Session 3 presentation - Wolf Trap Opera

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Bass-Baritone Baritone w/bottom extension or bass with top extension Both range and tessitura are critical Examples: Don Giovanni, Figaro, Falstaff
Metropolitan <strong>Opera</strong> House October 10, 1992 Matinee, Broadcast / Telecast FALSTAFF Giuseppe Verdi--Arrigo Boito Sir John Falstaff.......Paul Plishka Alice Ford..............Mirella Freni Ford....................Bruno Pola Dame Quickly............Marilyn Horne Nannetta................Barbara Bonney Fenton..................Frank Lopardo Meg Page................Susan Graham Dr. Cajus...............Piero De Palma Bardolfo................Anthony Laciura Pistola.................James Courtney Conductor...............James Levine Production..............Franco Zeffirelli Stage Director..........Paul Mills Designer................Franco Zeffirelli Lighting designer.......Gil Wechsler Choreographer...........William Burdick
Page 2 and 3: Overview 1. Rossini & What Cam
Page 4 and 5: Listening to Voices Range Proje
Page 6 and 7: Singing Lessons on YouTube! Marilyn
Page 9 and 10: 1839-1849: EARLY Oberto Un giorno d
Page 11 and 12: Falstaff Verdi’s second comic ope
Page 13 and 14: Parameter: Rhythm La traviata macro
Page 15 and 16: Parameter: Form La traviata recitat
Page 17 and 18: FACH: Determining Factors The H
Page 19 and 20: Dramatic Baritone Powerful, ringing
Page 21 and 22: Soubrette Soprano Characteristics:
Page 23 and 24: Dramatic Soprano “horn and helmet
Page 25 and 26: High Lyric Mezzo Color and tessitur
Page 27: FACH - BASS & BASS-BARITONE Distinc
Page 31 and 32: The Stage Director Emergence of the
Page 33 and 34: Regietheater: The Interventionist A

Session 3 presentation - Wolf Trap Opera

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