VIXEN, VIRGIN, AND GODDESS: PERFORMANCE PRACTICE AND THE BAROQUE HEROINE
VIXEN, VIRGIN, AND GODDESS: PERFORMANCE PRACTICE AND THE BAROQUE HEROINE
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Date
2004
Authors
Cain, Katherine
Advisor
Mabbs, Linda
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Abstract
This dissertation comprises performance of three soprano roles in
Baroque musical theater pieces, recorded on compact disc. These roles are "Poppea"
in The Coronation of Poppea (1642) of Claudio Monteverdi (a filly-produced staging
of the 1989 Alan Curtis critical edition in English translation, with the Maryland
Opera Studio at the Kay Theater, Clarice Smith Performing Arts Center, University of
Maryland, College Park, Maryland, May 3 and 6, 2002; Ken Slowik, conductor);
"Galatea" in Acis and Galatea (1718) of George Friederich Handel (a staged reading
at Gildenhorn Recital Hall, Clarice Smith Performing Arts Center, University of
Maryland, College Park, Maryland, May 29,2003; Edward Maclary, conductor); and
"Miecke" (Soprano Soloist) in Mer hahn en neue Oberkeet (Peasant Cantata), BWV
212 (1742) of Johann Sebastian Bach (a staged and costumed performance with the
Washington Bach Consort at Rachel M. Schlesinger Concert Hall, Alexandria,
Virginia, February 2,2003; J. Reilly Lewis, conductor). In addition to performing
these three roles, I was the stage director for the reading of Acis and Galatea. Close
readings of the libretti, examination of contemporary guides to ornamentation, and
research into production histories inform the improvisatory ornamentation found in
these compact disc recordings.