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11	Naples and the Emergence of the Tenor as Hero in Italian Serious Opera Ekstrum, Dave 05 1900 (has links) The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples. After the last castrato retired in 1830 and the casting of contraltos as male heroic leads falls out of favor by the mid-1830s, the tenor, aided by a new chest-voice dominant style of singing, becomes the inheritor of the castrato's former role as leading man in serious Italian opera. tenor voices contralto voices Castrato Historical analysis Tenors (Singers) Opera -- Italy -- Naples -- 19th century Contraltos Castrati Academic theses nineteenth century (dates CE)
12	A Countertenor's Reference Guide to Operatic Repertoire Morris, Brad Lawson 21 May 2019 (has links) No description available. Music Music Education music countertenor castrato castrati voice singing singer voice teacher vocal performance baroque classical male soprano opera repertoire aria guide vocalist Cavalli Purcell Haydn Handel Mozart Britten Gluck
13	Seven Movements from "Missa Festiva" (1817) of Marcos Portugal (1762–1830): A Vocal Score with Critical Commentary Brites Pereira David Coelho, Júlia 05 1900 (has links) Marcos António da Fonseca Portugal (1762–1830) is considered by several Luso-Brazilian musicologists to be the most prolific and influential Portuguese composer in history, having impacted the Portuguese and Brazilian music scene significantly during his lifetime. Marcos Portugal achieved international fame for his large-scale works, which include sacred compositions, Italian opera seria, as well as farsas and opera buffa in Portuguese. Despite the reputation he achieved during his lifetime, today his works are understudied and underperformed, even in Lusophone countries. Such an oversight is noticeable particularly as regards his sacred music corpus. For this reason, I have chosen Missa Festiva (1817) as the subject of this dissertation. Creating a vocal score of the solo, duo and trio movements of Missa Festiva will be helpful not only for performers, but also for scholars and conductors who wish study this work. A vocal score makes accessible the performance of individual movements when only piano, organ, or another keyboard instrument is available. By facilitating the performance and analysis of Missa Festiva, this document will contribute to the work's dissemination and to a better understanding of the value of early nineteenth-century Luso-Brazilian virtuosic vocal sacred music. The manuscript used for the transcription and orchestral reduction into a vocal score of movements III-IX is BR-Rcm MS CRI-SM59 from the Acervo Musical do Cabido Metropolitano do Rio de Janeiro, from 1818 (images included in the dissertation). Marcos Portugal MarcosPortugal Portugal Lusophone Portuguese Brazilian Luso-Brazilian Lusófono Marco Portogallo MarcoPortogallo Portugues Brasileiro Musica Luso-Brasileira Luso-Brazilian Music Joao VI JoaoVI Pedro I PedroI Brasil Brazil Missa Festiva MissaFestiva Sacred Music SacredMusic Musica Sacra MusicaSacra Mass 18th-Century Music 19th-Century Music Castrato Castrati Virtuosity Portuguese Court PortugueseCourt Score VocalScore Vocal Score Piano Score Transcription Reduction Critical Edition CriticalEdition Music Musical Performances

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