VERSATILITY IN THE MODERN PERFORMER: THREE DIVERSE OPERA ROLES
Abstract
This dissertation project consisted of performances of three diverse operatic
roles. The goal was to examine the challenges and benefits of performing diverse
repertoire (baroque, classical, and romantic opera, in this case) and to observe how
vocal and acting techniques might adjust to different styles and voice classifications.
On December 3, 5, 11, and 13,2003, I performed a composite role in Fatal
Song, directed by Leon Major, in the Robert & Arlene Kogod Theatre. This opera
pastiche, premiered in 1996, contains spoken dialogue, and the music originates from
famous eighteenth and nineteenth-century operas. I explored the challenges and
benefits of playing three different, well-known opera characters within the same
opera, performing four different languages within the same opera, and performing
spoken dialogue in an opera. My roles in this pastiche of famous opera included
Lucia from Lucia di Lammermoor by Gaetano Donizetti, Manon from Manon by
Jules Massenet, and Pamina from Die ZauberJlote by W.A. Mozart.
On January 28 and 29, 2005, I performed the role of Nice in Eurilla e Alcindo,
a serenata by Antonio Vivaldi, in Homer Ulrich Recital Hall; musical direction by
Joseph Gascho and stage direction by Kate Vetter Cain. I explored the challenges
and benefits of preparing baroque ornamentation, singing without a conductor,
performing an unknown work, staging a work that is not traditionally staged, singing
with minimal sets and costumes, and singing with period instruments.
On April 16,20, and 24,2005, I performed the role of Musetta in Giacomo
Puccini's La BohBme, directed by Pat Diamond and conducted by Jeffrey Rink, in the
Ina & Jack Kay Theatre. I examined the challenges and benefits of singing with a
large orchestra of modem instruments, singing Puccini rubato and coordinating this
with the conductor, and singing a role in one of the most well-known operas in
today's repertoire.
As a result of this investigation, I concluded that singing different styles, and
singing outside one's voice classification, within reason, is beneficial. The
knowledge, skill, confidence and insight I acquired by becoming more versatile
benefited me as a performer and as a teacher.