The voice of Samson: an exploration of the vocal writing in Gilbert Duprez’s opera Samson

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dc.contributor Biermann, Joanna Cobb
dc.contributor Tayloe, David
dc.contributor Zaheri, Amir
dc.contributor Harrison, Luvada A.
dc.contributor Schultz, Diane Boyd
dc.contributor.advisor Houghtaling, Paul H.
dc.contributor.author Torbert, Garrett
dc.date.accessioned 2019-08-01T14:23:46Z
dc.date.available 2019-08-01T14:23:46Z
dc.date.issued 2019
dc.identifier.other u0015_0000001_0003279
dc.identifier.other Torbert_alatus_0004D_13847
dc.identifier.uri http://ir.ua.edu/handle/123456789/6092
dc.description Electronic Thesis or Dissertation
dc.description.abstract The purpose of this document is to discuss the vocal writing and performance practice of Samson, a Grand Opera by Gilbert Duprez. This document contains a performing edition of selected recitatives and arias from the incomplete score from 1837. The edition includes the orchestral accompaniment, French text, an original English translation, and an annotated score of Duprez and his brother, Édouard original manuscript from the Harvard Theatre Collection located in the Houghton Library at Harvard University. In the nineteenth century, Gilbert Duprez was an internationally-renowned tenor from Paris who demonstrated exceptional gifts as a singer, influencing a generation of tenors following his career. His success in the nineteenth century impacted the tenor technique as he gained much popularity studying in Italy and achieving success from his vocal development there. He reached a major feat in 1837 after returning from his studies in Italy by singing the first, full chested high [C5] on stage at the Paris Opera in Rossini’s Guillaume Tell. From this he created a shift in the tenor technique and impacted the output of tenor repertoire for years to come. His newly discovered vocal abilities assisted in the creation of new, dramatic repertoire from his contemporaries, several selections of which he was able to premiere during his lifetime. His Italian training brought him success not only in the bel canto repertoire, but he was afforded roles and had immense success singing roles in the French Grand Opera repertoire. The era in which Duprez’s career skyrocketed was significant in operatic history. The nature of his vocal maturity inspired composers to adhere to the dramatic qualities of the changing tenor voice and thus produce larger, dramatic works for the stage. Duprez was better known as a singer, but he also was a composer. His works are rare. The purpose of this document intends to showcase a small part of his compositional output. Among his operas, Samson has remained a mystery to the repertoire due to the fact it is an incomplete score and it is unpublished. I will focus on uncovering the details of Samson in this document and discuss the tenor role of Samson. While Duprez did not premiere this role, he did know the heights to which he could take the tenor voice. This opera provides a clear view of how he achieved a heroic tenor sound through the drama and music. The representation of the character, Samson in Gilbert Duprez’s Grand opera by the same name, both heroic and lyrical, illustrates the power and might of one of opera’s greatest heroes.
dc.format.extent 132 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 history
dc.title The voice of Samson: an exploration of the vocal writing in Gilbert Duprez’s opera Samson
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.


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