The Italian singing technique Bel Canto instructs, "He who knows how to breathe and how to pronounce, knows how to sing." Singing: The First Art incorporates the techniques of Bel Canto along with those of masters like Berton Coffin and Manuel Garcia to promote and facilitate vocal excellence. Many concepts are described, from correct posture and alignment to improving and maintaining proper breathing, from good pronunciation and diction to producing an even, pure tone, and from vocal ranges to singing within and smoothly shifting between vocal registers. Mannes Vocal Faculty member Dan H. Marek effectively breaks down these complicated concepts with clear exercises, helping the vocal student to achieve freedom and complete control over his or her instrument. A primary section on the history of singing stresses the importance of understanding vocal history while inspiring and motivating the student through the experiences of opera stars such as Enrico Caruso, Maria Callas, and Jussi Björling. The second section explains vocal techniques, including the use and proper pronunciation of the IPA (International Phonetic Alphabet), and provides 64 specific exercises with clearly defined goals designed to overcome faults and to develop vocal virtuosity. Complete instructions for transposing the exercises for both male and female voices are included, as well as drawings of the exercises, musical examples from vocal literature, excellent anatomical illustrations by Frank Netter, MD, and copious photographs of opera stars. Singing: The First Art is an invaluable text for students, professionals, singers, conductors, composers, and vocal medical professionals, or anyone interested in understanding and appreciating the vocal art.
Giovanni Battista Rubini (1794-1854) was a legendary tenor and the first 19th-century non-castrati male singer to become an international star of opera. The previous two centuries had been the era of the castrati, with tenors and basses relegated to character and supporting roles in the operas of their time. Rubini stood apart because he not only matched the castrati in coloratura and pathos, but he also had an extraordinarily high voice. With Rubini’s rise, and in his wake, several tenors came to sing roles written specifically for them by Rossini, Bellini, Donizetti, and many other lesser-known bel canto composers. Signaling the end of the dominance of castrati on stage, this period would last some 40 years until the advent of Grand Opera, Wagner, and Verdi and the appearance of the first so-called High C from the chest by Gilbert-Louis Duprez in 1837. Since then, the accepted tenor sound has followed the tradition epitomized by Enrico Caruso and, in our own era, Luciano Pavarotti and Placido Domingo. Many composers, conductor, and performers would come to regard bel canto dramatic operas as decorative and vapid until Maria Callas and Tulio Serafin demonstrated the heights this genre of opera could reach. However, opera directors and opera performers of late who have expressed an interest in reviving selected masterpieces from the bel canto tradition have found themselves confronted with the problem of locating tenors versed in the vocal techniques necessary to carry the high tessituras. In Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique, Dan H. Marek explores the extraordinary life of Rubini in order to frame this special period in the history of opera and connect the technique of the castrati who were among Rubini’s instructors. Drawing on the work of Berton Coffin, Marek offers long-sought answers to the challenges presented by high tessitura of bel canto operas for tenors. To further assist working singers, Giovanni Battista Rubini and the Bel Canto Tenors includes over 60 pages of exercises written by Rubini himself before 1840, which Marek, for the first time ever has adapted to acoustical phonetics. Professional singers, teachers and their students, vocal coaches, and opera conductors will find this work indispensable as the only English-language work on high tessitura for tenor and soprano singing.
Everyone is familiar with the words diva or prima donna, which have come to mean a (usually) outrageous operatic soprano, but there was a time when the star of the show was more often a contralto, or a soprano singing in today's mezzo-soprano range. This performer was referred to as an alto. In the 17th and 18th centuries, the male and female leading roles were likely to be sung by emasculated males, the alto castrati, although there were many great female altos during this period as well. The music for these fantastic artists, written by such composers as Porpora, Vinci, Hasse, and even Handel, has been largely forgotten. At the beginning of the 19th century, as the castrati died out, their roles were often assumed by female altos referred to as musici. New repertoire continued to be written for them by Rossini and others, but gradually, this musical tradition and technique was lost. Now, however, because of the talent and industry of such gifted artists as Marilyn Horne, Cecilia Bartoli, and Joyce DiDonato, and the sudden ease with which the performance of these forgotten works can be obtained, there is a resurgence of interest in the performance and preservation of this lost art. Alto: The Voice of Bel Canto examines the careers of nearly 320 great alto singers, including the great castrati, from the dawn of opera in 1597 to the present. The music of the composers who wrote for the alto voice is discussed along with musical examples and suggestions for listening. The exploration of the greatest altos’ careers and techniques offers inspiration for aspiring young singers as well as absorbing reading for the music lover who wants to know more about the fascinating world of opera.
This book examines the Czech Republic’s road to EU membership in 2004 and assesses how EU accession has affected or changed the Czech Republic, including its domestic politics, institutions and policies. It contributes to academic debate about the EU and European integration, Europeanization and the role of small states in the EU.
“Muzio was a case apart: you cannot classify her, for in the end you have been so emotionally destroyed by her performance, you did not even know anymore what kind of instrument she had”. So spoke Lucrezia Bori, the beloved soprano of the Metropolitan Opera. Bori was echoing the opinion of many of Claudia Muzio’s contemporaries and successors such as Eva Turner, Rosa Ponselle, and Mafalda Favero who wrote:“Actually,” she [Favero] admitted with her total candor, “it took me a long time to find my own interpretation [La traviata], for I was haunted by Claudia Muzio in this role. When she sang it at the Colon in Buenos Aires in 1933, I went to each rehearsal, worshiping her, and it took a superhuman effort for me to finally obtain my personal approach. … I recall a performance of Muzio’s in Refice’s Cecilia, an opera she created in Rome in 1934 which deals with the saint’s martyrdom. She was so sublime in it that I went backstage to express my admiration at the end and impulsively dropped to my knees. ‘Now, really, my child!’ she said with those sad eyes which haunted me. ‘What are you doing?’ Her Norma was also an unforgettable creation. She had the quality I consider so essential in an artist: to make the public suffer along with her.” Sometimes we hear artists described as “She was born a hundred years too late”, but Claudia Muzio was born too soon. She was a great “singing actress” whose stage portrayals produced the hysterical kinds of responses cited above. Most reviews mention her stage work first, not failing to praise her singing. It is from her late recordings from 1934-35, when she was ill, that she is remembered today. Muzio had a distinctive vocal timbre, and an unparalleled command of dynamics and phrasing that, once heard, is never forgotten. Indeed, she was called “La Unica” in South America where she was the Teatro Colón’s brightest star for fifteen years. Muzio made her debut as the first Italian Tosca at the Metropolitan Opera in 1916 at the age of 26 with Enrico Caruso and Antonio Scotti. She went on to sing with all the great artists of her time in a world-wide career of over twenty-five-years. Claudia Muzio sang over a thousand performances of major dramatic operatic repertory, including 131 Aidas, 146 Traviatas, 81 Trovatores, and 129 Toscas. This figure does not include concerts and by all accounts, Claudia Muzio was also a great recitalist.
Imagining Europe: Essays on the Past, Present and Future of the European Union examines the EU from a variety of perspectives. The collection begins with the expectation that, despite its challenges, the European Union is here to say, but it also proceeds from the premise that imaginative thinking is necessary to guide the 27 member organization into the future. The book offers nine chapters and a substantive introduction to examine the EU from the point-of-view of a commercial enterprise, the writings of José Ortega y Gasset, immigration and public opinion, its relationship with China, its management of political populism, the American Federalist papers—and more. The first chapter is a summary of the history, structure and processes of the European Union for the convenience of those using this text in the classroom. The last chapter considers this latest chapter of European development, in light of the historical quest for a united Europe. The contributors to the volume are scholars residing in the U.S., Poland, France, Switzerland, the Czech Republic, and Turkey.
This new text introduces the history, evolution and contemporary state of one of the European Union's most important, expensive and controversial policies. It examines the role that cohesion policy plays in European integration, as well as in economic development across regions, and analyzes the key debates and issues at stake.
What drives some governments to persevere in war at any price while others choose to stop fighting? It is often less-tangible political and economic variables, rather than raw military power, that ultimately determine national will to fight. In this analysis, the authors explore how these variables strengthen or weaken a government's determination to conduct sustained military operations, even when the expectation of success decreases or the need for significant political, economic, and military sacrifices increases. This report is part of a broader RAND Arroyo Center effort to help U.S. leaders better understand and influence will to fight at both the national level and the tactical and operational levels. It presents findings and recommendations based on a wide-ranging literature review, a series of interviews, 15 case studies (including deep dives into conflicts involving the Korean Peninsula and Russia), and reviews of relevant modeling and war-gaming. The authors propose an exploratory model of 15 variables that can be tailored and applied to a wide set of conflict scenarios and drive a much-needed dialogue among analysts conducting threat assessments, contingency plans, war games, and other efforts that require an evaluation of how future conflicts might unfold. The recommendations should provide insights into how leaders can influence will to fight in both allies and adversaries."--Publisher's description.
YouTube sensations Dan Howell (danisnotonfire) and Phil Lester (AmazingPhil) were just two awkward guys who shared their lives on the Internet…until now. Dan Howell and Phil Lester, avoiders of human contact and direct sunlight, actually went outside. Traveling around the world on tour, they have collected hundreds of exclusive, intimate, and funny photos, as well as revealing and candid side notes, to show the behind-the-scenes story of their adventure. Fans of Dan and Phil’s #1 New York Times bestseller, The Amazing Book Is Not on Fire, and their more than 10 million YouTube subscribers will love this full-color book featuring never-before-seen photos and stories from Dan and Phil.
Is white-collar crime victimless? Often, it becomes a very deadly game when the powerful become greedy.This is the story of two young beginning reporters trying to survive in 1959. Together, they fight heroically, wade into the murky waters of widespread official fraud, corruption, murder, and engage in a new war against domestic abuse and violence!On his 19th birthday, Toby Miller has already experienced a lifetime of tragedy. There are always consequences to actions, and destiny has a difficult road for this engineering hopeful turned journalist, and his beautiful partner.Mob danger lurks around every corner, and professional challenges are a daily occurrence in a pressure-packed environment.Steering through the daily pitfalls of a new career and the dangers created by a deadly criminal enterprise, make Danny Boy Stories--120 Letters an exciting romantic adventure.
Dan Lovett was an important part of Eyewitness News history. Al Primo, founder of the original Eyewitness News at WABC-TV in 1968 in New York Dan has always had a great passion for sports, and his knowledge comes crystal clear in this book. Plus, anybody with hair that good has to have something going just below it. Ron Franklin, former lead college football broadcaster on ESPN A mans man in the true sense of the word. He has the unmatched ability to put your mind into his story. A legendary storyteller; plus, he is a great friend and gentleman. Dan Pastorini, former Houston Oilers quarterback I tossed him out of my garage in gasoline alley at Indy, but felt bad about it because he was from my hometown. Dan came around and showed me he wanted to learn about racing. He is a great broadcaster and cares about my sport. A. J. Foyt, first four-time winner of the Indianapolis 500 I knew when I first hired him he would be a great broadcaster on the radio. He could talk about the farm report and make it the most important story of the day. Curt Brown, member of the Missouri Broadcasters Hall of Fame Dan knows how to tell the story in this book. If you like sports, youll Lovett. Sam Huff, hall of fame linebacker of the Giants and Redskins
In seeking to develop a hermeneutic for doing ethics on a narrative base, Via here focuses on Mark's ethics and suggests ways in which they interrelate with other significant motifs in the Gospel: eschatology, revelation, faith, and the messianic secret. Via maintains that the middle of Mark's plot presents the paradoxical position of the disciple who is placed in the overlapping of the kingdom of God and the age of hardness of heart. Here is a bold attempt to integrate several agendas in interpretation--iterary criticism, biblical studies, constructive theological ethics--so as to draw out the implications of Mark's narrative for faith and conduct in the real world.
Confluence reveals workout tips for seniors, untested business ideas, and insights on how best to liberate copper ore from its gangue. If you want to galvanize steel or order a pandemic burger with fries and a caramel fudge shake, this book is for you. "At times, relevant." Carl Fortas, Landscape Manager "Determined." Marcia Porch, Retiree
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