonderful pieces that have been written since last Fall. But it also means that my time working so regularly and directly with a family of artists is drawing to a close. It takes a huge team of people to make a program like Composers and the Voice work, but I would like to thank two who have stepped into new and significantly larger roles this year. Mila Henry, C&V Head of Music, has overseen the musical organization of the entire season, while also preparing several pieces for each of our workshop sessions. Matt Gray, as C&V Head of Drama, has brought his insight into character and operatic narrative into every element of the program.
    [Show full text]
  • The Inextricable Link Between Literature and Music in 19Th
    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
    [Show full text]
  • Vocality and Listening in Three Operas by Luciano Berio
    Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body.
    [Show full text]
  • 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.
    [Show full text]
  • OPERA GLOSSARY – the CULTURE CONCEPT CIRCLE Aficionado - a Devoted Fan Or Enthusiast
    OPERA GLOSSARY – THE CULTURE CONCEPT CIRCLE aficionado - A devoted fan or enthusiast. apron - The front part of the stage between the curtain and the orchestra pit. aria - Italian word for "air." a song for solo voice with instrumental accompaniment. baritone - The medium male voice. lies between the low bass voice and the higher tenor voice. baroque - The period of music from the early to mid 1600's to the mid 1700's. Baroque operas are characterized by emotional, highly stylized and flowery presentations. bass - The lowest of the male voices. bass-baritone - A male voice which combines the quality of the baritone with the depth of the bass, avoiding the extremes of either range. basso profundo - The most serious bass voice. bel canto - Italian for "beautiful singing." In a bel canto style opera, the beauty of singing is more important than the plot or the words. bravo! - Bravo is the Italian word for expressing appreciation to a male performer. brava! - Bravo is the Italian word for expressing appreciation to a female performer bravi! - Bravo is the Italian word for expressing appreciation to two or more performers. cadenza - Near the end of an aria, a series of difficult, fast high notes that allow the singer to demonstrate vocal ability. classical - The period in music from roughly the mid 1700's to the early 1800's. coloratura soprano - A very high pitched soprano. also the description of singing which pertains to great feats of agility - fast singing, high singing, trills, and embellishments. commedia dell'arte - A style of dramatic presentation popular in Italy from the 16th century on; the commedia characters were highly stylized and the plots frequently revolved around disguises, mistaken identities and misunderstandings.
    [Show full text]
  • Beauty and the Beast
    BEAUTY AND THE BEAST CHARACTER DESCRIPTIONS: BELLE (Stage Age: 18-30) Belle is the original fairy tale heroine–kind, gentle, and beautiful–but with an important 21st Century twist. She is a strong, intelligent, spirited and independent young woman. Belle is the moral conscience of the story, elevated by her thoughts and deeds. The maturity and depth of her character allow her to see the true beauty and spirit within The Beast, and to love him for it. This role requires a very strong singer who portrays innocence with her singing and speaking voice. MezzoSoprano: Low A-High F THE BEAST (Stage Age: 21-35) The Beast’s tortured soul is evident for all to see. He is paying the ultimate price for a moment of mean-spiritedness, and wishes beyond wishing that he could rectify his mistake. There is anger and menace in The Beast’s appearance and behavior, but increasingly we see his soft and endearing side as he interacts with Belle. It becomes clear that he is a loving, feeling, human being trapped within a hideous creature’s body. This role requires a very strong singer, and the actor must have a strong speaking voice and stage presence. Baritone: A–High F GASTON (Stage Age: 21-35) Gaston is the absolute antithesis of The Beast. Although he is physically handsome, he is shallow, completely self-centered, not very bright, and thrives on attention. However, when his ego is bruised he becomes a very dangerous foe for The Beast, Belle and Maurice. This role requires a strong singer and character actor who moves well.
    [Show full text]
  • The Full Concert Program and Notes (Pdf)
    Program Sequenza I (1958) for fl ute Diane Grubbe, fl ute Sequenza VII (1969) for oboe Kyle Bruckmann, oboe O King (1968) for voice and fi ve players Hadley McCarroll, soprano Diane Grubbe, fl ute Matt Ingalls, clarinet Mark Chung, violin Erik Ulman, violin Christopher Jones, piano David Bithell, conductor Sequenza V (1965) for trombone Omaggio Toyoji Tomita, trombone Interval a Berio Laborintus III (1954-2004) for voices, instruments, and electronics music by Luciano Berio, David Bithell, Christopher Burns, Dntel, Matt Ingalls, Gustav Mahler, Photek, Franz Schubert, and the sfSound Group texts by Samuel Beckett, Luciano Berio, Dante, T. S. Eliot, Paul Griffi ths, Ezra Pound, and Eduardo Sanguinetti David Bithell, trumpet; Kyle Bruckmann, oboe; Christopher Burns, electronics / reciter; Mark Chung, violin; Florian Conzetti, percussion; Diane Grubbe, fl ute; Karen Hall, soprano; Matt Ingalls, clarinets; John Ingle, soprano saxophone; Christopher Jones, piano; Saturday, June 5, 2004, 8:30 pm Hadley McCarroll, soprano; Toyoji Tomita, trombone; Erik Ulman, violin Community Music Center Please turn off cell phones, pagers, and other 544 Capp Street, San Francisco noisemaking devices prior to the performance. Sequenza I for solo flute (1958) Sequenza V for solo trombone (1965) Sequenza I has as its starting point a sequence of harmonic fields that Sequenza V, for trombone, can be understood as a study in the superposition generate, in the most strongly characterized ways, other musical functions. of musical gestures and actions: the performer combines and mutually Within the work an essentially harmonic discourse, in constant evolution, is transforms the sound of his voice and the sound proper to his instrument; in developed melodically.
    [Show full text]