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Arianna (Goehr)
''Arianna'' is an opera in eight scenes by the British composer Alexander Goehr, premiered at the Royal Opera House, London, in 1995. It is set to the libretto (in Italian), by Ottavio Rinuccini, used by Claudio Monteverdi in his 1608 opera, ''L'Arianna''. The opera is Goehr's op. 58. Background Although Rinuccini's libretto survives, the greater part of Monteverdi's music for the opera, originally performed in Mantua in 1608, has been lost. All that remains is '' Arianna's lament'', a solo aria which Monteverdi published separately in 1623. Goehr sets most (but not all) of the original libretto, (which is based on the classical story of Ariadne and Theseus from Ovid's ''Heroides''), preserving the lament but interspersing it with choral episodes. The orchestration is contemporary, including contrabassoon, saxophone, Akai sampler and electric guitar, as is the harmonic language. Roles Reception The composer wrote in the programme notes of the premiere 'It was surely an act ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alexander Goehr
Peter Alexander Goehr (; born 10 August 1932) is an English composer and academic. Goehr was born in Berlin in 1932, the son of the conductor and composer Walter Goehr, a pupil of Arnold Schoenberg. In his early twenties he emerged as a central figure in the Manchester School of post-war British composers. In 1955–56 he joined Olivier Messiaen's masterclass in Paris. Although in the early sixties Goehr was considered a leader of the avant-garde, his oblique attitude to modernism—and to any movement or school whatsoever—soon became evident. In a sequence of works including the Piano Trio (1966), the opera '' Arden Must Die'' (1966), the music-theatre piece ''Triptych'' (1968–70), the orchestral ''Metamorphosis/Dance'' (1974), and the String Quartet No. 3 (1975–76), Goehr's personal voice was revealed, arising from a highly individual use of the serial method and a fusion of elements from his double heritage of Schoenberg and Messiaen. Since the luminous 'white-note' '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrabassoon
The contrabassoon, also known as the double bassoon, is a larger version of the bassoon, sounding an octave lower. Its technique is similar to its smaller cousin, with a few notable differences. Differences from the bassoon The reed is considerably larger than the bassoon's, at in total length (and in width) compared with for most bassoon reeds. The large blades allow ample vibration that produces the low register of the instrument. The contrabassoon reed is similar to an average bassoon's in that scraping the reed affects both the intonation and response of the instrument. Contrabassoons feature a slightly simplified version of bassoon keywork, though all open toneholes on bassoon have necessarily been replaced with keys and pads due to the physical distances. In the lower register, its fingerings are nearly identical to bassoon. However, the octave mechanism used to play in the middle register works differently than on bassoon, and the upper register fingerings are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Axel Köhler
Axel Köhler (born 1959 in Schwarzenberg, Saxony, East Germany) is a German countertenor and opera director. In 1994, he won the Handel Prize. Since 2009, he has been Artistic Director of the Halle Opera House. Early life Axel Köhler studied violin pedagogy and singing at the Hochschule für Musik Carl Maria von Weber Dresden. In 1987 he made his singing debut as Eustazio in Peter Konwitschny's production of ''Rinaldo''. A number of demanding countertenor roles followed, especially in Handel's operas, as Köhler guested at international festivals and concerts, and in compact disc, radio and opera productions. Singing career Since 1984, Köhler has belonged to the ensemble Halle an der Saale, first as a baritone and later as a countertenor. In 1995, Köhler sang at the Royal Opera House in London at the premiere of ''Arianna'' by Alexander Goehr. In 1998 he took over the title role in the world premiere of ''Farinelli'' by Siegfried Matthus. In 2001, he played the devil in Detlev ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Countertenor
A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6.A sopranist is a term used to describe a countertenor whose vocal range is so high it is equivalent to that of a soprano; however, this term is widely used falsely. Countertenors often are baritones or tenors at core, but only on rare occasions do they use their lower vocal range, instead preferring their falsetto or high head voice. The nature of the countertenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto voice which is denoted by the term today. This is partly because of changes in human physiology and partly because of fluctuations in pitch. The term first came i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word '' tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contralto
A contralto () is a type of classical female singing voice whose vocal range is the lowest female voice type. The contralto's vocal range is fairly rare; similar to the mezzo-soprano, and almost identical to that of a countertenor, typically between the F below middle C (F3 in scientific pitch notation) to the second F above middle C (F5), although, at the extremes, some voices can reach the D below middle C (D3) or the second B above middle C (B5). The contralto voice type is generally divided into the coloratura, lyric, and dramatic contralto. History "Contralto" is primarily meaningful only in reference to classical and operatic singing, as other traditions lack a comparable system of vocal categorization. The term "contralto" is only applied to female singers; men singing in a similar range are called " countertenors". The Italian terms "contralto" and " alto" are not synonymous, "alto" technically denoting a specific vocal range in choral singing without regard to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '' |
Susan Graham
Susan Graham (born July 23, 1960) is an American mezzo-soprano. Life and career Susan Graham was born in Roswell, New Mexico on July 23, 1960. Raised in Midland, Texas, Graham is a graduate of Texas Tech University and the Manhattan School of Music. Her teachers have included Cynthia Hoffmann and Marlena Malas. She studied the piano for 13 years. She was a winner in the Metropolitan Opera's National Council Auditions, and also a recipient of the Schwabacher Award from the Merola Program of San Francisco Opera. Graham made her international début at Covent Garden in 1994, playing Massenet's Chérubin. She has also premièred several roles in contemporary operas, including John Harbison's ''The Great Gatsby'' (Jordan Baker), Jake Heggie's '' Dead Man Walking'' (Sister Helen Prejean), and Tobias Picker's ''An American Tragedy'' (Sondra Finchley). Graham is a noted champion of the French song repertoire and of songs by contemporary American composers, including Ned Rorem a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mezzo-soprano
A mezzo-soprano or mezzo (; ; meaning "half soprano") is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A below middle C to the A two octaves above (i.e. A3–A5 in scientific pitch notation, where middle C = C4; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F3, 175 Hz) and as high as "high C" (C6, 1047 Hz). The mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic mezzo-soprano. History While mezzo-sopranos typically sing secondary roles in operas, notable exceptions include the title role in Bizet's '' Carmen'', Angelina (Cinderella) in Rossini's '' La Cenerentola'', and Rosina in Rossini's '' Barber of Seville'' (all of which are also sung by sopranos and contraltos). Many 19th-century French-language operas give the leading female role to mezzos, inc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francesca Zambello
Francesca Zambello (born August 24, 1956) is an American opera and theatre director. She serves as director of Glimmerglass Festival and the Washington National Opera. Early life and education Born in New York City, Zambello lived in Europe when she was a child, learning to speak French, Italian, German and Russian. Zambello is of Italian descent, the daughter of actress Jean (née Sincere) and Charles C. Zambello, a former actor who became head of flight entertainment at TWA. She attended Moscow University in 1976 and graduated from Colgate University in 1978. Career An internationally recognized director of opera and theater, Francesca Zambello's American debut took place at the Houston Grand Opera with a production of ''Fidelio'' in 1984. She began her career as an assistant director to Jean-Pierre Ponnelle. From 1984 until 1991 she was the artistic director of the Skylight Music Theater with Stephen Wadsworth. She debuted in Europe at Teatro La Fenice in Venice with ''Bea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ivor Bolton
Ivor Bolton Ivor Bolton (born 17 May 1958) is an English conductor and harpsichordist. Early life and education Bolton was born in Blackrod, Greater Manchester, England. He studied at Queen Elizabeth's Grammar School, Blackburn and Clare College, Cambridge (1976–80), and was conducting scholar at the Royal College of Music (1980–81).Adam, Nicky (ed). Ivor Bolton. In: ''Who's Who in British Opera.'' Scolar Press, Aldershot, 1993. He later trained as a répétiteur at the National Opera Studio and was appointed conductor of Schola Cantorum of Oxford. Career Bolton was Assistant Chorus Master and staff conductor from 1982–84 for Glyndebourne Festival Opera. He made his operatic conducting debut in 1986 with Stravinsky's ''The Rake's Progress'' for Opera 80. He later became music director of Glyndebourne Touring Opera (now Glyndebourne on Tour) from 1992–97. He was principal conductor of the Scottish Chamber Orchestra from 1994–96. He has also held leadership posit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmony
In music, harmony is the process by which individual sounds are joined together or composed into whole units or compositions. Often, the term harmony refers to simultaneously occurring frequencies, pitches ( tones, notes), or chords. However, harmony is generally understood to involve both vertical harmony (chords) and horizontal harmony (melody). Harmony is a perceptual property of music, and, along with melody, one of the building blocks of Western music. Its perception is based on consonance, a concept whose definition has changed various times throughout Western music. In a physiological approach, consonance is a continuous variable. Consonant pitch relationships are described as sounding more pleasant, euphonious, and beautiful than dissonant relationships which sound unpleasant, discordant, or rough. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Counterpoint, which refers t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
