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An examination of works for soprano: "Lascia ch’io pianga" from Rinaldo, by G.F. Handel; Nur wer die Sehnsucht Kennt, Heiss’ mich nicht reden, So lasst mich scheinen, by Franz Schubert; Auf dem Strom, by Franz Schubert; Si mes vers avaient des ailes, L'enamouree, A chloris, by Reynaldo Hahn; "Adieu, notre petite table" from Manon, by Jules Massenet; He's gone away, The nightingale, Black is the color of my true love's hair, adapted and arranged by Clifford Shaw; "In quelle trine morbide" from Manon Lescaut, by Giacomo PucciniRodina, Elizabeth Ann January 1900 (has links)
Master of Music / Department of Music / Jennifer R. Edwards / This report consists of extended program notes and translations for programmed songs and arias presented in recital by Elizabeth Ann Rodina on April 22, 2008 at 7:30 p.m. in All Faith's Chapel on the Kansas State University campus. Included on the recital were works by George Frideric Handel, Franz Schubert, Reynaldo Hahn, Jules Massenet, Clifford Shaw, and Giacomo Puccini. The program notes include biographical information about the composers and a textual and musical analysis of their works.
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Bridging a gap : Interfacing vocal technique and repertoireBrander, Adéle January 2024 (has links)
After an intense period of concerts and projects that involved learning large quantities of new music I realized that I often got vocally tired when learning music. I have always been a quick learner but my method of learning has not always been beneficial for my vocal health. In this project I have explored new ways of learning music in which I prioritize vocal health. I have deepened my understanding of the vocal mechanism and experimented with vocal exercises as a part of learning repertoire. Making and listening to recordings of my repertoire and working sessions has helped me to hone my approach. I worked with two pieces of repertoire, spending three weeks on each piece, and focused on different parts of the learning process every week. After completing the work with each piece I chose a few of the recordings to show my singing teacher and a small group of my singing colleagues. This led to meaningful discussions that took my work further. This project has helped me to practice efficiently without becoming vocally tired, created a bridge between repertoire work and vocal technique, and increased the quality of my everyday work as a classical singer.
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