Mirabai Songs for Soprano (Or Mezzo-Soprano) and Piano (1982)

Notes ◽  
1991 ◽  
Vol 48 (2) ◽  
pp. 691
Author(s):  
Marshall Bialosky ◽  
John Harbison ◽  
Mirabai ◽  
Robert Bly ◽  
Rabindranath Tagore
Keyword(s):  
Mezzo Soprano

Intervention

2017 ◽  
Author(s):  
Loré Lixenberg
Keyword(s):  
Mezzo Soprano ◽  
Stand Up Comedy

Mezzo soprano Loré Lixenberg looks back at the delights and dangers of collaborative projects, and of working with improvisation in contexts ranging from stand-up comedy to opera. The Intervention reflects on the particular opportunities and challenges that singers face in working with their bodies, and with their personal and dramatic identities.

scholarly journals Seven Songs for Mezzo-Soprano

1895 ◽  
Vol 36 (623) ◽  
pp. 30
Author(s):  
Sydney Thomson
Keyword(s):  
Mezzo Soprano

scholarly journals Interpretasi dan Bentuk Penyajian Lagu Habanera Dalam Opera Carmen Karya George Bizet Oleh Heny Janawati

2020 ◽  
Vol 3 (2) ◽  
pp. 97
Author(s):  
Salma Falista Salsabilla
Keyword(s):  
Data Analysis ◽  
Data Reduction ◽  
Research Process ◽  
Main Role ◽  
Data Presentation ◽  
Analysis Techniques ◽  
Mezzo Soprano ◽  
Data Validity ◽  
And Performance ◽  
Data Inference

AbstractHabanera, one of the most famous songs in Opera Carmen, tells the love life of Carmen as the main role. Interestingly, the song Habanera was sung by an Indonesian mezzo-soprano singer from Bali, Heny Janawati, who has perform the Opera Carmen while singing in Europe and Indonesia with different interpretations and performance of song Habanera. The purpose of this study was to analyze the interpretation and performance form of the Habanera Opera Carmen song when it was performed in Jakarta in 2016 in order to become a knowledge. This research process used qualitative methods. The data in this study were obtained through observation, interviews, and documentations. Data analysis techniques used data reduction, data presentation, and data inference. As for the data validity test used triangulation. The results of this study indicate that Heny Janawati has characteristics to interpret this song through out the structure, tempo, dynamics, and intonation of this song. That she present in Opera Carmen are more modern from it's europe counterpart, which in Europe its characteristics, number of accompaniments, dimensions of the setting, lighting and wardrobe are more traditional. 

Carter in the Seventies

Tempo ◽  
1979 ◽  
pp. 2-10
Author(s):  
David Schiff
Keyword(s):  
New York ◽  
Chamber Opera ◽  
Elizabeth Bishop ◽  
Brass Quintet ◽  
Double Concerto ◽  
Elliott Carter ◽  
Mezzo Soprano ◽  
New York Philharmonic ◽  
The Third ◽  
Pierre Boulez

In the last ten years Elliott Carter has completed as many works as he had in the previous two decades combined. The increased rate of composition—A Symphony of Three Orchestras was written in six months—has been matched by even greater formal and poetic daring. Indeed the works from the Third Quartet onward are so adventurous in conception that there is little in the way of traditional musical terminology that can be used to describe their forms, harmonies, or even, as in the case of the most recent work, Syringa, their genre. And while Carter's continued exploration of abstract discourse in the Third Quartet, Duo and Brass Quintet was to be expected, the preoccupation with the voice and poetic subjects in the next three works seemed, at first, a surprising development. Carter turned to song composition in 1975 with A Mirror on Which to Dwell, a cycle of six poems by Elizabeth Bishop dedicated to the artists who gave its first performance 24 February, 1976: Susan Davenny Wyner, soprano, and Speculum Musicae. By the end of 1976 he completed A Symphony of Three Orchestras, a purely instrumental work stemming from the various projects for a choral setting of Hart Crane's ‘The Bridge’ that Carter had planned since the 1930's. A Symphony was premièred by Pierre Boulez and the New York Philharmonic, to whom it is dedicated, on 17 February 1977. On 10 December last, the eve of Carter's 70th birthday, Syringa was given its première by Jan de Gaetani (mezzo-soprano), Thomas Paul (bass) and Speculum Musicae, conducted by Harvey Sollberger. Dedicated to Sir William and Lady Glock, this work superimposes John Ashbery's retelling of the Orpheus legend, ‘Syringa’, sung by the mezzo, upon fragments of classical Greek texts sung by the bass. It might be termed a polytextual motet, a cantata, a chamber opera, or a vocal double concerto.

Alexander Tcherepnin: a short Autobiography (1964)

Tempo ◽  
1979 ◽  
pp. 12-18
Author(s):  
Alexander Tcherepnin
Keyword(s):  
Mezzo Soprano ◽  
German Lieder

My father, Nikolai Tcherepnin, was an outstanding Russian composer, a brilliant conductor, an illuminating pedagogue. My mother had a beautiful mezzo-soprano voice; but because she was extremely timid she became a ‘soprano domestico’, and I was the only one to accompany her singing of German lieder, Russian romances, and French songs, an experience I treasured.

Poems of Love and the Rain. A Song Cycle for Mezzo Soprano and Piano

Notes ◽  
1966 ◽  
Vol 22 (4) ◽  
pp. 1321
Author(s):  
Eleanor Kulleseid ◽  
Ned Rorem
Keyword(s):  
Song Cycle ◽  
Mezzo Soprano
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