The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-2016 Character Interpretation in Poulenc's La Voix Humaine: A Performer's Guide Stefanie Nicole Anduri University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Anduri, Stefanie Nicole, "Character Interpretation in Poulenc's La Voix Humaine: A Performer's Guide" (2016). Dissertations. 896. https://aquila.usm.edu/dissertations/896 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. CHARACTER INTERPRETATION IN POULENC’S LA VOIX HUMAINE: A PERFORMER’S GUIDE by Stefanie Nicole Anduri A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Maryann Kyle, Committee Chair Professor, Music ________________________________________________ Dr. J. Taylor Hightower, Committee Member Associate Professor, Music ________________________________________________ Dr. Susan Ruggiero, Committee Member Adjunct Professor, Music ________________________________________________ Dr. Daniel Beard, Committee Member Associate Professor, Music ________________________________________________ Dr. Christopher Goertzen, Committee Member Professor, Music ________________________________________________ Dr. Karen S. Coats Dean of the Graduate School December 2016 COPYRIGHT BY Stefanie Nicole Anduri 2016 Published by the Graduate School ABSTRACT CHARACTER INTERPRETATION IN POULENC’S LA VOIX HUMAINE: A PERFORMER’S GUIDE by Stefanie Nicole Anduri December 2016 Francis Poulenc’s 1959 opera, La Voix humaine provides uncommon opportunities for divergent character interpretations and unique challenges to the performer. The opera chronicles the final telephone conversation between the sole character and her estranged lover. The opera’s format is unprecedented; because the audience does not hear Monsieur’s responses, the performer must create and portray them through her reactions, a challenge unique to this work. Through the exploration of four distinct characterizations, I discuss the choices and ramifications for the woman’s demeanor towards other people on the telephone line, her relationship with the man, the function of the various musical motives employed throughout the opera, and her fate at the end of the opera, offering performers of the opera various interpretations from which to choose, and adding depth and insight to Madame’s character. I examine the libretto, musical motives, and various other musical elements to develop the characterizations. I consult and apply information from several extra-musical sources, including historical, psychological, medical sources, and the play on which the opera is based. I also include two appendices: an interview with sopranos Emily Hindrichs and Camille Zamora, both of whom have performed the opera multiple times, and an idiomatic translation of the libretto. ii There are limitless possibilities in the interpretation of this role; it is my hope that this document will offer creative insight and inspiration for anyone who endeavors to sing this role. iii ACKNOWLEDGMENTS I would like to thank Dr. Maryann Kyle for her tireless assistance, encouragement, and guidance throughout the dissertation process, Emily Hindrichs and Camille Zamora for their artistic insight, Messieurs Francis Poulenc and Cocteau for the creation of this incredible opera, and Madame Denise Duval for bringing the character to life. iv DEDICATION This dissertation is dedicated to my beautiful husband, Graham, and sons, Leo and Max, without whose patience and unyielding support, this accomplishment would not be possible. I love you every day, no matter what! And to the memories of Monsieur Poulenc and Madame Duval; I feel honored to have gotten to know you both through my research, and I thank you for your eternal souls, which you bestowed upon the world through your art. How fortunate we are that you both shared your gifts with the world! v TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii ACKNOWLEDGMENTS ................................................................................................. iv DEDICATION .................................................................................................................... v LIST OF MUSICAL EXAMPLES ................................................................................... vii CHAPTER I - INTRODUCTION .................................................................................... 10 La Voix Humaine ...................................................................................................... 12 Phases ........................................................................................................................ 15 Motives ..................................................................................................................... 19 CHAPTER II – SCENARIO 2: DRUG ADDICTION ..................................................... 43 CHAPTER III – SCENARIO 3: ABUSIVE MONSIEUR ............................................... 55 CHAPTER IV – SCENARIO 4: UNEXPECTED SEPARATION .................................. 70 CHAPTER V – CONCLUSION ....................................................................................... 88 APPENDIX A– Interviews and Commentary .................................................................. 91 APPENDIX B - Idiomatic Translation ............................................................................. 99 BIBLIOGRAPHY ........................................................................................................... 121 vi LIST OF MUSICAL EXAMPLES Musical Example 1 Fear motive ...................................................................................... 21 Musical Example 2 Mounting tension motive .................................................................. 22 Musical Example 3 Telephone ring motive38 ................................................................... 23 Musical Example 4 Poor/Wrong Connection Motive38 39 ................................................. 23 Musical Example 5 Casual conversation motive ............................................................. 24 Musical Example 6 Appearing Calm Motive .................................................................. 25 Musical Example 7 Lament Motive ................................................................................ 26 Musical Example 8 Happy memories motive ................................................................... 26 Musical Example 9 Ties motive ...................................................................................... 27 Musical Example 10 Deep Breath Motive ...................................................................... 28 Musical Example 11 Farewell motive ............................................................................. 29 Musical Example 12 Measures 115-116 ......................................................................... 33 Musical Example 13 Measures 159-162 .......................................................................... 34 Musical Example 14 Measures 246-259 ......................................................................... 40 Musical Example 15 Measures 115-116 ........................................................................... 44 Musical Example 16 Measures 235-237 ......................................................................... 45 Musical Example 17 Measures 180-185 ......................................................................... 46 Musical Example 18 Measures 120-121 .......................................................................... 47 Musical Example 19 Measure 146 .................................................................................. 48 vii Musical Example 20 Measures 510-521 ......................................................................... 49 Musical Example 21 Measures 330-332 ........................................................................... 51 Musical Example 22 Measures 534-544 ......................................................................... 52 Musical Example 23 Measures 584-590 ......................................................................... 53 Musical Example 24 Measures 120-121 ........................................................................... 57 Musical Example 25 Measures 160-162 ........................................................................... 57 Musical Example 26 Measures 458-460 ......................................................................... 58 Musical Example 27 Measures 510-515 ......................................................................... 58 Musical Example 28 Measures 268-270 ......................................................................... 61 Musical Example 29 Measures 382-392 ......................................................................... 62 Musical Example 30 Measures 534-544 ......................................................................... 63 Musical Example