#spinto soprano

[opera-ghosts]

Opera stars perform in 'Luisa Miller' at Teatro Dell, Rome, Italy.

MS's opera stars soprano Maria Caniglia, tenor Lauri Volpi and baritone Silveri arriving on stage for rehearsal, dressed in everyday clothes. Various shots Caniglia, Volpi and Silveri rehearsing. MS opera stars Signor Caroli and Signora Marcangeli in costumes backstage prior to start of opera.

[widevibratobitch]

i just wanna know whose idea it was to cast Cossotto in mezzo roles when she sounds lighter than most of her contemporary spinto sopranos.

peace and love but using your chest voice doesn't automatically make you a mezzo <33333

[katerinaaqu]

Tell publicly 3 facts about yourself or your three favourite songs or favourite books (it can be anything really) then send it to 10 of your most cherished friends or followers

Wow that is interesting for my first ask ever. Well

1. I am Greek and proud of it also an Archeologist. I also like crystals and books

2. I have studied music like classical singing (degree as a spinto soprano) and used to play the harp at my youth

3. I have no real favorite book but if I were to choose one I'd say the Odyssey is my favorite ever. I love many different songs so I don't really have a favorite

Oh boy I am not sure who to tag or send to hehe 😅 so if any of my watchers see this they are free to do it hehehe

Thanks a lot

[princesssarisa]

Fancasts for "An Eternal Crown: The Opera"

I'm being silly now and imagining what it would be like if my gender-bent Magic Flute retelling, An Eternal Crown, were adapted as an opera itself. It could be a "jukebox opera," consisting partly of music from The Magic Flute transposed, and partly of other music – for example, some of Handel's florid bass arias to take the place of the Queen of the Night's arias for King Vorteyo.

Sarisa and Zeran's voices I imagine as essentially Pamina's and Tamino's, since they are those two in reverse: a lyric soprano and a light lyric tenor. Lorikeet I can't help but imagine as a lyric coloratura. Vorteyo would be a bass, Alesta and Imara both motherly mezzos, Kimzi one of those roles like Zerlina that can be sung either by a soprano or a light mezzo, and Robin a lyric baritone. The Three Warriors I picture as a "heroic" Italian-style spinto tenor, and a baritone and bass in more of a Mozartean vein.

These are some of the singers I think might have been good in the roles in different eras:

An Eternal Crown: The Opera, circa 1960-1965

Sarisa: Irmgard Seefried or Gundula Janowitz

Zeran: Fritz Wunderlich or Nicolai Gedda

Lorikeet: Lucia Popp

King Vorteyo: Cesare Siepi

Alesta: Maureen Forrester

Kimzi: Teresa Berganza or Graziella Sciutti

Robin: Hermann Prey or Theodor Uppman

Imara: Marga Höffgen

Three Warriors: Giuseppe di Stefano, Eberhard Wächter, Fernando Corena

An Eternal Crown: The Opera, circa 1980-1985

Sarisa: Ileana Cotrubas

Zeran: Francisco Araiza or Peter Schreier

Lorikeet: Kathleen Battle

King Vorteyo: James Morris

Alesta: Marilyn Horne

Kimzi: Teresa Stratas

Robin: Håkan Hagegård, or a young Alessandro Corbelli

Imara: Janet Baker

Three Warriors: José Carreras, Thomas Allen, Samuel Ramey

An Eternal Crown: The Opera, circa 2000-2005

Sarisa: Ana María Martínez or Dorothea Röschmann

Zeran: Charles Castronovo

Lorikeet: Diana Damrau

King Vorteyo: Samuel Ramey

Alesta: Denyce Graves

Kimzi: Cecilia Bartoli

Robin: Rolando Villazón (it could have been an early light baritone foray for him)

Imara: Stephanie Blythe

Three Warriors: José Cura, Simon Keenlyside, Ildebrando d’Arcangelo

I'll think of more in the future.

[frontlinebicepsoftheninth]

Since she leads services, Harrow is also probably a pretty good singer. The many implications of both of them being able to sing are so fun. I bet Gideon has a richer, fuller lyric/spinto soprano while Harrow's is super light and agile- imagining a duet rn

ahhh yes i imagine harrow would actually have a very high and angelic voice, idk why but the first thing that popped into my head was the singer aurora

[verdiesque]

happy pride month to the exchange i came across on some forum a while ago that went something like “was renata tebaldi a lesbian?” “no she was a great lirico-spinto soprano” “but why couldn’t she have been a great lesbo-lirico-spinto soprano?”

[hidekelmetal]

¡Contamos con nueva vocalista! Es un gusto anunciar que Belén Castillo @belabelcris es la nueva cantante de Hidekel. De hecho, la banda regresa a una de sus primeras alineaciones luego de más de una década. Bela participó activamente en el demo inaugural titulado "No te dejes vencer". Desde entonces, muchas personas nos han preguntando y solicitado que incorporemos la voz femenina clásica en la agrupación. Los hemos escuchado. Belén está de vuelta y eso nos emociona. Respecto a su perfil, Bela se graduó del Conservatorio Nacional de Música con la especialidad de canto y posee una peculiar voz de soprano spinto. Es vocal coach, arreglista y compositora. Ha formado parte de agrupaciones de renombre como el Coro ESPE, Coro Vozandes y Coro Gens Nova. Con esta formación, este próximo miércoles 2 de noviembre de 2022 publicaremos el tema y videoclip de la nueva canción "Prestos al Mal". ¡Mantén la expectativa! ¡Bendecimos su vida en esta nueva era de #HidekelBand! ¡Ayúdanos a recibirla! #PrestosAlMal #Ecuador #quitoecuador #metalsinfonico #musically #metalecuadorian #metaltok #whitemetal #MetalPraise #metalprog #powermetal #power #teclados #sintetizador #metal #metalheads #metallic #metalsinfonico #metalcristiano #metalcristão #metalcristianobiografias #metalprogresivemusic (en Quito, Ecuador) https://www.instagram.com/p/CkR3RXzLcry/?igshid=NGJjMDIxMWI=

[lboogie1906]

Gloria Davy (March 29, 1931, Brooklyn – November 28, 2012, Geneva) was a Swiss soprano of American birth who had an active international career in operas and concerts from the 1950s through the 1980s. A talented spinto soprano, she was acclaimed for her portrayal of the title role in Giuseppe Verdi’s Aida; a role she performed in many of the world’s top opera houses. She was the first Black artist to perform the role of Aida at the Metropolitan Opera. She performed a broad repertoire, she was admired for her interpretations of 20th-century music, including the works of Richard Strauss, Benjamin Britten, and Paul Hindemith.

She was part of the first generation of African-American singers to achieve wide success and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world. She first drew notice when she won the Marian Anderson Award and as Bess on an international tour of Gershwin’s Porgy and Bess. Concert and opera engagements with major orchestras and opera houses in the US and Europe soon followed. She left New York to reside in Geneva. Her singing career was mainly based in Europe.

Her career shifted from opera to concert work; although she occasionally still performed stage roles. She taught on the voice faculty at the Jacobs School of Music at Indiana University while still maintaining her home in Geneva. #africanhistory365 #africanexcellence #womenhistorymonth

[andersonvision]

The illustrious career of Lisa Reagan has long been synonymous with her two-decade tenure at the Washington National Opera—a pinnacle of achievement for any artist. Yet, for the spinto soprano known for her far-reaching voice, her years with the opera are not the end but the foundation of an ever-expanding canvas of creative expression. Lisa's venture into songwriting and recording since the early 2000s has marked her evolution from an opera powerhouse to a multi-faceted artist. In recent years, Lisa's artistic journey has taken a captivating turn. Teaming up with Suzanne Jackson, a fellow National Opera alum, they formed Shunia—a duo that embodies the power of stillness and the clarity of receptivity. Their collaboration led to a unique blend of new age and global music, weaving together chant, opera, and diverse rhythms into an innovative auditory experience. Their pursuit to create music that heals and connects has birthed two acclaimed albums, "Ascend" (2017) and "Shunia" (2021). For those who've followed Lisa's career, her latest project is a mesmerizing leap into the union of music and literature. "What We Need Is Here" is an extraordinary album that pairs Lisa's celestial vocal artistry with the profound words of some of history's most revered poets. The project began in the simplicity of her studio with piano and vocal demos, but with the creative alchemy of Tony Award-winning producer Jamshied Sharifi, the music transformed into sweeping arrangements accompanied by a rich ensemble of strings and eclectic instruments like the Uillean pipes and didgeridoo. Lisa recounts the collaborative process with Sharifi, noting that while the pandemic paused the world, it opened the door for this project to flourish. Their back-and-forth discussions and Sharifi's innovative arrangements elevated the rough demos into a tapestry of sound that perfectly complemented the poetic verses. At the album's heart are two pieces inspired by poet Wendell Berry, introduced to Lisa by her colleague, Professor Jake Johnson from the Wanda Bass School of Music. The title of the album itself is a nod to Berry's "The Wild Geese," which concludes with the profound statement "What we need is here." The piece invites listeners into the core of Lisa's aesthetic, blending the traditional with the contemporary, as her vocals gracefully navigate between the serene and the operatic. Each track on the album invites a unique contemplation, whether it be the tranquil reflection on "The Peace of Wild Things" or the thoughtful journey through Robert Frost's beloved works. Lisa's interpretations are more than performances; they are immersive experiences, inviting listeners to not just hear, but to feel and reflect. "What We Need Is Here" is more than an album—it's a celebration of poetry's timeless resonance and music's transformative power. For fans and new listeners alike, Lisa Reagan has transcended genres to craft an experience that echoes the depths of the soul.

[distrss]

Michie

Michie's name is actually Miyeon Michie is 23 years old Michie knows how to speak korean, english, italian, french and german Michie was born in Gwangju, South Korea Michie lived in Cambridge, England from when she was three up to when she was fifteen, almost sixteen Michie has a british accent that's not very strong, but sometimes she makes it stronger on purpose Michie's mom died and Michie's dad works as a financial controller Michie suffers from psychosis and a few other conditions Michie majors in Music (Voice) and also studies conducting and piano. She kinda knows composition and how to play the guitar Michie is part of three choirs. The course one, another one from uni where she helps with conducting/mentoring (rehearsals on Fridays) and one that's not linked to Hanbaek (rehearsals on Tuesdays and Thursdays) Michie is a spinto soprano Michie loves rpg maker japanese games and similar games Michie loves cinema and some of her favorite movies are All About Lily Chou-Chou, Fallen Angels, Kamikaze Girls, Perfect Blue, Paprika, etc. Michie loves the Phantom of the Opera and Dracula Michie likes to read classics Michie has three cats but they live with a friend because Hanbaek doesn't allow the students to have pets in the greek houses Michie is currently unemployed and doesn't have much money, but she has inherited what her mom had and has also worked part-time on multiple occasions

[opera-ghosts]

OTD in Music History: Legendary Italian opera composer Giacomo Puccini (1858 - 1924) watches the world premiere of his immortal operatic masterpiece "Tosca" unfold onstage at the Teatro Costanzi in Rome in 1900. “Tosca” was an operatic adaptation of Victorien Sardou's (1831 – 1908) rather infamous French-language dramatic play, "La Tosca" (1887). Set in Rome in 1800, it features graphic depictions of attempted rape, torture, murder, and suicide -- as well as some of Puccini's best-known and loveliest lyrical arias. (That's opera for you!) While many music critics over the years have condescendingly dismissed "Tosca" as nothing more than a facile bit of trashy and tearjerking melodrama (musicologist Joseph Kerman famously referred to it as "that shabby little shocker"), audiences have never paid them any mind -- the ravishing beauty of its musical inspiration, the overwhelming power of its orchestration, and the undeniable dramatic force of its libretto have long ensconced "Tosca" in a place of high honor as one of the most enduringly popular operas ever written. PICTURED: An extremely rare survivor - an original handbill advertising the world premiere of "Tosca," which was printed on very thin and very delicate (and most importantly for the theater promoters, very cheap!) onionskin paper.

[stewardofningishzida]

In Memoriam:  U.E.

U.E. was a friend of mine from a lovely and memorable summer at Opera Camp (during the Bad Years), followed by us attending the same college. I love classical music; opera in particular. I’m classically trained and have played the piano for over 12 years and the Bb clarinet for 5. Since I love it so much, I signed up for Opera Camp at a local rec center the summer after my first year of college. That’s where I met U.E.

He was a big, handsome young man who had just turned 18. I was 19 at the time. U.E. had experience singing in choir. I wanted to learn how to sing and the voice coaches at camp were teaching me. He had a powerful basso voice and spent his time learning the role of the Toreador in “Carmen”. The coaches found out that I’m a spinto soprano. Over those months of training, we sang together and got closer. Eventually, we did our final performances and moved on. Then, I went back to college for the year.

One day during Fall semester, I got bored and wandered into the music department so I could slip into a practice room and play the piano. Lo and behold, I overheard a very familiar voice next door. U.E. was there! He had been accepted into the same college as a music major. We caught up a bit and I regularly popped in and out of the music department to practice and chat. At the end of the year, he had a big performance and I attended to cheer him on.

Then, during the following summer, I saw an announcement on Facebook…A memorial service. It was for U.E. He had suddenly died of heart failure in his sleep one night. He was only 19. I was devastated and cried myself to sleep that night.

His death served as a reminder that our time on Earth is limited and we should all make an effort to become the best versions of ourselves possible. Try to resolve any lingering regrets, forgive or move on from those who have hurt you, do good for others, take care of yourself, etc. It’s a cruel and hard lesson, but it’s important. Be kind and try your best to do right. Even just a little bit of good is still something. It doesn’t have to be a major event. Rest in peace, U.E.

[wizhob]

THE PAST AND STORY OF VOCALS: In the beginning was the voice. Voice is sounding breath, the audible sign of life. -Ibid. It is likely the earliest singing was individualistic and improvisatory, a simple imitation of the sounds heard in nature.&nbsp;Many anthropologists believe the development of a lowered larynx (important to articulate speech, as it effectively makes the flexible lower tongue the front wall of the pharynx) was a relatively recent aspect of human evolution. Three styles of chant melody evolved: syllabic (for clergy and congregation), neumatic (several notes to a syllable, for choristers) and melismatic (florid, for soloists). Metricity in either chant texts or melodies was uncommon, but occurred as early as the fourth century, In the graphic art of the Middle Ages, singers were often shown with strained expressions, their furrowed brows, protruding veins and exaggerated mouth positions suggesting an effortful, possibly nasal quality--twangy or reedy--like the instrumental colors of the time. Chaucer, in his fourteenth century&nbsp;Canterbury Tales, described singing of the time as being 'intoned through the nose'. Straight tone was the probable norm, with vibrato being reserved for use as an ornament, as were a stock of ancient vocal devices: portamenti, turns, trills, and the intentional use of the qualities of the various vocal registers. The yodel was probably used as well. PERCEPTION OF SINGING: Singing voices are classified into six main groups: soprano, mezzo-soprano, alto, tenor, baritone, and bass. There are also commonly used subgroups, such as&nbsp;dramatic as opposed to lyric, or spinto, coloratura, soubrette, and so on. The main criterion for this classification is the singer’s comfortable pitch range. low voices tend to have long vocal tracts and vice versa. Thus, sopranos tend to have the shortest pharynges and basses the longest Thus, sopranos tend to have the shortest pharynges and basses the longest a given pitch, singers with a higher pitch range should tend to have a weaker voice-source fundamental than singers with a lower pitch range. MUSIC AND THE BRAIN: In the act of singing (with words) there is a smooth integration of the neural systems producing speech and singing. We know that in terms of activation, these systems seem to exhibit a significant degree of overlap asymmetries may reflect complementary specializations that arose specifically to serve the simultaneous demands inherent in producing speech (words with prosodic intonation) or song (melody with lyrics). Regardless of its evolutionary origins, song production, like song perception, calls upon a combination of functions, some of whose components appear to exhibit opposite hemisphere asymmetries. Temporal lobe areas were activated bilaterally during song imagery, consistent with the integrated nature of melody and lyrics in song representations. During actual singing, temporal lobe activation would be predominantly driven by the processing of&nbsp;auditory feedback. It remains to be demonstrated whether song singing will result in strongly right hemisphere asymmetric activation, as does simple singing without words, or in significant activation of left temporal lobe areas associated with language comprehension.

[emilymaddison1112]

How many parts are there in a choir?

Parts of a Choir

The singers in choirs are grouped by their voice types and choral music is usually written with distinct lines or parts for some or all of these voice types. Voice types are typically organized into four groups. From highest vocal range to lowest, these include:

A soprano is a female singer with a high voice. Young boys who sing, and also girls, are usually called trebles. The word “soprano” can also refer to the top line of choir music. This would be sung by sopranos or trebles. Soprano is also used as a name for high pitched instruments, such as a soprano saxophone.

In opera there are different kinds of soprano voices:

A dramatic soprano will sing big, dramatic roles such as Aida in Verdi's opera Aida.

A coloratura soprano will have a light voice which can bounce up to very high notes (the Queen of the Night in Mozart’s Magic Flute goes up to top F (2 ​1⁄2 octaves above middle C).

A soubrette is usually the maid or a young girl who flirts.

A lyric soprano role needs a beautiful smooth voice, e.g. Mimi in Puccini's La Boheme.

A heavy dramatic soprano is needed in many of Wagner's operas, e.g. Isolde in Tristan und Isolde or Brunnhilde in Der Ring des Nibelungen.

In the 17th and 18th centuries many of the soprano roles were written for male sopranos. Called a castrato, they were men who had their testicles removed before puberty so that their voices would remain high pitched.

The word alto can mean:

someone who sings lower than a soprano. Usually females with lower voices are called contraltos. A male alto is a man who sings in a special way called falsetto. In England male altos sing in church and cathedral choirs. In some countries like Germany it is tradition to have boy altos in cathedral choirs. These will probably be boys whose voices will soon be breaking and are starting to get lower.

One of the most famous contraltos was Kathleen Ferrier. There are not so many female singers who call themselves contraltos these days. It has become more fashionable to be a mezzo-soprano. It is partly because it has become fashionable to use men for the alto parts in music by Bach and other Baroque composers, like it would have been performed in those days

A tenor is a man with a high singing voice. In opera the role of the young male is usually sung by a tenor. Depending on characteristics such as: volume, color and style, the tenor voice is classified in following groups:

The light tenor. This is also called tenor leggero. An example is Peter Pears, who sang the tenor solos in Benjamin Britten’s operas.

The lyric tenor. The lyric tenor is a tenor with a well timbered voice, such as "The Three Tenors" (Luciano Pavarotti, Jose Carreras and Plácido Domingo).

The spinto tenor. They have special abilities in the high tones, such as Franco Corelli and Enrico Caruso.

The dramatic tenor. They have a high volume and a dark voice. An example is Mario Del Monaco.

A “Heldentenor” (German for “hero tenor”) is someone with a big tenor voice. This is suitable for heroic parts like the heroes in most of Wagner's operas. Lauritz Melchior, Max Lorenz and Jonas Kaufmann are famous heroic tenors.

A bass is a type of male singing voice and possesses the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second E below middle C to the E above middle C (i.e., E2–E4).[1] Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef.

ChorSymphonica is a project-based ensemble. We don’t meet on a regular basis for rehearsals, but come together for brief, intense work periods (“projects”), which culminate in performances. Musicians self-select for projects, depending on their own availability. In this way we can draw upon the range of qualified musicians throughout the region for our concerts.

To know more Visit: https://chorsymphonica.org/who-we-are/

[artistbookings]

Michelle - Spinto Soprano

Italo-Australian soprano, Michelle, studied at the Victorian College of the Arts (VCA) Australia, where she received her degree in opera and received the award for Best Voice. She continued operatic studies at the Australian National Accademy of Music (ANAM), the Maggio Musicale Fiorentino Formazione, Italy, and Campus Opera, Gran Canaria.

Since 2007 Michelle has sung roles in the Gran Teatre del Liceu: 4th Magd and Schleppträgerin of Elektra, Strauss, Pepa Tiefland and Prilepa in Pikovaya Dama, roles in Der Rosenkavalier, Les Mamelles de Tiresias, and recently a Flower Maiden in Parsifal, Wagner. In the Gran Teatro del Liceu, Michelle was cover for the role of Donna Elvira in Don Giovanni and La Pepona La Cabeza del Bautista, and other small roles.

Throughout 2012 and 2013 Michelle sang in various concerts and toured with the Viva Verdi Concert with Orchestra, singing repertoire from Il Trovatore, La Traviata, La Forza del Destino, Ernani, etc, and Un Día en La Opera orchestral concert, singing spinto soprano repertoire.

Instrumentation: Vocals

Music Genre: Classical

Size: Solo

Covid Safe: Vaccinated

Hire For: Concerts, Events, Corporate Engagements, Ceremonies