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Głos jako tworzywo postaci operowej. Historyczny zarys wokalnej typologii głosów

100%
Kicińska H.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2022
|
issue 42
57-76
PL
This study presents the historical range of topics related to the typology of singing voices and how they are linked to the character constituting the building material of an operatic character. This six-part overview presents the subsequent stages of the formation of the status and role of particular voices in the theory and practice of musical performance, with particular emphasis on specific vocal phenomena key to the development of operatic and solo singing: the so-called covering, haute-contre, bass-baritone and boy soprano. The reason behind the diachronic presentation of the vocal terms is to order and systematise the transformations that vocal practice, musical nomenclature and musical performance have undergone over the centuries.
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Peter Grimes Benjamina Brittena jako operowe studium wykluczenia i lęku

63%
Kicińska H., Gmys M.
Copernicus De Musica
|
2023
|
issue 2
85-93
EN
The first post-war opera premiere in Great Britain was greeted with apprehension. Both the composer and the production team expected a spectacular failure. To some surprise, Peter Grimes was a great international success and today it is considered Britten’s masterpiece. The main character of the opera is presented in a much broader context and with greater sensitivity than his literary counterpart of George Crabbe’s poem. The operatic Grimes is an alienated person, conflicted with the local community; he is shaped and defined by exclusion. In the text, we discuss the socio-cultural contexts of the libretto – the problem of child labour in England and Great Britain, the presence of this theme in Britten’s work, as well as the aspects of exclusion and lack of acceptance present in the composer’s artistic personality and his legacy. We refer to the county of Suffolk, native to Britten and Grimes, the seaside landscape and the small community of the inhabitants of a fishing village – knowledge of the specificity of the place of action results in a realistic, though still musical, representation of such a community, but also a cloudy, stormy soundscape filled with the sound of the sea and the screams of seagulls. Besides, we discuss a creative impact of the European musical tradition on the composer and witness the emerging performance tradition of the main character’s part which stretches from Peter Pears to Jon Vickers.
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