The evolution of the heldentenor: Siegmund, Grimes, Samson, and Otello

Show simple item record

dc.contributor Houghtaling, Paul H.
dc.contributor Peles, Stephen
dc.contributor Cummins, Linda
dc.contributor Penick, Amanda W.
dc.contributor Aversa, Elizabeth Smith
dc.contributor.advisor Fleming, Susan C.
dc.contributor.author Seay, James
dc.date.accessioned 2017-03-01T16:59:26Z
dc.date.available 2017-03-01T16:59:26Z
dc.date.issued 2014
dc.identifier.other u0015_0000001_0001520
dc.identifier.other Seay_alatus_0004D_11898
dc.identifier.uri https://ir.ua.edu/handle/123456789/1979
dc.description Electronic Thesis or Dissertation
dc.description.abstract The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner's Die Walküre (1870), Saints-Saëns' Samson et Dalila (1877), Britten's Peter Grimes (1945), and Verdi's Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor. The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini's Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837. As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased. By the latter half of the nineteenth century, the Heldentenor voice classification had emerged from the popular operatic compositions of Giuseppe Verdi, Richard Wagner, and several of their contemporaries. Since that time, this voice type has played a major role in opera theater. In fact, the creation of the Heldentenor marked a shift in vocal pedagogy and musical style for the tenor voice that has had wide ranging effects for generations of singers and composers. Even though the cultivation of the heavier Heldentenor often requires time, patience, and careful training, new artists possessing the rare dramatic vocal color and the ability to sing over large, powerful orchestras continued to emerge throughout the nineteenth and twentieth centuries. The purpose of this manuscript and accompanying recital is to define the Heldentenor in terms of its voice classification and dramatic musical style. A pedagogical discussion on the Heldentenor voice and an understanding of the distinctions between voice classification and the Fach system are central to this purpose. Also, the history and development of the heroic voice type are imperative in order to understand its evolution. Through commentaries, biographical material, reviews, and articles, this manuscript will explain the forces that led to the creation, establishment, and subsequent progression of one of the most specialized and rarest of voice types in the operatic repertory, the Heldentenor. Students and teachers attempting to train in this difficult voice classification must understand the history of the repertoire and persons who have achieved success singing it. For this reason, an account of the important Heldentenors who have propelled the voice type forward will also be included in the discussion. This manuscript will provide a better understanding of both the historical and developing trends that contribute to the Heldentenor voice in order to provide new singers with better insight regarding the training and performance practice of the Fach.
dc.format.extent 46 p.
dc.format.medium electronic
dc.format.mimetype application/pdf
dc.language English
dc.language.iso en_US
dc.publisher University of Alabama Libraries
dc.relation.ispartof The University of Alabama Electronic Theses and Dissertations
dc.relation.ispartof The University of Alabama Libraries Digital Collections
dc.relation.hasversion born digital
dc.rights All rights reserved by the author unless otherwise indicated.
dc.subject.other Music
dc.title The evolution of the heldentenor: Siegmund, Grimes, Samson, and Otello
dc.type thesis
dc.type text
etdms.degree.department University of Alabama. School of Music
etdms.degree.discipline Music
etdms.degree.grantor The University of Alabama
etdms.degree.level doctoral
etdms.degree.name D.M.A.


Files in this item

This item appears in the following Collection(s)

Show simple item record

Search DSpace


Browse

My Account